Primacy of mouth over eyes to perceive audiovisual Mandarin lexical tones

The visual cues of lexical tones are more implicit and much less investigated than consonants and vowels, and it is still unclear what facial areas contribute to facial tones identification. This study investigated Chinese and English speakers’ eye movements when they were asked to identify audiovisual Mandarin lexical tones. The Chinese and English speakers were presented with an audiovisual clip of Mandarin monosyllables (for instance, /ă/, /à/, /ĭ/, /ì/) and were asked to identify whether the syllables were a dipping tone (/ă/, / ĭ/) or a falling tone (/ à/, /ì/). These audiovisual syllables were presented in clear, noisy and silent (absence of audio signal) conditions. An eye-tracker recorded the participants’ eye movements. Results showed that the participants gazed more at the mouth than the eyes. In addition, when acoustic conditions became adverse, both the Chinese and English speakers increased their gaze duration at the mouth rather than at the eyes. The findings suggested that the mouth is the primary area that listeners utilise in their perception of audiovisual lexical tones. The similar eye movements between the Chinese and English speakers imply that the mouth acts as a perceptual cue that provides articulatory information, as opposed to social and pragmatic information

Beat gestures influence which speech sounds you hear

Beat gestures - spontaneously produced biphasic movements of the hand - are among the most frequently encountered co-speech gestures in human communication. They are closely temporally aligned to the prosodic characteristics of the speech signal, typically occurring on lexically stressed syllables. Despite their prevalence across speakers of the world's languages, how beat gestures impact spoken word recognition is unclear. Can these simple 'flicks of the hand' influence speech perception? Across six experiments, we demonstrate that beat gestures influence the explicit and implicit perception of lexical stress (e.g., distinguishing OBject from obJECT), and in turn, can influence what vowels listeners hear. Thus, we provide converging evidence for a manual McGurk effect: even the simplest 'flicks of the hands' influence which speech sounds we hear

Read my lips: Speech distortions in musical lyrics can be overcome (slightly) by facial information

Understanding the lyrics of many contemporary songs is difficult, and an earlier study [Hidalgo-Barnes, M., Massaro, D.W., 2007. Read my lips: an animated face helps communicate musical lyrics. Psychomusicology 19, 3–12] showed a benefit for lyrics recognition when seeing a computer-animated talking head (Baldi) mouthing the lyrics along with hearing the singer. However, the contribution of visual information was relatively small compared to what is usually found for speech. In the current experiments, our goal was to determine why the face appears to contribute less when aligned with sung lyrics than when aligned with normal speech presented in noise. The first experiment compared the contribution of the talking head with the originally sung lyrics versus the case when it was aligned with the Festival text-to-speech synthesis (TtS) spoken at the original duration of the song’s lyrics. A small and similar influence of the face was found in both conditions. In the three experiments, we compared the presence of the face when the durations of the TtS were equated with the duration of the original musical lyrics to the case when the lyrics were read with typical TtS durations and this speech embedded in noise. The results indicated that the unusual temporally distorted durations of musical lyrics decreases the contribution of the visible speech from the face

Directional adposition use in English, Swedish and Finnish

Directional adpositions such as to the left of describe where a Figure is in relation to a Ground. English and Swedish directional adpositions refer to the location of a Figure in relation to a Ground, whether both are static or in motion. In contrast, the Finnish directional adpositions edellä (in front of) and jäljessä (behind) solely describe the location of a moving Figure in relation to a moving Ground (Nikanne, 2003). When using directional adpositions, a frame of reference must be assumed for interpreting the meaning of directional adpositions. For example, the meaning of to the left of in English can be based on a relative (speaker or listener based) reference frame or an intrinsic (object based) reference frame (Levinson, 1996). When a Figure and a Ground are both in motion, it is possible for a Figure to be described as being behind or in front of the Ground, even if neither have intrinsic features. As shown by Walker (in preparation), there are good reasons to assume that in the latter case a motion based reference frame is involved. This means that if Finnish speakers would use edellä (in front of) and jäljessä (behind) more frequently in situations where both the Figure and Ground are in motion, a difference in reference frame use between Finnish on one hand and English and Swedish on the other could be expected. We asked native English, Swedish and Finnish speakers’ to select adpositions from a language specific list to describe the location of a Figure relative to a Ground when both were shown to be moving on a computer screen. We were interested in any differences between Finnish, English and Swedish speakers. All languages showed a predominant use of directional spatial adpositions referring to the lexical concepts TO THE LEFT OF, TO THE RIGHT OF, ABOVE and BELOW. There were no differences between the languages in directional adpositions use or reference frame use, including reference frame use based on motion. We conclude that despite differences in the grammars of the languages involved, and potential differences in reference frame system use, the three languages investigated encode Figure location in relation to Ground location in a similar way when both are in motion. Levinson, S. C. (1996). Frames of reference and Molyneux’s question: Crosslingiuistic evidence. In P. Bloom, M.A. Peterson, L. Nadel & M.F. Garrett (Eds.) Language and Space (pp.109-170). Massachusetts: MIT Press. Nikanne, U. (2003). How Finnish postpositions see the axis system. In E. van der Zee & J. Slack (Eds.), Representing direction in language and space. Oxford, UK: Oxford University Press. Walker, C. (in preparation). Motion encoding in language, the use of spatial locatives in a motion context. Unpublished doctoral dissertation, University of Lincoln, Lincoln. United Kingdo

An exploration of the rhythm of Malay

In recent years there has been a surge of interest in speech rhythm. However we still lack a clear understanding of the nature of rhythm and rhythmic differences across languages. Various metrics have been proposed as means for measuring rhythm on the phonetic level and making typological comparisons between languages (Ramus et al, 1999; Grabe & Low, 2002; Dellwo, 2006) but the debate is ongoing on the extent to which these metrics capture the rhythmic basis of speech (Arvaniti, 2009; Fletcher, in press). Furthermore, cross linguistic studies of rhythm have covered a relatively small number of languages and research on previously unclassified languages is necessary to fully develop the typology of rhythm. This study examines the rhythmic features of Malay, for which, to date, relatively little work has been carried out on aspects rhythm and timing. The material for the analysis comprised 10 sentences produced by 20 speakers of standard Malay (10 males and 10 females). The recordings were first analysed using rhythm metrics proposed by Ramus et. al (1999) and Grabe & Low (2002). These metrics (∆C, %V, rPVI, nPVI) are based on durational measurements of vocalic and consonantal intervals. The results indicated that Malay clustered with other so-called syllable-timed languages like French and Spanish on the basis of all metrics. However, underlying the overall findings for these metrics there was a large degree of variability in values across speakers and sentences, with some speakers having values in the range typical of stressed-timed languages like English. Further analysis has been carried out in light of Fletcher’s (in press) argument that measurements based on duration do not wholly reflect speech rhythm as there are many other factors that can influence values of consonantal and vocalic intervals, and Arvaniti’s (2009) suggestion that other features of speech should also be considered in description of rhythm to discover what contributes to listeners’ perception of regularity. Spectrographic analysis of the Malay recordings brought to light two parameters that displayed consistency and regularity for all speakers and sentences: the duration of individual vowels and the duration of intervals between intensity minima. This poster presents the results of these investigations and points to connections between the features which seem to be consistently regulated in the timing of Malay connected speech and aspects of Malay phonology. The results are discussed in light of current debate on the descriptions of rhythm

Prosodic Predictors of Upcoming Positive or Negative Content in Spoken Messages

This article examines potential prosodic predictors of emotional speech in utterances perceived as conveying that good or bad news is about to be delivered. Speakers were asked to call an experimental confederate to inform her about whether or not she had been given a job she had applied for. A perception study was then performed in which initial fragments of the recorded utterances, not containing any explicit lexical cues to emotional content, were presented to listeners who had to rate whether good or bad news would follow the utterance. The utterances were then examined to discover acoustic and prosodic features that distinguished between good and bad news. It was found that speakers in the production study were not simply reflecting their own positive or negative mood during the experiment, but rather appeared to be influenced by the valence of the positive or negative message they were preparing to deliver. Positive and negative utterances appeared to be judged differently with respect to a number of perceived attributes of the speakers’ voices (like sounding hesitant or nervous). These attributes correlated with a number of automatically obtained acoustic features