Table of Contents
1 Cover
4 Preface
5 1 Sound 1.1. Acoustic phonetics 1.2. Sound waves 1.3. In search of pure sound 1.4. Amplitude, frequency, duration and phase 1.5. Units of pure sound 1.6. Amplitude and intensity 1.7. Bels and decibels 1.8. Audibility threshold and pain threshold 1.9. Intensity and distance from the sound source 1.10. Pure sound and musical sound: the scale in Western music 1.11. Audiometry 1.12. Masking effect 1.13. Pure untraceable sound 1.14. Pure sound, complex sound
6 2 Sound Conservation 2.1. Phonautograph 2.2. Kymograph 2.3. Recording chain 2.4. Microphones and sound recording 2.5. Recording locations 2.6. Monitoring 2.7. Binary format and Nyquist-Shannon frequency 2.8. Choice of recording format 2.9. MP3, WMA and other encodings
7 3 Harmonic Analysis 3.1. Harmonic spectral analysis 3.2. Fourier series and Fourier transform 3.3. Fast Fourier transform 3.4. Sound snapshots 3.5. Time windows 3.6. Common windows 3.7. Filters 3.8. Wavelet analysis
8 4 The Production of Speech Sounds 4.1. Phonation modes 4.2. Vibration of the vocal folds 4.3. Jitter and shimmer 4.4. Friction noises 4.5. Explosion noises 4.6. Nasals 4.7. Mixed modes 4.8. Whisper 4.9. Source-filter model
9 5 Source-filter Model Analysis 5.1. Prony’s method – LPC 5.2. Which LPC settings should be chosen? 5.3. Linear prediction and Prony’s method: nasals 5.4. Synthesis and coding by linear prediction
10 6 Spectrograms 6.1. Production of spectrograms 6.2. Segmentation 6.3. How are the frequencies of formants measured? 6.4. Settings: recording
11 7 Fundamental Frequency and Intensity 7.1. Laryngeal cycle repetition 7.2. The fundamental frequency: a quasi-frequency 7.3. Laryngeal frequency and fundamental frequency 7.4. Temporal methods 7.5. Frequency (spectral) methods 7.6. Smoothing 7.7. Choosing a method to measure F0 7.8. Creaky voice 7.9. Intensity measurement 7.10. Prosodic annotation 7.11. Prosodic morphing
12 8 Articulatory Models 8.1. History 8.2. Single-tube model 8.3. Two-tube model 8.4. Three-tube model
