People and objects affect the quality of vocalizations in infants with down syndrome

The vocalizations of eight infants with Down syndrome were recorded longitudinally in relation to different social and non-social contexts. The infants were observed biweekly from 8 to 24 weeks and monthly up to 40 weeks. At each visit the infants were presented with their mother, a female stranger, and a rattle puppet, each alternately active and passive. Each condition lasted 60 sec. The results showed that by 4 months of age, the infants produced different types of vocal sounds in relation to environmental contexts. They produced significantly more melodic (speechlike) sounds, vocalic (non-speechlike) sounds, and emotional (crying, laughing and fussing) sounds when facing people than objects. By 6 months of age, these utterances began to be distinguished between mother and female stranger and active and passive adults. However, within the communicative context the overall amount of vocalic (non-speechlike) sounds produced was larger than the amount of melodic (speechlike) sounds. It is suggested that this low output of melodic sounds in the overall vocal production of these infants may adversely affect the development of more appropriate vocal behaviour.     

Performed or observed keyboard actions affect pianists' judgements of relative pitch

Action can affect visual perception if the action's expected sensory effects resemble a concurrent unstable or deviant event. To determine whether action can also change auditory perception, participants were required to play pairs of octave-ambiguous tones by pressing successive keys on a piano or computer keyboard and to judge whether each pitch interval was rising or falling. Both pianists and nonpianist musicians gave significantly more “rising” responses when the order of key presses was left-to-right than when it was right-to-left, in accord with the pitch mapping of the piano. However, the effect was much larger in pianists. Pianists showed a similarly large effect when they passively observed the experimenter pressing keys on a piano keyboard, as long as the keyboard faced the participant. The results suggest that acquired action–effect associations can affect auditory perceptual judgement.     

Modality effects in memory for basic stimulus attributes: A temporal and nontemporal comparison

Previous research suggests that there are significant differences in the operation of reference memory for stimuli of different modalities, with visual temporal entries appearing to be more durable than auditory entries (Ogden, Wearden, & Jones, 2008 Ogden, R. S., Wearden, J. H. and Jones, L. A. 2008. The remembrance of times past: Interference in temporal reference memory. Journal of Experimental Psychology: Human Perception and Performance, 34: 1524–1544. [Crossref], [PubMed], [Web of Science ®] , [Google Scholar], 2010). Ogden et al. (2008 Ogden, R. S., Wearden, J. H. and Jones, L. A. 2008. The remembrance of times past: Interference in temporal reference memory. Journal of Experimental Psychology: Human Perception and Performance, 34: 1524–1544. [Crossref], [PubMed], [Web of Science ®] , [Google Scholar], 2010 Ogden, R. S., Wearden, J. H. and Jones, L. A. 2010. Are memories for duration modality specific?. Quarterly Journal of Experimental Psychology, 63: 65–80. [Taylor & Francis Online], [Web of Science ®] , [Google Scholar]) demonstrated that when participants were required to store multiple auditory temporal standards over a period of delay there was significant systematic interference to the representation of the standard characterized by shifts in the location of peak responding. No such performance deterioration was observed when multiple visually presented durations were encoded and maintained. The current article explored whether this apparent modality-based difference in reference memory operation is unique to temporal stimuli or whether similar characteristics are also apparent when nontemporal stimuli are encoded and maintained. The modified temporal generalization method developed in Ogden et al. (2008) Ogden, R. S., Wearden, J. H. and Jones, L. A. 2008. The remembrance of times past: Interference in temporal reference memory. Journal of Experimental Psychology: Human Perception and Performance, 34: 1524–1544. [Crossref], [PubMed], [Web of Science ®] , [Google Scholar] was employed; however, standards and comparisons varied by pitch (auditory) and physical line length (visual) rather than duration. Pitch and line length generalization results indicated that increasing memory load led to more variable responding and reduced recognition of the standard; however, there was no systematic shift in the location of peak responding. Comparison of the results of this study with those of Ogden et al. (2008 Ogden, R. S., Wearden, J. H. and Jones, L. A. 2008. The remembrance of times past: Interference in temporal reference memory. Journal of Experimental Psychology: Human Perception and Performance, 34: 1524–1544. [Crossref], [PubMed], [Web of Science ®] , [Google Scholar], 2010 Ogden, R. S., Wearden, J. H. and Jones, L. A. 2010. Are memories for duration modality specific?. Quarterly Journal of Experimental Psychology, 63: 65–80. [Taylor & Francis Online], [Web of Science ®] , [Google Scholar]) suggests that although performance deterioration as a consequence of increases in memory load is common to auditory temporal and nontemporal stimuli and visual nontemporal stimuli, systematic interference is unique to auditory temporal processing.     

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.     

The recognition of emotional prosody in students with blindness: Effects of early visual experience and age development

This study examined the role of early visual experience and age in the recognition of emotional prosody among students with visual impairments in China. A total of 75 primary and junior high school students participated in the study. The ability of participants to recognize the prosody of four basic emotions (sadness, anger, happiness, and neutrality) was explored. The findings were as follows. (1) Early visual experience had a significant effect on the recognition of emotional prosody. The accuracy rate of students with congenital blindness was lower than that of students with adventitious blindness, and the performance of students with congenital blindness was lower than that of sighted students. The students with congenital blindness exhibited the slowest recognition speeds. (2) Age had a significant effect on the emotional prosody recognition accuracy of the sighted students, but it had no effect on the students with blindness.     

More than words (and faces): evidence for a Stroop effect of prosody in emotion word processing

Humans typically combine linguistic and nonlinguistic information to comprehend emotions. We adopted an emotion identification Stroop task to investigate how different channels interact in emotion communication. In experiment 1, synonyms of “happy” and “sad” were spoken with happy and sad prosody. Participants had more difficulty ignoring prosody than ignoring verbal content. In experiment 2, synonyms of “happy” and “sad” were spoken with happy and sad prosody, while happy or sad faces were displayed. Accuracy was lower when two channels expressed an emotion that was incongruent with the channel participants had to focus on, compared with the cross-channel congruence condition. When participants were required to focus on verbal content, accuracy was significantly lower also when prosody was incongruent with verbal content and face. This suggests that prosody biases emotional verbal content processing, even when conflicting with verbal content and face simultaneously. Implications for multimodal communication and language evolution studies are discussed.     

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.     

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.     

国外关于韵律特征和重音的一些研究

该文对韵律特征（包括其中的重音）这一研究领域近年的一些主要研究成果进行了一个小结。小结分两部分：（１）韵律特征及其作用;（２）关于重音的研究。文章对后者进行较详细的讨论,这个讨论分为重音的声学参数、重音的作用以及重音和其它韵律特征变量相互作用三个部分。     

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.