scholarly journals Perceptual evidence for saccadic updating of color stimuli

2008 ◽  
Vol 8 (14) ◽  
pp. 9-9 ◽  
Author(s):  
M. Wittenberg ◽  
F. Bremmer ◽  
T. Wachtler
Keyword(s):  
Perceptual Evidence

scholarly journals The aerodynamic puzzle of nasalized fricatives: Aerodynamic and perceptual evidence from Scottish Gaelic

2015 ◽  
Vol 6 (2) ◽  
Author(s):  
Natasha Warner ◽  
Daniel Brenner ◽  
Jessamyn Schertz ◽  
Andrew Carnie ◽  
Muriel Fisher ◽  
...  
Keyword(s):  
Scottish Gaelic ◽  
Trade Off ◽  
Instrumental Data ◽  
The World ◽  
Perceptual Evidence ◽  
Better Than ◽  
Do So

AbstractScottish Gaelic is sometimes described as having nasalized fricatives (/ṽ/ distinctively, and [f̃, x̃, h̃], etc. through assimilation). However, there are claims that it is not aerodynamically possible to open the velum for nasalization while maintaining frication noise. We present aerodynamic data from 14 native Scottish Gaelic speakers to determine how the posited nasalized fricatives in this language are realized. Most tokens demonstrate loss of nasalization, but nasalization does occur in some contexts without aerodynamic conflict, e.g., nasalization with the consonant realized as an approximant, nasalization of [h̃], nasalization on the preceding vowel, or sequential frication and nasalization. Furthermore, a very few tokens do contain simultaneous nasalization and frication with a trade-off in airflow. We also present perceptual evidence showing that Gaelic listeners can hear this distinction slightly better than chance. Thus, instrumental data from one of the few languages in the world described as having nasalized fricatives confirms that the claimed sounds are not made by producing strong nasalization concurrently with clear frication noise. Furthermore, although speakers most often neutralize the nasalization, when they maintain it, they do so through a variety of phonetic mechanisms, even within a single language.

scholarly journals Structure-from-motion: Perceptual evidence for surface interpolation

1995 ◽  
Vol 35 (1) ◽  
pp. 139-148 ◽  
Author(s):  
Stefan Treue ◽  
Richard A. Andersen ◽  
Hiroshi Ando ◽  
Ellen C. Hildreth
Keyword(s):  
Structure From Motion ◽  
Surface Interpolation ◽  
Perceptual Evidence

Children's Imitations of Intonation Contours

1998 ◽  
Vol 41 (3) ◽  
pp. 576-587 ◽  
Author(s):  
David Snow
Keyword(s):  
Young Children ◽  
Pitch Contour ◽  
Pitch Change ◽  
Perceptual Evidence

Perceptual evidence suggests that young children do not imitate adult-modeled intonation patterns with a rising pitch contour (rising tones) as well as those with a falling pitch contour (falling tones). To investigate the acoustic basis of this uneven imitation pattern, 10 4-year-old children were asked to imitate short sentences with falling and rising tones in 4 sentence contexts called "intonation groups." The results indicated that the children used more falling tones than adults in most intonation groups. When the children matched the adult-modeled contour direction (falling or rising), the children's speed of pitch change was comparable to that of adults in the falling tones of final intonation groups and in the rising tones of nonfinal groups, but was slower than that of adults in the complementary environments. In a manner consistent with previously reported perceptual data, the instrumental findings indicate that rising tones may be more difficult for 4-year-old children to produce than falling tones. The results additionally suggest that children's intonation is sensitive not only to the direction of tonal contours but also to their position in sentence-final versus nonfinal intonation groups.

scholarly journals Perceptual Evidence for Interhemispheric Visual Integration

i-Perception ◽  
10.1068/ic286 ◽  
2011 ◽  
Vol 2 (4) ◽  
pp. 286-286
Author(s):  
Izumi Ohzawa ◽  
Tatsuhiko Katayama ◽  
Yusuke Asada ◽  
Takayuki Nakazono
Keyword(s):  
Visual Integration ◽  
Perceptual Evidence

Phonetic variation in consonants in infant-directed and adult-directed speech: the case of regressive place assimilation in word-final alveolar stops

2013 ◽  
Vol 41 (1) ◽  
pp. 155-175 ◽  
Author(s):  
LAURA C. DILLEY ◽  
AMANDA L. MILLETT ◽  
J. DEVIN MCAULEY ◽  
TONYA R. BERGESON
Keyword(s):  
Stop Consonants ◽  
Age Group ◽  
Statistical Distributions ◽  
Phonetic Variation ◽  
Pronunciation Variation ◽  
Place Of Articulation ◽  
Place Assimilation ◽  
Perceptual Evidence

ABSTRACTPronunciation variation is under-studied in infant-directed speech, particularly for consonants. Regressive place assimilation involves a word-final alveolar stop taking the place of articulation of a following word-initial consonant. We investigated pronunciation variation in word-final alveolar stop consonants in storybooks read by forty-eight mothers in adult-directed or infant-directed style to infants aged approximately 0;3, 0;9, 1;1, or 1;8. We focused on phonological environments where regressive place assimilation could occur, i.e., when the stop preceded a word-initial labial or velar consonant. Spectrogram, waveform, and perceptual evidence was used to classify tokens into four pronunciation categories: canonical, assimilated, glottalized, or deleted. Results showed a reliable tendency for canonical variants to occur in infant-directed speech more often than in adult-directed speech. However, the otherwise very similar distributions of variants across addressee and age group suggested that infants largely experience statistical distributions of non-canonical consonantal pronunciation variants that mirror those experienced by adults.

The Avoidance of Inner-Voice Entries: Perceptual Evidence and Musical Practice

1989 ◽  
Vol 7 (1) ◽  
pp. 43-47 ◽  
Author(s):  
David Huron ◽  
Deborah A. Fantini
Keyword(s):  
Experimental Evidence ◽  
Musical Practice ◽  
Inner Voice ◽  
Perceptual Evidence ◽  
Inner Voices

Experimental evidence has shown that entries of inner voices are more difficult to perceive than entries of outer voices in multivoiced music. A study of voice entries in 75 fugues by J. S. Bach shows no significant avoidance of inner-voice entries in three- and four-voice textures. However, in the case of five-voice textures, Bach does demonstrate a significant reluctance to have a voice enter in an inner-voice position. This finding is consistent with the hypothesis that Bach endeavors to minimize perceptual confusion in his polyphonic works as the textural density increases.

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