Романские языки | Филологический аспект №10 (126) Октябрь 2025

Использование метода ресинтеза при изучении интонации (на материале французских вопросительных высказываний)

Камрыш Ольга Вячеславовна
канд. филол. наук, доцент кафедры фонетики и методики преподавания иностранных языков, Санкт-Петербургский государственный университет, РФ, г. Санкт-Петербург

Аннотация: В данной статье рассматривается проблема выбора методологии при исследовании интонационного оформления частных вопросительных высказываний в современном французском языке. Автор показывает, что применение стилизованных контуров дает возможность моделировать высказывание в соответствии с заданными значениями акустических характеристик, изменять направление движения частоты основного тона, а также общую форму интонационной кривой. Такой подход позволяет выявить наиболее существенные параметры интонационного контура, что может способствовать совершенствованию технологий обработки звукового сигнала, а также будет полезно при выведении обобщенных интонационных моделей в практике преподавания французского языка как иностранного. В статье приводятся примеры использования данного исследовательского метода при изучении частных вопросительных высказываний в современном французском языке. Исследование было проведено на материале французских частных вопросов с прямым порядком слов и разным положением вопросительного слова (в начале и в конце предложения). Анализу подлежали звуковые фрагменты, вырезанные из современных французских фильмов, а также отрывки из интервью, подкастов, уличных опросов. Всего было обследовано более 40 часов звукового материала. Была сделана попытка обобщить выявленные варианты интонационного оформления частных вопросов и представить их в виде моделей. С помощью метода ресинтеза был подготовлен корпус экспериментального материала для осуществления перцептивного эксперимента. В результате проведения исследования была установлена зависимость восприятия интонационного контура как эмоционально окрашенного от интонационного оформления участка вопросительного слова.
Ключевые слова: French intonation system, stylized intonation contours, French pronunciation norms, interrogative intonation, resynthesis.

Kamrysh Olga Vyatcheslavovna
PhD in Philology, associate professor at the Department of Phonetics and Methods of teaching foreign languages, Saint-Petersburg State University, Russia, St. Petersburg

Abstract: The paper examines methodological approaches to studying the intonation of special interrogative utterances in contemporary French. It focuses on the resynthesis method applied to investigate intonation features, showing how stylized contours can model utterances according to specified acoustic parameters, modify the direction of pitch movement, and alter the overall shape of the intonation curve. This approach helps identify the most significant parameters of an intonation contour, which can contribute to the development of speech signal processing technologies and support the creation of generalized intonation models for teaching French as a foreign language. Examples illustrate the application of this method to various types of special interrogative utterances in contemporary French. The study was conducted on the material of French special questions with direct word order and different positions of the interrogative word (at the beginning and at the end of the sentence). Sound fragments cut from modern French films, as well as extracts from interviews, podcasts, street surveys, were analyzed. In total, more than 40 hours of sound material were examined. An attempt was made to summarize the identified options for intonation of special questions and present them in the form of models. Using the resynthesis method, a body of experimental material was prepared for a perceptual experiment. As a result of the study, the dependence of the perception of the intonation contour as emotionally colored on the intonation design of the interrogative word was established.
Keywords: интонационная система французского языка, стилизация интонационных контуров, произносительная норма французского языка, интонация вопросительного высказывания, ресинтез.

A significant body of empirical data has been accumulated regarding the variability of intonation features across different communicative types of utterances in French [1; 2; 5; 8; 9]. The researcher’s task is to synthesize these data and extract the most relevant patterns. Reducing the diversity of intonation realizations to generalized schemes is also essential for the effective teaching of French intonation to foreign language learners. According to the principles of foreign language instruction, research should focus on intonation features that are most perceptually salient. Thus, studying intonation patterns requires collecting objective data on acoustic parameters, establishing possible limits for variation (melody, intensity, and other components of the intonation contour), and evaluating the perceptual significance of each feature. Objective data are obtained through acoustic analysis using modern instrumental techniques to measure fundamental frequency (F0), intensity, and other contour parameters. Perceptual analysis, involving controlled experiments with native French speakers, determines which acoustic features are perceptually meaningful. This approach identifies the range of parameter variation, within which an utterance is perceived as neutral, and highlights changes that produce additional emotional or modal nuances.

Traditional methods of studying intonation contours involve collecting large datasets for statistical processing. Such methods are time-consuming and often produce heterogeneous results, as intonation features are influenced by multiple factors; identifying reliable patterns can therefore be challenging. One method that mitigates this difficulty is resynthesis, which allows researchers to model intonation contours according to specific research goals and defined limits of acoustic parameter variation. Using this method, researchers can model different sections of the intonation curve according to established parameters: overall contour shape, pitch direction (rising or falling), and F0 range for male and female voices.

The paper provides examples of using resynthesis to study the melody of French special interrogative utterances of different syntactic types. Together with students from the Department of General and Applied Phonetics at Saint Petersburg State University, a series of studies was conducted on special questions with the interrogative word either at the end of the utterance or at the beginning in declarative word order. These syntactic types are characteristic of contemporary spoken French [11; 12]. Instrumental analysis of audio material was performed using Praat and Wave Assistant. Additionally, Ultimate Vocal Remover and Reaper were used to clean recordings and improve audio quality.

Special interrogative utterances with declarative word order were drawn from French films produced between 2000 and 2020. The audio material totaled 20 hours and 6 minutes, comprising 40 utterances of this syntactic type. Utterances with the interrogative word at the end were drawn from talk shows, interviews, street surveys, and video podcasts, totaling 23 hours and 43 minutes. For instrumental analysis, 115 audio fragments totaling 2 hours and 18 minutes were selected.

For interrogative utterances with the interrogative word at the beginning in declarative word order, one observed intonation pattern was a rising-falling pitch movement on the interrogative word. It was hypothesized that this “bell-shaped” contour conveys additional emotional nuances. This hypothesis was tested in a perceptual experiment using resynthesis. Figures 1-4 illustrate the original utterance (Figure 1) and three stylized variants (Figures 2–4).

Figure 1. Intonogram of the original utterance ‘Comment on fait les bébés?’

As can be seen from Figure 1 (Fig. 1), in the original utterance on the interrogative word "Comment" a rising-falling tone movement was implemented. During stylization, the rising-falling pitch movement was replaced with a falling movement, as gradual falling pitch from the beginning to the end of the sentence is traditionally the primary pattern for special interrogative utterances [3; 10]. Three resynthesized versions were created for perceptual evaluation: level pitch on the interrogative word (Figure 2); falling pitch on the interrogative word (Figure 3); rising pitch on the interrogative word (Figure 4). In all three models, the final part of the utterance was smoothed to produce a falling melodic movement. Figure 2 (Figure 2) shows an intonogram of a resynthesized interrogative statement with a falling melody in the range of 7.8 semitones and a level pitch on the interrogative word. Figure 3 (Figure 3) displays the intonation contour of a resynthesized utterance with a falling melody in the 9.3 semitones range and a drop on the interrogative word in the 2 semitones range. Figure 4 (Figure 4) shows the third variant of the resynthesized statements, suggesting the presence of a rising pitch on the question word (in the range of 2.7 semitones) with the overall downward F0 movement (8.7 semitones).

Next, native French speakers aged 19–39 evaluated the original and resynthesized utterances, yielding 80 responses. Results indicated a correlation between the rising-falling pitch on the interrogative word (“bell-shaped contour”) and the perception of additional emotional nuances. Only the original utterances with rising-falling pitch were perceived as conveying emotions such as surprise, curiosity, happiness, delight, and confidence. Flattening the final pitch removed these emotional associations.

Utterances with the interrogative word at the end were analyzed using recordings of young native speakers. This type of question is characteristic of informal speech and often contains slang, obscene language, informal contractions, and deviations from standard grammar. For resynthesis, lexically neutral fragments (10 in total; 5 male and 5 female voices; 2–6 syllables each) were selected. Multiple resynthesized versions were created, differing in F0 contour at the end: one plateau (level tone), one falling, and four rising variants, producing 60 audio files, 50 of which were resynthesized. Five native informants (3 male, 2 female; aged 18–31) evaluated the material. In assessing the naturalness of the proposed interrogative statements, 79% of stimuli were characterized as "natural-sounding."

Emotional evaluation singled out the following additional nuances: surprise, interest, irritation, doubt, and impatience. Interest was most frequent (73% of stimuli), indicating that rising contours are associated with communicative engagement. These results align with previous studies linking the final rise in special interrogatives with perceived interest [6; 10–12]. Notably, the characteristics of the rise on the interrogative word, which listeners associated with interest, varied considerably – for instance, the melodic range could reach 90 Hz, with an overall F0 change rate exceeding 400 Hz/sec. Statement "Tu es avec qui?" (Figure 5) received an assessment of interest during the perceptual experiment. In this case, the melodic range reached 108 Hz (8 semitones), the rate of change was 690 Hz/sc. Utterances perceived as expressing interest were also observed with a much smaller pitch range and a less pronounced final rise, and even in utterances with no rise on the interrogative syllable. Figure 6 (Figure 6) shows an intonogram of the statement "C'est quoi?" in which listeners noted interest. The melodic range was significantly narrower and amounted to 26Hz (3 semitones); the nature of the rise in the final of the statement was also different - the rate of change did not exceed 225 Hz/sc. In 9 percent of the utterances classified as expressing interest, the pitch contour ended with a fall, while in 11 percent it remained level on the interrogative word. These results indicate that listeners most often link interest to a rise on the interrogative word, but the exact range and shape of that rise can differ substantially. Crucially, a contour may still be perceived as interested even when a final rising pitch is absent. In such cases, listeners appear to rely on other prosodic cues (timbre, intensity, and additional acoustic parameters) rather than pitch movement alone.

Irritation and impatience were primarily associated with falling or level contours, especially in female voices. Surprise occurred only with a final rise, but infrequently (15%).

A separate part of the analysis focused on how the proposed interrogative utterances were evaluated in relation to different communicative situations. Processing the data from the perceptual experiment led to several preliminary conclusions. Most stimuli were judged as appropriate in professional contexts involving interlocutors of equal social status. Within this category, the most frequent patterns were rising contours with varying pitch ranges: from 40–90 Hz for female voices and 35–70 Hz for male voices up to 90–115 Hz for female voices and 70–90 Hz for male voices; this suggests a melodic rise on the interrogative word is typical of such professional exchanges. The “superior–subordinate” context was linked mainly to male voices and featured both rising and falling contours. The rising patterns included Medium Neutral (40–90 Hz for women, 35–70 Hz for men; F0 change 200–400 Hz/sec), Medium Extreme (same intervals, but >400 Hz/sec), and Big Extreme (90–115 Hz for women, 70–90 Hz for men; >400 Hz/sec). In addition, one descending contour (female voice) was found in this category. These findings suggest that status relationships can be conveyed through different intonation strategies, though with a clear gender asymmetry. In informal communication between close acquaintances, virtually all types of intonation patterns were observed: rising, falling, and level pitch movements on the interrogative word. These results confirm earlier observations that intonation structuring in informal speech tends to be flexible [7; 8]. Notably, native French listeners identified a separate “conflict” category in seven cases. In five of these, the utterances showed a falling F0 pattern and were produced by three female and two male speakers. The remaining two, both spoken by women, featured a final pitch plateau.

Thus, stylized intonation contours allowed identifying emotional nuances associated with specific pitch directions and movement patterns in utterances ending with an interrogative word. A relationship was also observed between the intonation design of such utterances and the communicative situations in which they typically occur.

Using stylized contours generated through resynthesis made it possible to establish general patterns in perception. The study tested the hypothesis that additional emotional nuances perceived by native French listeners in interrogative utterances correlate with the shape of the intonation contour. The experimental material consisted of wh-questions typical of conversational French. Particular attention was given to the melodic patterning of the interrogative word, as one of the most informative segments of the utterance. The analysis showed that utterances perceived as emotional often featured a “bell-shaped” contour – a rise-fall movement on the interrogative word. For utterances where the interrogative word appeared at the end, a link was also found between the final pitch movement and listeners’ perception of additional emotional or modal shades. The contour associated with interest was typically characterized by a rising pitch on the interrogative word, whereas irritation and impatience were more often linked to falling or level final pitch movements.

Thus, the experimental study allows us to talk about the connection of the intonation design of special interrogative statements in modern French with a number of parameters. For example, the shape of the intonation circuit correlates with the communicative situation and the role played by the speaker. Native speakers use different intonation strategies in informal and professional communication, while status differences between interlocutors allow further differentiation of intonation methods. It should also be noted that intonation contours do not coincide when expressing the same shades of meaning in male and female voices. Apparently, in some cases we can talk about the gender specification of the intonation design of the considered types of interrogative statements. In addition, intonation contains information about the general emotionality of the statement and the presence of additional shades of meaning (interest, irritation, impatience, etc.). In this case, the melodic patterning of the interrogative word takes on a special role. The perception of additional shades of meaning can be associated with such characteristics as the direction of F0 movement, the rate of change in the melody when rising or falling, the presence of peculiar modulations (for example, the "bell-shaped" design of the intonation curve). Taking into account these diverse factors determines the perception of the intonation contour of interrogative sentences with direct word order and allows not only to establish the general direction of tone movement (rising pitch, falling pitch, level pitch), but also to identify those features of melodic movement that correlate with the transmission of additional emotional or modal shades of meaning.

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