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	<title>Music &#38; Language Studies &#187; Terminology</title>
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	<link>http://www.musiclanguage.net</link>
	<description>Dedicated to the integrated study of music and language.</description>
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		<title>How to make a talking moose</title>
		<link>http://www.musiclanguage.net/2007/04/05/how-to-make-a-talking-moose/</link>
		<comments>http://www.musiclanguage.net/2007/04/05/how-to-make-a-talking-moose/#comments</comments>
		<pubDate>Thu, 05 Apr 2007 17:37:16 +0000</pubDate>
		<dc:creator>Jonathan G. Secora Pearl</dc:creator>
				<category><![CDATA[Ideas]]></category>
		<category><![CDATA[In Progress]]></category>
		<category><![CDATA[Terminology]]></category>

		<guid isPermaLink="false">http://www.musiclanguage.net/2007/04/05/how-to-make-a-talking-moose/</guid>
		<description><![CDATA[I spoke with a prominent sound designer for animated features last night. He posed a rather intriguing problem: How do you make a talking moose sound organically like a talking moose? How do we create a voice that would represent a talking moose? How do we put the acoustic filters in place to take a [...]]]></description>
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		<slash:comments>0</slash:comments>
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		<title>Automatic voice feature extraction</title>
		<link>http://www.musiclanguage.net/2007/04/04/automatic-voice-feature-extraction/</link>
		<comments>http://www.musiclanguage.net/2007/04/04/automatic-voice-feature-extraction/#comments</comments>
		<pubDate>Wed, 04 Apr 2007 15:54:56 +0000</pubDate>
		<dc:creator>Jonathan G. Secora Pearl</dc:creator>
				<category><![CDATA[Ideas]]></category>
		<category><![CDATA[Issues]]></category>
		<category><![CDATA[Terminology]]></category>
		<category><![CDATA[Updates]]></category>

		<guid isPermaLink="false">http://www.musiclanguage.net/2007/04/04/automatic-voice-feature-extraction/</guid>
		<description><![CDATA[Elliott D. Ross and colleagues have long studied the impact of particular right hemisphere neuropathologies on affective speech prosody, syndromes collectively termed the aprosodias. (See the Song, Speech, and Brain bibliography for some details). If we develop the tools for automatic extraction of voice features (ones that would be necessary to produce animated synthetic voices), [...]]]></description>
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		<slash:comments>0</slash:comments>
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		<item>
		<title>The reliability of pause as a cue in speech</title>
		<link>http://www.musiclanguage.net/2007/03/23/the-reliability-of-pause-as-a-cue-in-speech/</link>
		<comments>http://www.musiclanguage.net/2007/03/23/the-reliability-of-pause-as-a-cue-in-speech/#comments</comments>
		<pubDate>Fri, 23 Mar 2007 14:52:28 +0000</pubDate>
		<dc:creator>Jonathan G. Secora Pearl</dc:creator>
				<category><![CDATA[Issues]]></category>
		<category><![CDATA[Terminology]]></category>

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		<description><![CDATA[A question has recently come up regarding the reliability of pause as a cue to the segmentation of speech into intonational, or semantic meaning groups [1]. A few years ago, I had prepared a paper in conjunction with a colleague, Pentti Haddington, which addressed the question of the unreliability of pause in this context (click [...]]]></description>
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		<slash:comments>0</slash:comments>
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		<item>
		<title>Realistic Voice synthesis and natural speech comprehension</title>
		<link>http://www.musiclanguage.net/2007/01/17/realistic-voice-synthesis-and-natural-speech-comprehension/</link>
		<comments>http://www.musiclanguage.net/2007/01/17/realistic-voice-synthesis-and-natural-speech-comprehension/#comments</comments>
		<pubDate>Thu, 18 Jan 2007 00:31:01 +0000</pubDate>
		<dc:creator>Jonathan G. Secora Pearl</dc:creator>
				<category><![CDATA[In Progress]]></category>
		<category><![CDATA[Issues]]></category>
		<category><![CDATA[Terminology]]></category>

		<guid isPermaLink="false">http://www.musiclanguage.net/2007/01/17/realistic-voice-synthesis-and-natural-speech-comprehension/</guid>
		<description><![CDATA[Here is a question out to my readers: Is anyone developing a realistic system of voice synthesis, that takes into account the prosody, especially the melody and rhythm, of natural speech? On the other end, what work is being done to facilitate machine comprehension of natural speech, in particular the meaning of speech prosody?
From what [...]]]></description>
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		<slash:comments>0</slash:comments>
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		<title>The Competition Model and its Relevance for Speech/Song Research</title>
		<link>http://www.musiclanguage.net/2006/06/19/the-competition-model-and-its-relevance-for-speechsong-research/</link>
		<comments>http://www.musiclanguage.net/2006/06/19/the-competition-model-and-its-relevance-for-speechsong-research/#comments</comments>
		<pubDate>Mon, 19 Jun 2006 18:04:28 +0000</pubDate>
		<dc:creator>Jonathan G. Secora Pearl</dc:creator>
				<category><![CDATA[Analysis]]></category>
		<category><![CDATA[Issues]]></category>
		<category><![CDATA[Terminology]]></category>

		<guid isPermaLink="false">http://www.musiclanguage.net/2006/06/19/the-competition-model-and-its-relevance-for-speechsong-research/</guid>
		<description><![CDATA[Jonathan G. Secora Pearl
Department of Linguistics
University of California, Santa Barbara
Corresponding address:
Jonathan Pearl
Music &#038; Language Studies
7220 N. Rosemead Blvd., Suite 202-10
San Gabriel, CA 91775
email: type&#8221;jonathan@musiclanguage.net&#8221;
ABSTRACT
The emerging field of music and language studies draws on the traditions and techniques of linguistics and musicology, with an empirical and cognitive bent. The present paper examines the relevance of the [...]]]></description>
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		<slash:comments>0</slash:comments>
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		<item>
		<title>Rhythm in Music and Speech</title>
		<link>http://www.musiclanguage.net/2006/05/29/rhythm-in-music-and-speech/</link>
		<comments>http://www.musiclanguage.net/2006/05/29/rhythm-in-music-and-speech/#comments</comments>
		<pubDate>Mon, 29 May 2006 23:41:17 +0000</pubDate>
		<dc:creator>Jonathan G. Secora Pearl</dc:creator>
				<category><![CDATA[Bibliography]]></category>
		<category><![CDATA[Issues]]></category>
		<category><![CDATA[Terminology]]></category>

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		<description><![CDATA[Rhythm appears to be a fundamental capacity of humans. Rhythm plays a role in the prenatal environment and the early socialization of infants (Bertoncini, et al., 1995; Fassbender, 1996; Hargreaves, 1986; Papoušek, 1996). It has been implicated in the coordination of motor activity and locomotion (Iverson &#038; Thelen, 1999). Rhythmic processing  is a late [...]]]></description>
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		<slash:comments>0</slash:comments>
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		<title>Denoting the Voice: Text and Context in Music and Language</title>
		<link>http://www.musiclanguage.net/2006/05/18/denoting-the-voice-text-and-context-in-music-and-language/</link>
		<comments>http://www.musiclanguage.net/2006/05/18/denoting-the-voice-text-and-context-in-music-and-language/#comments</comments>
		<pubDate>Thu, 18 May 2006 16:22:04 +0000</pubDate>
		<dc:creator>Jonathan G. Secora Pearl</dc:creator>
				<category><![CDATA[Analysis]]></category>
		<category><![CDATA[Bibliography]]></category>
		<category><![CDATA[In Progress]]></category>
		<category><![CDATA[Terminology]]></category>

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		<description><![CDATA[Denoting the Voice: Text and Context in Music and Language
Jonathan G. Secora Pearl
Fellowship proposal, submitted to the NEH
The Problem
Charles Darwin was wrong, at least about music. In “The Descent of Man,” he wrote: “As neither the enjoyment nor the capacity of producing musical notes are faculties of the least use to man in reference to [...]]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Foreign accent syndrome</title>
		<link>http://www.musiclanguage.net/2006/04/10/foreign-accent-syndrome/</link>
		<comments>http://www.musiclanguage.net/2006/04/10/foreign-accent-syndrome/#comments</comments>
		<pubDate>Mon, 10 Apr 2006 23:28:28 +0000</pubDate>
		<dc:creator>Jonathan G. Secora Pearl</dc:creator>
				<category><![CDATA[In Progress]]></category>
		<category><![CDATA[Issues]]></category>
		<category><![CDATA[Terminology]]></category>

		<guid isPermaLink="false">http://www.musiclanguage.net/2006/04/10/foreign-accent-syndrome/</guid>
		<description><![CDATA[[Update pending. Look for review of Kurowski, Blumstein, and Alexander (1996).]
What has been dubbed foreign accent syndrome was first described by Monrad-Krohn in 1947,1 in which he presented the case of a woman who suffered a shrapnel wound in WWII, that damaged portions of the left hemisphere of her brain. Her ability to produce and [...]]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Terminology page updated</title>
		<link>http://www.musiclanguage.net/2006/04/10/terminology-page-updated/</link>
		<comments>http://www.musiclanguage.net/2006/04/10/terminology-page-updated/#comments</comments>
		<pubDate>Mon, 10 Apr 2006 19:18:21 +0000</pubDate>
		<dc:creator>Jonathan G. Secora Pearl</dc:creator>
				<category><![CDATA[Terminology]]></category>
		<category><![CDATA[Updates]]></category>

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		<description><![CDATA[Child-directed speech, polysemy, foreign accent syndrome, and priming have been added to the terminology page.
]]></description>
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		<slash:comments>0</slash:comments>
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		<item>
		<title>Polysemy</title>
		<link>http://www.musiclanguage.net/2006/04/10/polysemy/</link>
		<comments>http://www.musiclanguage.net/2006/04/10/polysemy/#comments</comments>
		<pubDate>Mon, 10 Apr 2006 19:15:01 +0000</pubDate>
		<dc:creator>Jonathan G. Secora Pearl</dc:creator>
				<category><![CDATA[Terminology]]></category>

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		<description><![CDATA[Polysemy is a term referring to items with multiple meanings, and the ambiguity these multiple meanings create. In language, this describes words that might be interpreted variably in different contexts.
There is a bug crawling on the screen.
The FBI placed a bug in the ambassador&#8217;s office.
Caution: these olives have been mechanically processed. The occasional pit may [...]]]></description>
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