The effect of speech rhythm and speaking rate on assessment of pronunciation in a second language

Published online: 24 April 2019The study explores the effect of deviations from native speech rhythm and rate norms on the assessement of pronunciation mastery of a second language (L2) when the native language of the learner is either rhythmically similar to or different from the target language. Using the concatenative speech synthesis technique, different versions of the same sentence were created in order to produce segmentally and intonationally identical utterances that differed only in rhythmic patterns and/or speaking rate. Speech rhythm and tempo patterns modeled those from the speech of French or German native learners of English at different proficiency levels. Native British English speakers rated the original sentences and the synthesized utterances for accentedness. The analysis shows that (a) differences in speech rhythm and speaking tempo influence the perception of accentedness; (b) idiosyncratic differences in speech rhythm and speech rate are sufficient to differentiate between the proficiency levels of L2 learners; (c) the relative salience of rhythm and rate on perceived accentedness in L2 speech is modulated by the native language of the learners; and (d) intonation facilitates the perception of finer differences in speech rhythm between otherwise identical utterances. These results emphasize the importance of prosodic timing patterns for the perception of speech delivered by L2 learners.L.P. was supported by the Spanish Ministry of Economy and Competitiveness (MINECO) via Juan de la Cierva fellowship. M.O. was supported by the IKERBASQUE–Basque Foundation for Science. The research institution was supported through the “Severo Ochoa” Programme for Centres/Units of Excellence in R&D (SEV-2015-490)

The influence of external and internal motor processes on human auditory rhythm perception

Musical rhythm is composed of organized temporal patterns, and the processes underlying rhythm perception are found to engage both auditory and motor systems. Despite behavioral and neuroscience evidence converging to this audio-motor interaction, relatively little is known about the effect of specific motor processes on auditory rhythm perception. This doctoral thesis was devoted to investigating the influence of both external and internal motor processes on the way we perceive an auditory rhythm. The first half of the thesis intended to establish whether overt body movement had a facilitatory effect on our ability to perceive the auditory rhythmic structure, and whether this effect was modulated by musical training. To this end, musicians and non-musicians performed a pulse-finding task either using natural body movement or through listening only, and produced their identified pulse by finger tapping. The results showed that overt movement benefited rhythm (pulse) perception especially for non-musicians, confirming the facilitatory role of external motor activities in hearing the rhythm, as well as its interaction with musical training. The second half of the thesis tested the idea that indirect, covert motor input, such as that transformed from the visual stimuli, could influence our perceived structure of an auditory rhythm. Three experiments examined the subjectively perceived tempo of an auditory sequence under different visual motion stimulations, while the auditory and visual streams were presented independently of each other. The results revealed that the perceived auditory tempo was accordingly influenced by the concurrent visual motion conditions, and the effect was related to the increment or decrement of visual motion speed. This supported the hypothesis that the internal motor information extracted from the visuomotor stimulation could be incorporated into the percept of an auditory rhythm. Taken together, the present thesis concludes that, rather than as a mere reaction to the given auditory input, our motor system plays an important role in contributing to the perceptual process of the auditory rhythm. This can occur via both external and internal motor activities, and may not only influence how we hear a rhythm but also under some circumstances improve our ability to hear the rhythm.Musikalische Rhythmen bestehen aus zeitlich strukturierten Mustern akustischer Stimuli. Es konnte gezeigt werden, dass die Prozesse, welche der Rhythmuswahrnehmung zugrunde liegen, sowohl motorische als auch auditive Systeme nutzen. Obwohl sich für diese auditiv-motorischen Interaktionen sowohl in den Verhaltenswissenschaften als auch Neurowissenschaften übereinstimmende Belege finden, weiß man bislang relativ wenig über die Auswirkungen spezifischer motorischer Prozesse auf die auditive Rhythmuswahrnehmung. Diese Doktorarbeit untersucht den Einfluss externaler und internaler motorischer Prozesse auf die Art und Weise, wie auditive Rhythmen wahrgenommen werden. Der erste Teil der Arbeit diente dem Ziel herauszufinden, ob körperliche Bewegungen es dem Gehirn erleichtern können, die Struktur von auditiven Rhythmen zu erkennen, und, wenn ja, ob dieser Effekt durch ein musikalisches Training beeinflusst wird. Um dies herauszufinden wurde Musikern und Nichtmusikern die Aufgabe gegeben, innerhalb von präsentierten auditiven Stimuli den Puls zu finden, wobei ein Teil der Probanden währenddessen Körperbewegungen ausführen sollte und der andere Teil nur zuhören sollte. Anschließend sollten die Probanden den gefundenen Puls durch Finger-Tapping ausführen, wobei die Reizgaben sowie die Reaktionen mittels eines computerisierten Systems kontrolliert wurden. Die Ergebnisse zeigen, dass offen ausgeführte Bewegungen die Wahrnehmung des Pulses vor allem bei Nichtmusikern verbesserten. Diese Ergebnisse bestätigen, dass Bewegungen beim Hören von Rhythmen unterstützend wirken. Außerdem zeigte sich, dass hier eine Wechselwirkung mit dem musikalischen Training besteht. Der zweite Teil der Doktorarbeit überprüfte die Idee, dass indirekte, verdeckte Bewegungsinformationen, wie sie z.B. in visuellen Stimuli enthalten sind, die wahrgenommene Struktur von auditiven Rhythmen beeinflussen können. Drei Experimente untersuchten, inwiefern das subjektiv wahrgenommene Tempo einer akustischen Sequenz durch die Präsentation unterschiedlicher visueller Bewegungsreize beeinflusst wird, wobei die akustischen und optischen Stimuli unabhängig voneinander präsentiert wurden. Die Ergebnisse zeigten, dass das wahrgenommene auditive Tempo durch die visuellen Bewegungsinformationen beeinflusst wird, und dass der Effekt in Verbindung mit der Zunahme oder Abnahme der visuellen Geschwindigkeit steht. Dies unterstützt die Hypothese, dass internale Bewegungsinformationen, welche aus visuomotorischen Reizen extrahiert werden, in die Wahrnehmung eines auditiven Rhythmus integriert werden können. Zusammen genommen, 5 zeigt die vorgestellte Arbeit, dass unser motorisches System eine wichtige Rolle im Wahrnehmungsprozess von auditiven Rhythmen spielt. Dies kann sowohl durch äußere als auch durch internale motorische Aktivitäten geschehen, und beeinflusst nicht nur die Art, wie wir Rhythmen hören, sondern verbessert unter bestimmten Bedingungen auch unsere Fähigkeit Rhythmen zu identifizieren

Global timing: a conceptual framework to investigate the neural basis of rhythm perception in humans and non-human species

Timing cues are an essential feature of music. To understand how the brain gives rise to our experience of music we must appreciate how acoustical temporal patterns are integrated over the range of several seconds in order to extract global timing. In music perception, global timing comprises three distinct but often interacting percepts: temporal grouping, beat, and tempo. What directions may we take to further elucidate where and how the global timing of music is processed in the brain? The present perspective addresses this question and describes our current understanding of the neural basis of global timing perception

The psychological, psychophysical and ergogenic effects of music in sport: A review and synthesis

This is the post-print of this chapter - Copyright @ 2008 RoutledgeWe have presented two complementary conceptual approaches underlying the study and application of music in sport and exercise contexts [103, 104]. We have also established that music can be applied to sports training and competition in many different ways, and have provided 573 initial evidence for a quartic relationship between exercise heart rate and music tempo preference. One of the main demonstrated benefits of music is that it enhances psychological state, which has implications for optimising pre-competition mental state and increasing the enjoyment of training activities. Used synchronously, music can boost work output and makes repetitive tasks such as cycling or running more energy efficient. When we embarked upon our programme of research almost two decades ago, our intention was to promote more judicious use of music. The evidence that we have accumulated coupled with the findings of many other researchers from around the world, should allow athletes and practitioners to tap the psychological, psychophysical and ergogenic effects of music with greater precision

Effects of synchronous music on treadmill running among elite triathletes

This is the post-print version of the final paper published in Journal of Science and Medicine in Sport. The published article is available from the link below. Changes resulting from the publishing process, such as peer review, editing, corrections, structural formatting, and other quality control mechanisms may not be reflected in this document. Changes may have been made to this work since it was submitted for publication. Copyright @ 2011 Elsevier B.V.Objectives: Music can provide ergogenic, psychological, and psychophysical benefits during physical activity, especially when movements are performed synchronously with music. The present study developed the train of research on synchronous music and extended it to elite athletes. Design: Repeated-measures laboratory experiment. Method: Elite triathletes (n = 11) ran in time to self-selected motivational music, a neutral equivalent and a no-music control during submaximal and exhaustive treadmill running. Measured variables were time-to-exhaustion, mood responses, feeling states, RPE, blood lactate concentration, oxygen consumption and running economy. Results: Time-to-exhaustion was 18.1% and 19.7% longer, respectively, when running in time to motivational and neutral music, compared to no music. Mood responses and feeling states were more positive with motivational music compared to either neutral music or no music. RPE was lowest for neutral music and highest for the no-music control. Blood lactate concentrations were lowest for motivational music. Oxygen consumption was lower with music by 1.0%–2.7%. Both music conditions were associated with better running economy than the no-music control. Conclusions: Although neutral music did not produce the same level of psychological benefits as motivational music, it proved equally beneficial in terms of time-to-exhaustion and oxygen consumption. In functional terms, the motivational qualities of music may be less important than the prominence of its beat and the degree to which participants are able to synchronise their movements to its tempo. Music provided ergogenic, psychological and physiological benefits in a laboratory study and its judicious use during triathlon training should be considered.QAS Centre of Excellence for Applied Sport Science Researc

Ergogenic and psychological effects of synchronous music during circuit-type exercise

This is the post print version of the article. The official published version can be obtained from the link below.Objectives: Motivational music when synchronized with movement has been found to improve performance in anaerobic and aerobic endurance tasks, although gender differences pertaining to the potential benefits of such music have seldom been investigated. The present study addresses the psychological and ergogenic effects of synchronous music during circuit-type exercise. Design: A mixed-model design was employed in which there was a within-subjects factor (two experimental conditions and a control) and a between-subjects factor (gender). Methods: Participants (N ¼ 26) performed six circuit-type exercises under each of three synchronous conditions: motivational music, motivationally-neutral (oudeterous) music, and a metronome control. Dependent measures comprised anaerobic endurance, which was assessed using the number of repetitions performed prior to the failure to maintain synchronicity, and post-task affect, which was assessed using Hardy and Rejeski’s (1989) Feeling Scale. Mixed-model 3 (Condition) X 2 (Gender) ANOVAs, ANCOVAs, and MANOVA were used to analyze the data. Results: Synchronous music did not elicit significant (p < .05) ergogenic or psychological effects in isolation; rather, significant (p < .05) Condition X Gender interaction effects emerged for both total repetitions and mean affect scores. Women and men showed differential affective responses to synchronous music and men responded more positively than women to metronomic regulation of their movements. Women derived the greatest overall benefit from both music conditions. Conclusions: Men may place greater emphasis on the metronomic regulation of movement than the remaining, extra-rhythmical, musical qualities. Men and women appear to exhibit differential responses in terms of affective responses to synchronous music

A Dynamic Approach to Rhythm in Language: Toward a Temporal Phonology

It is proposed that the theory of dynamical systems offers appropriate tools to model many phonological aspects of both speech production and perception. A dynamic account of speech rhythm is shown to be useful for description of both Japanese mora timing and English timing in a phrase repetition task. This orientation contrasts fundamentally with the more familiar symbolic approach to phonology, in which time is modeled only with sequentially arrayed symbols. It is proposed that an adaptive oscillator offers a useful model for perceptual entrainment (or `locking in') to the temporal patterns of speech production. This helps to explain why speech is often perceived to be more regular than experimental measurements seem to justify. Because dynamic models deal with real time, they also help us understand how languages can differ in their temporal detail---contributing to foreign accents, for example. The fact that languages differ greatly in their temporal detail suggests that these effects are not mere motor universals, but that dynamical models are intrinsic components of the phonological characterization of language.Comment: 31 pages; compressed, uuencoded Postscrip

Psychophysiological effects of synchronous versus asynchronous music during cycling

"This is a non-final version of an article published in final form in (https://journals.lww.com/acsm-msse/pages/articleviewer.aspx?year=2014&issue=02000&article=00024&type=abstract )"Purpose: Synchronizing movement to a musical beat may reduce the metabolic cost of exercise, but findings to date have been equivocal. Our aim was to examine the degree to which the synchronous application of music moderates the metabolic demands of a cycle ergometer task. Methods: Twenty-three recreationally active men made two laboratory visits. During the first visit, participants completed a maximal incremental ramp test on a cycle ergometer. At the second visit, they completed four randomized 6-min cycling bouts at 90% of ventilatory threshold (control, metronome, synchronous music, and asynchronous music). Main outcome variables were oxygen uptake, HR, ratings of dyspnea and limb discomfort, affective valence, and arousal. Results: No significant differences were evident for oxygen uptake. HR was lower under the metronome condition (122 T 15 bpm) compared to asynchronous music (124 T 17 bpm) and control (125 T 16 bpm). Limb discomfort was lower while listening to the metronome (2.5 T 1.2) and synchronous music (2.3 T 1.1) compared to control (3.0 T 1.5). Both music conditions, synchronous (1.9 T 1.2) and asynchronous (2.1 T 1.3), elicited more positive affective valence compared to metronome (1.2 T 1.4) and control (1.2 T 1.2), while arousal was higher with synchronous music (3.4 T 0.9) compared to metronome (2.8 T 1.0) and control (2.8 T 0.9). Conclusions: Synchronizing movement to a rhythmic stimulus does not reduce metabolic cost but may lower limb discomfort. Moreover, synchronous music has a stronger effect on limb discomfort and arousal when compared to asynchronous music

Musical Rhythm for Linguists: A Response to Justin London

Musical timing is a rich, complex phenomenon which changes across cultures, periods and styles and requires highly explicit terminology in order to communicate clearly between music theorists, psychologists, neuroscientists, performers and indeed with linguists. Here I respond to Justin London’s opening paper by outlining and expanding upon his key points and raising additional questions regarding the neural basis and the functional role of musical timing