Simultaneous communications combines both spoken and manual modes to produce each word of an utterance. This study investigated the potential influence of alterations in the temporal structure of speech produced by inexperienced signers during simultaneous communication on the perception of final consonant voicing. Inexperienced signers recorded words that differed only in the voicing characteristic of the final consonant under two conditions: (1) speech alone and (2) simultaneous communication. The words were subsequently digitally edited to remove the final consonant and played to 20 listeners who, in a forced-choice paradigm, circled the word they thought they heard. Results indicated that accurate perception of final consonant voicing was not impaired by changes in the temporal structure of speech that accompanied the inexperienced signers' simultaneous communication.
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http://dx.doi.org/10.1016/s0021-9924(98)00007-0 | DOI Listing |
Front Psychol
October 2024
Department of Life Sciences, University of Trieste, Trieste, Italy.
Despite the interest in animacy perception, few studies have considered sensory modalities other than vision. However, even everyday experience suggests that the auditory sense can also contribute to the recognition of animate beings, for example through the identification of voice-like sounds or through the perception of sounds that are the by-products of locomotion. Here we review the studies that have investigated the responses of humans and other animals to different acoustic features that may indicate the presence of a living entity, with particular attention to the neurophysiological mechanisms underlying such perception.
View Article and Find Full Text PDFFront Hum Neurosci
October 2024
Centre for Research on Brain, Language and Music (CRBLM), Montreal, QC, Canada.
Introduction: Music making is a process by which humans across cultures come together to create patterns of sounds that are aesthetically pleasing. What remains unclear is how this aesthetic outcome affects the sensorimotor interaction between participants.
Method: Here we approach this question using an interpersonal sensorimotor synchronization paradigm to test whether the quality of a jointly created chord (consonant vs.
Lang Speech Hear Serv Sch
January 2025
Department of Geography, San Diego State University, CA.
Purpose: Phonologically complex targets (e.g., [pl-]) are understood to facilitate widespread gains following speech sound intervention, and yet, available research largely features word- clusters.
View Article and Find Full Text PDFInt J Environ Res Public Health
August 2024
Center for Applied Social Research, University of Oklahoma, Norman, OK 73072, USA.
The cognitive interview process is a method to validate a survey instrument's face validity and enhance confidence in item interpretation, as well as a method to engage communities in the research process. Trained American Indian and Alaska Native (AIAN) interviewers conducted retrospective cognitive interviews at three AIAN communities to assess the item quality of a 131-item survey item that measures AIAN knowledge and attitudes on genetics and biological specimens. A cognitive interview process was used to assess cultural consonance, thought processes used when considering survey instructions, items and responses, and language preference of survey items in the development of a survey to assess public knowledge and attitudes on genetics.
View Article and Find Full Text PDFNeuroimage
September 2024
Department of Psychology, NCKU, Tainan, 70101, Taiwan; Mind Research and Imaging Center, NCKU, Tainan, 70101, Taiwan. Electronic address:
The perception of two (or more) simultaneous musical notes, depending on their pitch interval(s), could be broadly categorized as consonant or dissonant. Previous literature has suggested that musicians and non-musicians adopt different strategies when discerning music intervals: while musicians rely on the frequency ratios between the two fundamental frequencies, such as "perfect fifth" (3:2) as consonant and "tritone" (45:32) as dissonant intervals; non-musicians may rely on the presence of 'roughness' or 'beats', generated by the difference of fundamental frequencies, as the key elements of 'dissonance'. The separate Event-Related Potential (ERP) differences in N1 and P2 along the midline electrodes provided evidence congruent with such 'separate reliances'.
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