![]() Musical context, especially tonal context, affected the response to silence as measured by all three tasks. Participants pressed a button when they heard a period of silence begin and end, moved a slider to indicate perceived changes in musical tension across the course of each excerpt, and answered a series of questions about each silence, including questions about its duration, placement, salience, and metric qualities. In two experiments, one using musical excerpts from commercially available recordings, and the other using simpler constructed excerpts, participants' reactions to silences were assessed. However, like pauses in speech, they are distinguished syntactically along many dimensions, depending on the context in which they occur. I am very interested in examining how different conductors conduct this silence.SILENCES IN MUSIC ARE DISTINGUISHED acoustically along only one dimension: the length of time they occupy. Also, the beginning of the silence is not very clearly delimited because sounds progressively fade out into silence. It increases deliberation and usually, it is not even properly measured (it's duration is either extended or contracted). This silence can be viewed as an example of an anti-rhythmic silence, and anti-end-accented silence. It is as if the silence is holding the tension, perhaps a plateau of negative dynamics. Here, the context, harmonically is non-functional, but we have a dominant ninth chord (Bb9) which is not resolved but rather dissolved into silence. In Riemann's terms, it seems more appropriate to regard this silence as an inner-rest, because the music that follows is similar to the music that precedes it. This is the only total silence in this piece and yet it determines the magical and surreal character of the composition. To highlight the role of pauses in conversation, we proposed an updated turn taking model, where the results from our studies are integrated." (Lundholm Fors, 2015, pt. While it is interesting to look at pauses separately, we need to put them into context to really understand their functions. While speakers adapt their pause lengths to the other speaker in the conversation, they are inclined to keep a consistent ratio between pause types, and this is not dependent on the conversational partner. We also found evidence that pauses have a positive impact on memorising spoken utterances. Pauses tend to be entrained by speakers involved in dialogues, and pauses occur regularly throughout conversations. ![]() ![]() Our results show that pause lengths vary greatly across speakers, pause types and dialogues. We will also be able to use the information about pause production and perception when modelling turn taking in dialogue systems. Pauses are tied to the process of turn taking, and as we learn more about the nature of pauses we may also be able to further develop our understanding of the process of turn holding and turn yielding. We also hypothesise that the duration of pauses in speech affect the processing of speech. Further, we suggest that pauses occur regularly throughout dialogues. We believe that the duration of pauses may be linked to the pause type, and that we adapt the our pause lengths to the persons we are speaking to. Our hypothesis is that pauses fill varying functions, and that these functions depend on the context of the pauses. Our aim consists of three main parts: to describe and analyse the production of pauses, to investigate the perception of pauses, and to examine the role of pauses in turn-taking. In this dissertation, we explore the production and perception of pauses in speech. Pauses occur in conversation for a number of reasons, for example for breathing, thinking, word-searching and turn taking management. "Silences can make or break the conversation: if two persons involved in a conversation have different ideas about the typical length of pauses, they will face problems with turn taking.
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