老年人群的韵律感知

老龄化导致听觉系统、认知功能有所衰退。老年人群的言语理解能力减弱, 韵律信息解析存在困难。老年人对重音、语调、语速等语言韵律感知能力退化, 对情感韵律的加工也出现问题, 特别是消极情绪韵律加工减退较快。老年疾病进一步加深韵律加工难度, 韵律感知呈现出与特定疾病的相关性。未来研究需考察不同语言背景老年人群的韵律感知表现与机制、复杂交流环境的影响、韵律感知障碍对老年疾病的预测、韵律感知的早期干预与复健等问题。     

3～5岁儿童基于声音线索的情绪知觉

研究从言语的韵律和语义两条线索出发,试图探讨学前儿童基于声音线索情绪知觉的发展特点.实验一中,124名3～5岁儿童对男、女性用5种不同情绪(高兴、生气、害怕、难过和中性)的声音表达的中性语义句子进行了情绪类型上的判断.3～5岁儿童基于声音韵律线索情绪知觉能力随着年龄的增长不断提高,主要表现在生气、害怕和中性情绪上.不同情绪类型识别的发展轨迹不完全相同,总体来说,高兴的声音韵律最容易识别,而害怕是最难识别的.当韵律和语义线索冲突时,学前儿童更多地依赖韵律线索来判断说话者的情绪状态.被试对女性用声音表达的情绪更敏感.     

The representation of pitch in auditory imagery: Evidence from S-R compatibility and distance effects

In three experiments we explored the nature of representations constructed during the perception and imagination of pitch. We employed a same–different task to eliminate the influence of nonauditory information and to minimise use of cognitive strategies on auditory imagery. A reference tone of frequency 1000, 1500, or 2000 Hz, or an imagined tone of a pitch indicated by a visual cue, was followed by a comparison tone (1000, 1500, or 2000 Hz) to which either a speeded same or different response was required. In separate experiments, same–different judgements were mapped to vertically (Experiments 1 and 2) and horizontally arranged responses (Experiment 3). Judgements of tones closer in pitch yielded longer reaction times and higher error rates than more distant tones, indicating a pitch distance effect for perceptual and imagery tasks alike. In addition, in the imagery task, same–different responses were faster when low-pitched tones demanded a bottom or left key response and high-pitched tones a top or right response than vice versa, suggesting that pitch is coded spatially. Together, these behavioural effects support the assumption that both perceived and imagined pitch are translated into an analogical representation in the spatial domain.     

Rhythmic information in working memory: effects of concurrent articulation on reproduction of rhythms

The study addressed a previously neglected issue in the concept of working memory, namely whether or not rhythmical information is coded and maintained in a phonological loop. Thirty subjects engaged in a task which required them to reproduce the temporal sequence of rhythm. The results showed that the reproduction of rhythm was dramatically reduced by a concurrent articulation, and that the deterioration of rhythm reproduction was larger than that obtained with a concurrent spatial task which would not diminish the activity of the phonological loop directly. An articulatory component of the working memory apparently plays an important role in memorizing rhythms. Furthermore, the sparse-dense rhythm (a pattern which started with sparse temporal structure and ended with a dense one) allowed better memorization than a dense-sparse pattern. The sources of the sparse-dense superiority effect are discussed in terms of the working memory for rhythmic information.     

Spatial representation of pitch height: the SMARC effect

Through the preferential pairing of response positions to pitch, here we show that the internal representation of pitch height is spatial in nature and affects performance, especially in musically trained participants, when response alternatives are either vertically or horizontally aligned. The finding that our cognitive system maps pitch height onto an internal representation of space, which in turn affects motor performance even when this perceptual attribute is irrelevant to the task, extends previous studies on auditory perception and suggests an interesting analogy between music perception and mathematical cognition. Both the basic elements of mathematical cognition (i.e. numbers) and the basic elements of musical cognition (i.e. pitches), appear to be mapped onto a mental spatial representation in a way that affects motor performance.     

Prosodic phrasing and attachment preferences

The attachment of a relative clause (RC) has been found to differ across languages when its head noun is a complex NP. One attempt to explain the attachment differences is the Implicit Prosody Hypothesis (IPH) proposed by Fodor (1998, 2002). The goal of this paper is to show how the default phrasing of a sentence (explicit prosody), defined phonologically, differs across seven languages (English, Greek, Spanish, French, Farsi, Japanese, and Korean), and how the prosodic phrasing of a sentence in each language, both default and nondefault, matches the interpretation of RC attachment by individual speakers. Observed tendencies show that there is a direct relationship between the prosodic phrasing and the interpretation of RC attachment, strongly supporting the IPH. In addition, the paper discusses the status of default phrasing and the factors affecting the default phrasing, including rhythmic and syntactic factors and their interactions.     

Valence specific laterality effects in prosody: expectancy account and the effects of morphed prosody and stimulus lead

The majority of studies have demonstrated a right hemisphere (RH) advantage for the perception of emotions. Other studies have found that the involvement of each hemisphere is valence specific, with the RH better at perceiving negative emotions and the LH better at perceiving positive emotions [Reuter-Lorenz, P., & Davidson, R.J. (1981) Differential contributions of the 2 cerebral hemispheres to the perception of happy and sad faces. Neuropsychologia, 19, 609-613]. To account for valence laterality effects in emotion perception we propose an 'expectancy' hypothesis which suggests that valence effects are obtained when the top-down expectancy to perceive an emotion outweighs the strength of bottom-up perceptual information enabling the discrimination of an emotion. A dichotic listening task was used to examine alternative explanations of valence effects in emotion perception. Emotional sentences (spoken in a happy or sad tone of voice), and morphed-happy and morphed-sad sentences (which blended a neutral version of the sentence with the pitch of the emotion sentence) were paired with neutral versions of each sentence and presented dichotically. A control condition was also used, consisting of two identical neutral sentences presented dichotically, with one channel arriving before the other by 7 ms. In support of the RH hypothesis there was a left ear advantage for the perception of sad and happy emotional sentences. However, morphed sentences showed no ear advantage, suggesting that the RH is specialised for the perception of genuine emotions and that a laterality effect may be a useful tool for the detection of fake emotion. Finally, for the control condition we obtained an interaction between the expected emotion and the effect of ear lead. Participants tended to select the ear that received the sentence first, when they expected a 'sad' sentence, but not when they expected a 'happy' sentence. The results are discussed in relation to the different theoretical explanations of valence laterality effects in emotion perception.     

Perceiving speech rhythm in music: Listeners classify instrumental songs according to language of origin

Recent evidence suggests that the musical rhythm of a particular culture may parallel the speech rhythm of that culture’s language (Patel, A. D., & Daniele, J. R. (2003). An empirical comparison of rhythm in language and music. Cognition, 87, B35-B45). The present experiments aimed to determine whether listeners actually perceive such rhythmic differences in a purely musical context (i.e., in instrumental music without words). In Experiment 1a, listeners successfully classified instrumental renditions of French and English songs having highly contrastive rhythmic differences. Experiment 1b replicated this result with the same songs containing rhythmic information only. In Experiments 2a and 2b, listeners successfully classified original and rhythm-only stimuli when language-specific rhythmic differences were less contrastive but more representative of differences found in actual music and speech. These findings indicate that listeners can use rhythmic similarities and differences to classify songs originally composed in two languages having contrasting rhythmic prosody.     

Recognition and evaluation of emotional prosody in individuals with generalized social phobia: a pilot study

Studies using facial emotional expressions as stimuli partially support the assumption of biased processing of social signals in social phobia. This pilot study explored for the first time whether individuals with social phobia display a processing bias towards emotional prosody. Fifteen individuals with generalized social phobia and fifteen healthy controls (HC) matched for gender, age, and education completed a recognition test consisting of meaningless utterances spoken in a neutral, angry, sad, fearful, disgusted or happy tone of voice. Participants also evaluated the stimuli with regard to valence and arousal. While these ratings did not differ significantly between groups, analysis of the recognition test revealed enhanced identification of sad and fearful voices and decreased identification of happy voices in individuals with social phobia compared with HC. The two groups did not differ in their processing of neutral, disgust, and anger prosody.