영어의 음운지식과 음성인식

오세풍 空軍士官學校 1993 論文集 Vol.33 No.-

V. Zue showed that spectrogram reading was a very useful method in speech recognition and he also proved that spectrogram could be translated into perfect sentences without any mistakes. Many ASR (Automatic Speech Recognition)systems selected Top-down processing in the past. But they couldn't recognize the input which locate in word boundary, Furthermore, in fluent speech, there were so many variabilities that they couldn't understand the speech, either. Therefore many speech scientists are trying to find new methods which can be better applied to ASR. In this paper, I showed that Bottom-up processing is superior to Top-down processing which is based on syntax and semantics. Thus I reviewed feature geometry which might be better applied to speech recognition. Especially, in this paper, I reviewed Kim's(1991) theory.

영어 억양의 단계하강 문제 고찰

오세풍 고려대학교 언어정보연구소 2012 언어정보 Vol.15 No.-

The purpose of this paper is to explore downstep issues in intonation of English. At first, downstep was taken from African tone languages. Downstep, upstep, stylized tone were accepted to establish intonational phonology convention. In intonational phonology downstep is taken as compressed tone in association with bitones in pitch accent and high phrase accent . But in ToBI system, downstep is taken as a tonal event that is independent of bitones and high phrase accent. This different conventions lead to different analysis and interpretation on the same tonal event. In this paper I explore these various issues and argue the need to unify the conventions.

영어교과서에 나타난 영어억양교육의 문제점

오세풍,장영수,이용재 한국음성과학회 2001 음성과학 Vol.8 No.4

In English textbooks, there are three kinds of English intonation representations: Trager & Smith's, Weak-strong, Audio-lingual way. Each representaion has its merits and demerits. Therefore, just one of them is insufficient to represent English intonation properly. Trager & Smith's representation is relevant to show holistic intonation itself. In contrast to this merit, it is not appropriate to represent downstep, declination, etc. With Weak-strong, it is good to show weak and strong point in the sentence. It is not, however, consistent with intonation. Instead of these representations, some textbooks accept Audio-lingual method. Audio-lingual method gives students more chances to hear native speakers' intonations. But it doesn't give ways to understand English intonation itself. In English textbooks, they don't have any hierarchies dependent upon students' proficiency. In spite of various intonations, they just accept a few limited intonation models. Thus, it is necessary to review all kinds of intonation representations and to develop more advanced and relevant English intonation representation.

영어 억양분석과 기저선 설정 문제 고찰 : 명시적 기저선을 중심으로

오세풍 고려대학교 언어정보연구소 2013 언어정보 Vol.16 No.-

The purpose of this paper is to explore the issues of setting baseline in analysis of intonation of English focusing on overt-baseline view. Contrary to implicit baseline view, overt baseline view gives specific norms in English intonation analysis. Especially in analyzing leading low tones, trailing low tones, and low phase accents, overt baseline view is helpful to identify the low(L) target tones effectively. In this paper, I found that the range of setting baseline is within intermediate phrase or intonational phrase depending on pitch excursions.

영어 억양의 단계하강 문제 고찰

오세풍 고려대학교 언어정보연구소 2012 언어정보 Vol.0 No.15

The purpose of this paper is to explore downstep issues in intonation of English. At first, downstep was taken from African tone languages. Downstep, upstep, stylized tone were accepted to establish intonational phonology convention. In intonational phonology downstep is taken as compressed tone in association with bitones in pitch accent and high phrase accent . But in ToBI system, downstep is taken as a tonal event that is independent of bitones and high phrase accent. This different conventions lead to different analysis and interpretation on the same tonal event. In this paper I explore these various issues and argue the need to unify the conventions.

영어의 문장부사에 나타난 한국인의 억양특성 분석 : Message-oriented 부사를 중심으로 Focused on Message-Oriented Adverbials

오세풍,장영수,이용재 한국음성과학회 2001 음성과학 Vol.8 No.2

The purpose of this study is to investigate the intonation of Korean speakers in English sentence adverbials. The intonation of English sentence adverbials is realized by its syntactic and semantic meaning. Many Korean speakers realize falling or stylized high-rising intonation instead of fall-rising in attitudinal adverbials, In addition, Korean students don't realize deaccenting in likelihood adverbials. These results suggest that the intonation patterns in current English textbooks are not sufficient for English intonation education at school.

영어 억양분석과 기저선 설정 문제 고찰: 명시적 기저선을 중심으로

오세풍 고려대학교 언어정보연구소 2013 언어정보 Vol.0 No.16

The purpose of this paper is to explore the issues of setting baseline in analysis of intonation of English focusing on overt-baseline view. Contrary to implicit baseline view, overt baseline view gives specific norms in English intonation analysis. Especially in analyzing leading low tones, trailing low tones, and low phase accents, overt baseline view is helpful to identify the low(L) target tones effectively. In this paper, I found that the range of setting baseline is within intermediate phrase or intonational phrase depending on pitch excursions.

[설림] 대만역사의 망각과 기억 - 중학교 교과서『인식대만』의 인식 -

하세풍 부산경남사학회 2000 역사와 경계 Vol.38 No.-

영어 가부 의문문 초점 발화와 지각

전윤실,오세풍,김기호 한국음성과학회 2004 음성과학 Vol.11 No.3

In English, a focused word with new information receives a pitch accent. This paper examines how English native speakers and Korean speakers produce and perceive focus in English yes-no questions. The production experiments show that native speakers realize an appropriate intonation of yes-no questions, in which a focused word has a low pitch accent followed by a high phrasal accent and a high boundary tone. However, Korean speakers usually give a high tone to a focused word. In a like manner, the perception experiments show that English native speakers judge a word with a low tone to be focused, while Korean speakers have difficulty in comprehending a focused word realized as a low tone. And it is found that Korean speakers tend to perceive low tones on sentence initial and final focused words better than those on sentence medial focused words, and they often perceive a word with a relatively high fundamental frequency or a sharp rise of fundamental frequency as a focused word. This paper shows that Korean speakers have trouble to produce and perceive an appropriate tonal pattern of a focused yes-no question, and that can cause confusion in a conversation with native speakers.

영어문장에 나타난 호격과 동격의 억양실현 양상의 비교 : 영어 모국어 화자와 한국인 화자를 비교하여 Comparing English Native Speakers with Korean Students

박순복,오세풍,김기호 한국음성과학회 2000 음성과학 Vol.7 No.4

The purpose of this study is to characterize the intonational realizations of vocatives in comparison with those of appositives in English statements and questions, and to compare the realizations produced by English native speakers with those of Korean students. Unlike Pierrehumbert(1980), in which the tag expressions do not have pitch accents, Beckman & Pierrehumbert (1986) proposed that the vocatives have a special status in tonal alignment and duration and that they form an independent phrse with pitch accent. Our results reinforce Beckman & Pierrehumbert (1986): both English native speakers and Korean students realize the vocatives in terms of rising tone, and the appositives in terms of both falling tone in statements and rising tone in questions. Moreover, they pronounced the nouns before vocatives longer than those before appositives. However, native speakers impose the low phrase tone before vocatives in statements and the high tone in questions; whereas, Korean students either put the low phrase tone on pitch contours of both statements and questions, or tend to pause before vocatives, thereby constituting an intonational phrase. Keywords: Intonational realizations, vocatives, appositives, pitch accent