Vibrotactile magnitude production scaling: A method for studying sensory-perceptual responses of stutterers and fluent speakers

The method of vibrotactile mangitude production scaling was used to determine the tactile sensory-perceptual integrity for the dorsum of the tongue and thenar eminence of the right hand for 10 fluent speakers and 10 stutterers. It was discovered that both groups performed the task in a similar manner for the thenar eminence of the hand (a nonoral structure) but in a dissimilar manner for the tongue (an oral structure). From these data, it is suggested that the stutterers may maintain a different internal sensory-perceptual process for the tactile system involved in the speech process. The possibility exists that stuttering, for some, may be an “internal disorder” of the tactile-proprioceptive feedback mechanism that is directly involved in speech production.     

Linguistic analysis of a bilingual stutterer

The ultimate test of the adequacy of linguistic models of fluency breakdown is the degree to which they may account for patterns of dysfluency in the speech of a stutterer who is fluent in more than one language. We present the case of an adult bilingual stutterer (Spanish-English), whose spontaneous language in both Spanish and English was structurally analyzed to assess the relationships of phonological and syntactic structure to the frequency and location of fluency breakdown. Our findings suggest that syntax is probably a greater determinant of stuttered moments than is phonology. Additionally, similarities and differences between English and Spanish sentence structure were associated with similarities and differences in the loci of dysfluencies across the two languages. The need for crosslinguistic research utilizing monolingual and bilingual speakers of languages other than English is emphasized.     

Tone of voice guides word learning in informative referential contexts

Listeners infer which object in a visual scene a speaker refers to from the systematic variation of the speaker's tone of voice (ToV). We examined whether ToV also guides word learning. During exposure, participants heard novel adjectives (e.g., “daxen”) spoken with a ToV representing hot, cold, strong, weak, big, or small while viewing picture pairs representing the meaning of the adjective and its antonym (e.g., elephant–ant for big–small). Eye fixations were recorded to monitor referent detection and learning. During test, participants heard the adjectives spoken with a neutral ToV, while selecting referents from familiar and unfamiliar picture pairs. Participants were able to learn the adjectives' meanings, and, even in the absence of informative ToV, generalize them to new referents. A second experiment addressed whether ToV provides sufficient information to infer the adjectival meaning or needs to operate within a referential context providing information about the relevant semantic dimension. Participants who saw printed versions of the novel words during exposure performed at chance during test. ToV, in conjunction with the referential context, thus serves as a cue to word meaning. ToV establishes relations between labels and referents for listeners to exploit in word learning.     

Precision of working memory for speech sounds

Memory for speech sounds is a key component of models of verbal working memory (WM). But how good is verbal WM? Most investigations assess this using binary report measures to derive a fixed number of items that can be stored. However, recent findings in visual WM have challenged such “quantized” views by employing measures of recall precision with an analogue response scale. WM for speech sounds might rely on both continuous and categorical storage mechanisms. Using a novel speech matching paradigm, we measured WM recall precision for phonemes. Vowel qualities were sampled from a formant space continuum. A probe vowel had to be adjusted to match the vowel quality of a target on a continuous, analogue response scale. Crucially, this provided an index of the variability of a memory representation around its true value and thus allowed us to estimate how memories were distorted from the original sounds. Memory load affected the quality of speech sound recall in two ways. First, there was a gradual decline in recall precision with increasing number of items, consistent with the view that WM representations of speech sounds become noisier with an increase in the number of items held in memory, just as for vision. Based on multidimensional scaling (MDS), the level of noise appeared to be reflected in distortions of the formant space. Second, as memory load increased, there was evidence of greater clustering of participants' responses around particular vowels. A mixture model captured both continuous and categorical responses, demonstrating a shift from continuous to categorical memory with increasing WM load. This suggests that direct acoustic storage can be used for single items, but when more items must be stored, categorical representations must be used.     

Common cues to emotion in the dynamic facial expressions of speech and song

Speech and song are universal forms of vocalization that may share aspects of emotional expression. Research has focused on parallels in acoustic features, overlooking facial cues to emotion. In three experiments, we compared moving facial expressions in speech and song. In Experiment 1, vocalists spoke and sang statements each with five emotions. Vocalists exhibited emotion-dependent movements of the eyebrows and lip corners that transcended speech–song differences. Vocalists’ jaw movements were coupled to their acoustic intensity, exhibiting differences across emotion and speech–song. Vocalists’ emotional movements extended beyond vocal sound to include large sustained expressions, suggesting a communicative function. In Experiment 2, viewers judged silent videos of vocalists’ facial expressions prior to, during, and following vocalization. Emotional intentions were identified accurately for movements during and after vocalization, suggesting that these movements support the acoustic message. Experiment 3 compared emotional identification in voice-only, face-only, and face-and-voice recordings. Emotion judgements for voice-only singing were poorly identified, yet were accurate for all other conditions, confirming that facial expressions conveyed emotion more accurately than the voice in song, yet were equivalent in speech. Collectively, these findings highlight broad commonalities in the facial cues to emotion in speech and song, yet highlight differences in perception and acoustic-motor production.