rytmi - jyväskylän...
TRANSCRIPT
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Rytmi
SVKS110 (kevät 2016) Tommi Jantunen
ESIMERKKEJÄ TUTKIMUKSISTA, JOISSA ON JOLLAKIN TAVALLA KÄSITELTY VIITTOMISEN TAI ELEHTIMISEN RYTMIÄ
Osa 1
Allen et al. (1991) • Informants tapped a small metal stylus in Eme to the rhythm of
five short ASL narraEves; temporal locaEons of the observers' taps were compared for differences related to, for example, various properEes of the target signs.
• There was a lot of variaEon in the way the subjects tapped; however, in general, all subjects seemed to be anEcipaEng their tapping targets, i.e. they tapped in a rhythmical manner.
• There also was an overall tendency among subjects to tap to repeated signs, signs with primary stress, and phrase-‐final signs.
Boyes Braem (1999) • According to naEve signers of DGS, the early learners' signing
is easier to watch and to understand than the late learners's signing because it is more "rhythmic".
• A study based on spontaneoues signed narraEves found, for example, that early learners use a regular side to side movement of the torso more consistently than late learners to phoneEcally mark larger chunks of some types of discourse.
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Loehr (2007) • There is a rich rhythmic relaEonship between the hands, head,
and voice; each arEculator produces short, disEncEve expressions in complex synchrony with other arEculators.
• The movements of the hands, head, and speech all have an average tempo similar to previously reported natural human tempos although hands tend to move most quickly and speech most slowly.
• All three also share a common tempo of around a third of a second, perhaps to synchronize inter-‐arEculator meeEng points.
Luck & Sloboda (2008)
• A kinemaEc percepEon study on conducEng gestures which invesEgated the distribuEon of visually perceived beats, generaEng the rhythm of these gestures.
• The results show that there is a link between high acceleraEon value and visual beat percepEon (velocity was found to be a factor in the percepEon process as well).
Puupponen et al. (2016)
• A comparison of the temporal (rhythmic) alignment of head nods with syntacEc units in FinSL and SSL.
• Lots of variaEon but, in general, a clear majority of nods was produced on a syntacEc border in both languages (ca. 76%) and there was also a tendency to produce nods sentence-‐finally (ca. 40%).
RYTMISYYDEN PERUSTEET Osa 2
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What is rhythm?
• General defini?on: The organizaEon of "things" or events in Eme.
• In music: The organizaEon of sounds in Eme. • In linguis?cs:
1) The organizaEon of linguisEc units in Eme, i.e. sequenEal structure;
2) One of the three classical subdomains of prosody, the other two being stress and intonaEon (see the next slide).
• Rhythm generates predictability.
Sandler’s (2012) model of SL prosody
…with three subcomponents (p. 57):
• Rhythm (or Eming); conveyed primarily by the hands
‘the temporal alignment of the acEvity of different arEculators with various prosodic units (syllable, prosodic word, phonological phrase etc.)’
• Intona?on; conveyed primarily by the face • Stress (cf. prominence); conveyed by both types of arEculators.
Beat • Beat is the foundaEon of the rhythm. • The beat is a pulse; that around which other things or events in
a sequence are centered around; or that which funcEons to divide things or events into sequences.
• In music, the beat has a speed which is referred to as tempo; the metre is the constellaEon or group of recurring strong and weak beats.
• In linguis?cs, the beat is oien associated with prominence (cf. stress); a domain in which the beat oien occurs is the syllable.
• The beat has various physical/phoneEc correlates.
Regularity vs. irregularity • To have a rhythm means that there are some sort of
sequences (with a beat) that occur in temporal succession. • The sequencing may be regular or irregular. • In music, the sequencing (of metre) is typically highly regular,
that is, the duraEons between the sequences (metres) are typically the same; this periodicity oien aims at establishing synchronized motor behavior.
• In language, the sequencing is more irregular, or aperiodic, than in music.
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Regularity vs. irregularity
Rhythm of dominant hand index finger velocity
Rhythm of blinking (addressee’s eye aperture changes)
Rhythm of speech
Rhythm of color shades
PhoneEc markers of linguisEc rhythm
• Languages are sequenced by syllables, words/signs, phrases, clauses, sentences, etc.
• A linguisEc sequence may be marked for its borders or/and for its domain.
• Rhythmically central border and domain markers in spoken language include dura?onal lengthening, pitch changes (these two are phoneEc correlates of prominence or stress), and the ordering of vowels.
…cont’d • Allegedly, the existence of manual and various nonmanual
arEculators makes the number of phoneEc correlates of border and domain markers higher in SL than in SpL.
• In signed language, the areas and borders of rhythmical sequences have been claimed to be marked by dura?onal lengthening and/or temporal balancing of sequence final elements, velocity peaks, side-‐to-‐side body movements, sentence final nods, blinks, etc.
• In general, the above listed phoneEc properEes and events (both in spoken and in signed language) contribute to the rhythmic feel of a language.
VIIMEAIKAISTA VIITTOMAKIELIÄ VERTAILEVAA TUTKIMUSTA MANUAALISESTA JA EI-‐MANUAALISESTA RYTMISTÄ (Jantunen et al. 2016)
Osa 3
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Main data FinSL
• 10 signers (4 male, 6 female), age 20-‐30 • Task: signing a cartoon
– Snowman (3 male, 2 female) – Frogstory (1 male, 4 female)
• DuraEon of video: 35 min, 18 sec • Annotated for signs, translaEons and head
movements in ELAN. • Computer-‐vision data on head pose angle.
SSL
• 10 signers (4 male, 6 female), age 30-‐40 • Task: signing a cartoon
– Snowman (1 male, 4 female) – Frogstory (3 male, 2 female)
• DuraEon of video: 29 min, 35 sec • Annotated for (signs,) translaEons and
head movements in ELAN. • Computer-‐vision data on head pose angle.
Hypothesis & research quesEons
The rhythm of signing is different between FinSL and SSL. 1. Are the sign duraEon and signing speed
different in FinSL and SSL? 2. Are the movements of the head distributed
differently in terms of their amplitude (bigness, smallness) in FinSL and SSL sentences?
QuesEon 1 – Data & method • Direct comparison of sign duraEons and signing speed not
possible due to differences in annotaEon convenEons. • 30 second strecth of signing from each signer (5+5 minutes,
10+10 signers), extracted from the middle of the story. • DuraEons of signs annotated in ELAN by one annotator who
was familiar with both languages. • Altogether 645 FinSL signs and 572 SSL signs.
Jantunen, T. (2015). How long is the sign? Linguis:cs 53(1), 93-‐124. – WALLIN, Lars & Johanna Mesch (2015). Annoteringskonven:oner för teckenspråkstexter. Version 6. Stockholms universitet, InsEtuEonen för lingvisEk, Avdelningen för teckenspråk.
Results – sign duraEon
FinSL average duraEon 0.37 secs (SD=0.26), SSL average duraEon 0.42 secs (SD=0.27). The difference is staEsEcally very significant (p=0.0019; unpaired two-‐tailed t test).
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Results – signing speed • Signing speed = number of signs / 30 seconds • FinSL: 64.5 signs per 30 seconds in average (SD=15.34) • SSL: 57.2 signs per 30 seconds in average (SD=8.19) • The difference is not sta?s?cally significant
(p=0.2008; unpaired two-‐tailed t-‐test) • Signing speed in both FinSL and SSL is ca. 2 signs per 1 second
QuesEon 2 – Data • 16 declara?ve sentences (8 for FinSL, 8
for SSL) produced by 8 signers (4+4). • All the sentences extracted from the
Snowman story, in which the sentences occurred story-‐iniEally.
• Syntac?cally, the producEons of each signer correspond to coordinated two-‐sentence sequences.
• Seman?cally, all the sequences express the same contents (roughly: 'the boy wakes up and sees that it is snowing outside').
• 3D numerical data on the head movements of signers describing the moEon of the head in the yaw, pitch, and roll dimensions.
JANTUNEN, T. (forthcoming). Clausal coordinaEon in Finnish Sign Language. Studies in Language 40. – KARPPA, M., V. Viitaniemi, M. Luzardo, J. Laaksonen and T. Jantunen, "SLMoEon -‐ An extensible sign language oriented video analysis tool," in Proceedings of LREC 2014. Paris: ELRA, pp. 1886–1891, 2014. – LUZARDO, M., M. Karppa, J. Laaksonen, T. Jantunen, "Head pose esEmaEon for sign language video," in J.-‐K. Kamarainen and M. Koskela (eds.), Image Analysis. Springer, Lecture Notes in Computer Science, Vol. 7944, pp. 349–360, 2013.
Method
• Take a sentence. • Divide it into three sequences in ELAN. • Calculate the numerical range (R) for yaw,
pitch and roll in each sequence. • Repeat for each sentence in FinSL/SSL. • For each sequence of both languages,
calculate the average range for yaw, pitch and roll.
• InvesEgate the similariEes and differences between the two languages via visual observa?on and with the linear correla?on co-‐efficient (r).
“Recipe”
Results • Yaw: the shapes of the language-‐specific
amplitude curves were almost diametrically opposed to each other (r=-‐0.95, a near perfect negaEve correlaEon)
• Pitch: the shapes of the curves were simply different, showing no linear correlaEon at all (r=0.19).
• Roll: A notable similarity in the results, that is, the ElEng-‐like movement was larger in the opening secEon of sentences than in the closing secEon in both FinSL and SSL (r=1.0, a perfect posi?ve correla?on).
The average amplitude (in degrees) of the movement of the head in yaw, pitch, and roll dimensions for the opening (1), middle (2), and closing (3) secEons of 8+8 semanEcally and structurally comparable FinSL and SSL sentences.
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A discussive summary – research quesEons
1. There was a sta?s?cal difference in the sign dura?on but no difference in the average signing speed between FinSL and SSL; signer’s age and presentaEon style may affect the results.
2. There were more differences than similari?es in the way in which the head moved in terms of its amplitude in FinSL and SSL sentences; the similarity of the head movement in the roll dimension may be the only factor that is related to the rhythm.
Conclusion • The hypothesis that there is a rhythmic difference
between FinSL and SSL cannot be unambiguously supported or refuted on the basis of the present data – both rhythmic differences and similariEes are found.
• The present work has focused only on a few aspects of the rhythm – rhythm is a complex phenomenon and the future work has to explore it also from other perspecEves.
Kirjallisuus (jota ei ole lueteltu dioissa)
• ALLEN, George D., Wilbur, Ronnie B. & Schick, Brenda B. (1991). Aspects of Rhythm in ASL. Sign Language Studies 72:435-‐483.
• BOYES Braem, Penny (1999). Rhythmic Temporal Payerns in the Signing of Deaf Early and Late Learners of Swiss German Sign Language. Language and Speech 42(2-‐3):177-‐208.
• JANTUNEN, T., Mesch, J & Puupponen, A. (2016). Aspects of the rhythm in FinSL and SSL. Paper presented in the 12th Conference on TheoreEcal Issues in Sign Language Research (TISLR 12), Melbourne, Australia, 6 January, 2016.
• LOEHR, Daniel (2007). Aspects of rhythm in gesture and speech. Gesture 7(2):179-‐214. • LUCK, G. & Sloboda, J. (2008). Exploring the spaEo-‐temporal properEes of simple conducEng
gestures using a synchronizaEon task. Music PercepEon 25: 225–239. • PATEL, Aniruddh D. (2006). Musical Rhythm, LinguisEc Rhythm, and Human EvoluEon. Music
PercepEon 1(24):99-‐104. • PATEL, A. D. & Daniele, J. R. (2003). An empirical comparison of rhythm in language and
music. CogniEon, 87:B35–B45.
…jatkuu • PUUPPONEN, A. (2012). Horisontaaliset ja verEkaaliset päänliikkeet suomalaisessa
viiyomakielessä [Horizontal and verEcal head movements in FinSL], MA thesis, University of Jyväskylä, Jyväskylä, Finland.
• PUUPPONEN, A.; Wainio, T.; Burger, B. & Jantunen, T. (2015). Head movements in Finnish Sign Language on the basis of MoEon Capture data: a study of the form and funcEon of nods, nodding, head thrusts, and head pulls. Sign Language & LinguisEcs 18(1), 41-‐89.
• PUUPPONEN, A.; Jantunen, T. & Mesch, J. (forthcoming in May 2016). The alignment of head nods with syntacEc units in Finnish Sign Language and Swedish Sign Language. To appear in the Proceedings of the Speech Prosody 2016, to be organized in Boston (USA), 31 May-‐3 June, 2016.
• RAMUS, Franck, Nespor, Marina & Mehler, Jacques (1999). Correlates of linguisEc rhythm in the speech signal. CogniEon 73:265-‐292.
• SANDLER, Wendy (2012). Visual prosody. In R. Pfau, M. Steinbach & B. Woll (Eds.), Sign language: An internaEonal handbook, 55–76. Berlin: Mouton De Gruyter.
• SANDLER, W., I. Meir, S. Dachkovsky, C. Padden & M. Aronoff (2011). The emergence of complexity in prosody and syntax, Lingua 121(13), 2014-‐2033.