The vocal music of each language carries a distinctive sonic identity, even without instrumental accompaniment. We ask whether these differences are measurable and traceable to specific phonemes. To tackle this question, we introduce phoneme-conditional analysis, which isolates the acoustic effect of typologically distinctive phonemes by comparing marker syllables against matched non-marker controls within the same song, holding singer, melody, and genre constant. Across nine typologically diverse languages and thousands of songs, we measure effects along five acoustic dimensions. Song-level profiles built from these effects identify the language of an unaccompanied vocal at 85.5% balanced accuracy in a nine-way classification with folds grouped by artist; whether the separability arises by accumulation of the phoneme-local effects themselves is left open. Our findings suggest that phonological structure leaves systematic and measurable traces in how each language is sung.
We introduce the Transmasculine Attitudes and Speech Corpus (TMASC), a multimodal corpus of 196 transmasculine individuals, including questionnaire responses and 66 audio recordings. The questionnaire includes items exploring the vocal health of transmasculine individuals. The audio recordings include cough and throat-clearing samples, a reading passage, and additional session-specific questions. This paper outlines the development of this corpus and the data collection procedures. To illustrate the utility of this corpus, we present three case studies demonstrating how this crowd-sourced multimodal corpus can be used to support transmasculine individuals. These include the integration of perceptual and acoustic data, the identification of group-level characteristics, and the calibration of acoustic measurements.
Human language has often been described as combining structure at two levels: lower-level units combine into larger units, which then combine into larger sequences. We test for this design feature, duality of patterning, in sperm whale codas using 1,483 codas from the Dominica Sperm Whale Project. Because acoustic similarity can imitate symbolic structure, we treat the problem as computational-linguistic structure discovery from continuous audio rather than as a direct claim about language or meaning. We use a consensus of frozen audio encoders, held-out structural tests, per-statistic nulls, and acoustic-null recoverability gates. The evidence supports a narrow two-tier architecture. At the lower tier, clicks compose into codas not by a stable ordered rule, but by which clicks are present together with their inter-click rhythm. At the upper tier, coda tokens show bout-level sequential dependence, with an NSB second-order transfer-entropy lift of 0.132 bits (p = 0.002). Under tempo scaling, encoder-derived click identity is strongly rate-bound, while coda identity remains substantially more stable, yielding a measurable abstraction gradient across the click-to-coda step. Rhythm-only baselines recover substantial lower-tier structure but fail to reproduce the upper-tier sequential-dependence signal. We do not claim language, semantics, perception, or human-like phonemes. Instead, we report representation-level evidence for a duality-of-patterning-like architecture whose lower tier is rhythmic rather than segmental, and provide a portable null-controlled framework for testing combinatorial structure in induced acoustic token systems.