Publications

Abstract

Rede uitgesproken bij het afscheid als hoogleraar Vergelijkende taalpsychologie aan de Faculteit der Sociale Wetenschappen van de Radboud Universiteit Nijmegen op donderdag 20 september 2012

Abstract

Understanding speech in our native tongue seems natural and effortless; listening to speech in a nonnative language is a different experience. In this book, Anne Cutler argues that listening to speech is a process of native listening because so much of it is exquisitely tailored to the requirements of the native language. Her cross-linguistic study (drawing on experimental work in languages that range from English and Dutch to Chinese and Japanese) documents what is universal and what is language specific in the way we listen to spoken language. Cutler describes the formidable range of mental tasks we carry out, all at once, with astonishing speed and accuracy, when we listen. These include evaluating probabilities arising from the structure of the native vocabulary, tracking information to locate the boundaries between words, paying attention to the way the words are pronounced, and assessing not only the sounds of speech but prosodic information that spans sequences of sounds. She describes infant speech perception, the consequences of language-specific specialization for listening to other languages, the flexibility and adaptability of listening (to our native languages), and how language-specificity and universality fit together in our language processing system. Drawing on her four decades of work as a psycholinguist, Cutler documents the recent growth in our knowledge about how spoken-word recognition works and the role of language structure in this process. Her book is a significant contribution to a vibrant and rapidly developing field.

Abstract

Information in speech does not unfold discretely over time; perceptual cues are gradient and overlapped. However, this varies greatly across segments and environments: listeners cannot identify the affricate in /ptS/ until the frication, but information about the vowel in /li/ begins early. Unlike most prior studies, which have concentrated on subsets of language sounds, this study tests perception of every English segment in every phonetic environment, sampling perceptual identification at six points in time (13,470 stimuli/listener; 20 listeners). Results show that information about consonants after another segment is most localized for affricates (almost entirely in the release), and most gradual for voiced stops. In comparison to stressed vowels, unstressed vowels have less information spreading to
neighboring segments and are less well identified. Indeed, many vowels,
especially lax ones, are poorly identified even by the end of the following segment. This may partly reflect listeners’ familiarity with English vowels’ dialectal variability. Diphthongs and diphthongal tense vowels show the most sudden improvement in identification, similar to affricates among the consonants, suggesting that information about segments defined by acoustic change is highly localized. This large dataset provides insights into speech perception and data for probabilistic modeling of spoken word recognition.

Abstract

A distinction between strong and weak vowels can be drawn on the basis of vowel quality, of stress, or of both factors. An experiment was conducted in which sets of contextually matched word-intial vowels ranging from clearly strong to clearly weak were cross-spliced, and the naturalness of the resulting words was rated by listeners. The ratings showed that in general cross-spliced words were only significantly less acceptable than unspliced words when schwa was not involved; this supports a categorical distinction based on vowel quality.

Abstract

Speakers and listeners have a shared goal: to communicate. The processes of speech perception and of speech production interact in many ways under the constraints of this communicative goal; such interaction is as characteristic of prosodic processing as of the processing of other aspects of linguistic structure. Two of the major uses of prosodic information in situations of communication are to encode salience and segmentation, and these themes unite the contributions to the symposium introduced by the present review.

Abstract

This paper reports two experiments with vowels and consonants as phoneme detection targets in real words. In the first experiment, two relatively distinct vowels were compared with two confusible stop consonants. Response times to the vowels were longer than to the consonants. Response times correlated negatively with target phoneme length. In the second, two relatively distinct vowels were compared with their corresponding semivowels. This time, the vowels were detected faster than the semivowels. We conclude that response time differences between vowels and stop consonants in this task may reflect differences between phoneme categories in the variability of tokens, both in the acoustic realisation of targets and in the' representation of targets by subjects.

Abstract

Previous research has shown that listeners use the prosodic structure of utterances in a predictive fashion in sentence comprehension, to direct attention to accented words. Acoustically identical words spliced into sentence contexts arc responded to differently if the prosodic structure of the context is \ aricd: when the preceding prosody indicates that the word will he accented, responses are faster than when the preceding prosodv is inconsistent with accent occurring on that word. In the present series of experiments speech hybridisation techniques were first used to interchange the timing patterns within pairs of prosodic variants of utterances, independently of the pitch and intensity contours. The time-adjusted utterances could then serve as a basis lor the orthogonal manipulation of the three prosodic dimensions of pilch, intensity and rhythm. The overall pattern of results showed that when listeners use prosody to predict accent location, they do not simply rely on a single prosodic dimension, hut exploit the interaction between pitch, intensity and rhythm.