Vocal Features of Conversational Sarcasm: A Comparison of Methods

This study investigated vocal cues that differentiate sarcastic utterances from non-sarcastic utterances. Utterances were drawn from videotapes of participant interviews and arranged on a master tape for analysis. Utterances that were identified as sarcastic by speakers and recognized as sarcastic by listeners were randomly arranged with utterances identified and recognized as non-sarcastic by the same participants. Both sarcastic and non-sarcastic utterances were analyzed by two methods–acoustic analysis and perceptual coding. The acoustic analysis proved slightly more successful than the perceptual coding in discriminating between sarcastic and non-sarcastic utterances. The acoustic analysis indicated that fundamental frequency, frequency range, length of utterance, and total amount of sound significantly discriminated sarcastic from non-sarcastic utterances. The perceptual coding method revealed that pitch range, length of utterance, and total amount of sound significantly discriminated sarcastic from non-sarcastic utterances. Moderate correlations were found between the acoustic and perceptual variables.     

Memory for melody: infants use a relative pitch code

Pitch perception is fundamental to melody in music and prosody in speech. Unlike many animals, the vast majority of human adults store melodic information primarily in terms of relative not absolute pitch, and readily recognize a melody whether rendered in a high or a low pitch range. We show that at 6 months infants are also primarily relative pitch processors. Infants familiarized with a melody for 7 days preferred, on the eighth day, to listen to a novel melody in comparison to the familiarized one, regardless of whether the melodies at test were presented at the same pitch as during familiarization or transposed up or down by a perfect fifth (7/12th of an octave) or a tritone (1/2 octave). On the other hand, infants showed no preference for a transposed over original-pitch version of the familiarized melody, indicating that either they did not remember the absolute pitch, or it was not as salient to them as the relative pitch.     

Seeing what you hear: Visual feedback improves pitch recognition

The present study examined the effect of visual feedback on the ability to recognise and consolidate pitch information. We trained two groups of nonmusicians to play a piano piece by ear, having one group receiving uninterrupted audiovisual feedback, while allowing the other only to hear, but not see their hand on the keyboard. Results indicate that subjects for whom visual information was deprived showed significantly poorer ability to recognise pitches from the musical piece they had learned. These results are interesting since pitch recognition ability would not intuitively seem to rely on visual feedback. In addition, we show that subjects with previous experience in computer touch-typing made fewer errors during training when trained with no visual feedback, but did not show improved pitch recognition ability posttraining. Our results demonstrate how sensory redundancy increases robustness of learning, and further encourage the use of audiovisual training procedures for facilitating the learning of new skills.     

Binding “what” and “where” in auditory working memory: An asymmetrical association between sound identity and sound location

Contrasting results in visual and auditory working memory studies suggest that the mechanisms of association between location and identity of stimuli depend on the sensory modality of the input. In this auditory study, we tested whether the association of two features both encoded in the “what” stream is different from the association between a “what” and a “where” feature. In an old–new recognition task, blindfolded participants were presented with sequences of sounds varying in timbre, pitch and location. They were required to judge if either the timbre, pitch or location of a single-probe stimulus was identical or different to the timbre, pitch or location of one of the sounds of the previous sequence. Only variations in one of the three features were relevant for the task, whereas the other two features could vary, with task-irrelevant changes. Results showed that task-irrelevant variations in the “what” features (either timbre or pitch) caused an impaired recognition of sound location and in the other task-relevant “what” feature, whereas changes in sound location did not affect the recognition of either one of the “what” features. We conclude that the identity of sounds is incidentally processed even when not required by the task, whereas sound location is not maintained when task irrelevant.     

Rear-view perception in driving: Distance information is privileged in the selection of safe gaps

Selecting a safe gap before merging into the traffic is a crucial driving skill that relies on images provided by rear-view mirrors or, recently, camera-monitor systems. When using these visual aids, some drivers select dangerously small gaps to cut in front of faster vehicles. They may do so because they base their decision either on information about distance or object size, or on miscalculated information about time-to-passage (TTP). Previous experiments have been unable to compare the role of TTP, speed, and distance information for drivers’ gap selection, as they did not investigate them in the same experimental regime. The present experiments seek to determine the perceptual variables that guide drivers’ rearward gap selection. Using short videos of an approaching vehicle filmed from three different camera heights (low, conventional, high), a total of 61 subjects either made gap safety decisions (Experiment I), or estimated the TTP, speed, and distance of an approaching vehicle (Experiment II). An effect of camera height was found for gap selection, TTP, and distance estimation, but not for speed estimation. For the high camera position, smaller gaps were selected as safe, TTP estimates were longer, and the distance to the approaching vehicle was perceived as farther. An opposite pattern was found for the low camera. Regression analyses suggested that distance is an important player. The subjects strongly relied on distance information when estimating TTP, and perceived distance dominated subjects’ gap selection. Thus, drivers seem to employ distance-based strategies when selecting safe gaps in rear-view mirrors or monitors.     

Functional ear (a)symmetry in brainstem neural activity relevant to encoding of voice pitch: a precursor for hemispheric specialization?

Pitch processing is lateralized to the right hemisphere; linguistic pitch is further mediated by left cortical areas. This experiment investigates whether ear asymmetries vary in brainstem representation of pitch depending on linguistic status. Brainstem frequency-following responses (FFRs) were elicited by monaural stimulation of the left and right ear of 15 native speakers of Mandarin Chinese using two synthetic speech stimuli that differ in linguistic status of tone. One represented a native lexical tone (Tone 2: T2); the other, T2′, a nonnative variant in which the pitch contour was a mirror image of T2 with the same starting and ending frequencies. Two 40-ms portions of f₀ contours were selected in order to compare two regions (R1, early; R2 late) differing in pitch acceleration rate and perceptual saliency. In R2, linguistic status effects revealed that T2 exhibited a larger degree of FFR rightward ear asymmetry as reflected in f₀ amplitude relative to T2′. Relative to midline (ear asymmetry = 0), the only ear asymmetry reaching significance was that favoring left ear stimulation elicited by T2′. By left- and right-ear stimulation separately, FFRs elicited by T2 were larger than T2′ in the right ear only. Within T2′, FFRs elicited by the earlier region were larger than the later in both ears. Within T2, no significant differences in FFRS were observed between regions in either ear. Collectively, these findings support the idea that origins of cortical processing preferences for perceptually-salient portions of pitch are rooted in early, preattentive stages of processing in the brainstem.     

Pitch Range Variations Improve Cognitive Processing of Audio Messages

This study explores the effect of different speaker intonation strategies in audio messages on attention, autonomic arousal, and memory. In this study, participants listened to 16 radio commercials, produced to vary in pitch range across sentences. Dependent variables were self‐reported effectiveness and adequacy, psychophysiological arousal and attention, immediate word recall and recognition of information. Results showed that messages conveyed with pitch variations achieved better scores compared to commercials with a homogenous pitch range across the sentences. This was especially the case when high pitch intonation was followed by low pitch within a sentence. The results increase our understanding of the influence of pitch range on processing by establishing a concrete strategy as a best practice for improving attention and memory.     

Contrast Is in the Eye of the Beholder: Infelicitous Beat Gesture Increases Cognitive Load During Online Spoken Discourse Comprehension

We investigated how two cues to contrast—beat gesture and contrastive pitch accenting—affect comprehenders' cognitive load during processing of spoken referring expressions. In two visual-world experiments, we orthogonally manipulated the presence of these cues and their felicity, or fit, with the local (sentence-level) referential context in critical referring expressions while comprehenders' task-evoked pupillary responses (TEPRs) were examined. In Experiment 1, beat gesture and contrastive accenting always matched the referential context of filler referring expressions and were therefore relatively felicitous on the global (experiment) level, whereas in Experiment 2, beat gesture and contrastive accenting never fit the referential context of filler referring expressions and were therefore infelicitous on the global level. The results revealed that both beat gesture and contrastive accenting increased comprehenders' cognitive load. For beat gesture, this increase in cognitive load was driven by both local and global infelicity. For contrastive accenting, this increase in cognitive load was unaffected when cues were globally felicitous but exacerbated when cues were globally infelicitous. Together, these results suggest that comprehenders' cognitive resources are taxed by processing infelicitous use of beat gesture and contrastive accenting to convey contrast on both the local and global levels.