Publications

Abstract

Human communication is inherently multimodal. Auditory speech, but also visual cues can be used to understand another talker. Most studies of audiovisual speech perception have focused on the perception of speech segments (i.e., speech sounds). However, less is known about the influence of visual information on the perception of suprasegmental aspects of speech like lexical stress. In two experiments, we investigated the influence of different visual cues (e.g., facial articulatory cues and beat gestures) on the audiovisual perception of lexical stress. We presented auditory lexical stress continua of disyllabic Dutch stress pairs together with videos of a speaker producing stress on the first or second syllable (e.g., articulating VOORnaam or voorNAAM). Moreover, we combined and fully crossed the face of the speaker producing lexical stress on either syllable with a gesturing body producing a beat gesture on either the first or second syllable. Results showed that people successfully used visual articulatory cues to stress in muted videos. However, in audiovisual conditions, we were not able to find an effect of visual articulatory cues. In contrast, we found that the temporal alignment of beat gestures with speech robustly influenced participants' perception of lexical stress. These results highlight the importance of considering suprasegmental aspects of language in multimodal contexts.

Abstract

The Ghana-Togo Mountain languages are a typologically distinct group of languages within the Kwa branch of the Niger-Congo language family. Until recently, they have received very little documentary attention, and are still greatly under-described. Where there is information regarding the tense, aspect, and mood system, Ghana-Togo Mountain languages are described as tense and aspect prominent. In contrast, Kwa languages are typically aspect and mood prominent, with little to no grammatical tense marking. Is the apparent greater emphasis on tense one of the typological features that separates the Ghana- Togo Mountain languages from the other Kwa languages? Or has tense been overrepresented due to the lack of description? In the case of Avatime, it is the latter. Previous accounts have described Avatime with a strong focus on tense. However, when the semantics are considered in more detail, we see that none of the forms contains an inherent specification for tense. While there is often a default interpretation in the past, present or future, this default can easily be overridden. Thus, Avatime has a typical Kwa system with a focus on aspect and mood and no grammatical tense.

Abstract

Both music and language are found in all known human societies, yet no studies have compared similarities and differences between song, speech, and instrumental music on a global scale. In this Registered Report, we analyzed two global datasets: (i) 300 annotated audio recordings representing matched sets of traditional songs, recited lyrics, conversational speech, and instrumental melodies from our 75 coauthors speaking 55 languages; and (ii) 418 previously published adult-directed song and speech recordings from 209 individuals speaking 16 languages. Of our six preregistered predictions, five were strongly supported: Relative to speech, songs use (i) higher pitch, (ii) slower temporal rate, and (iii) more stable pitches, while both songs and speech used similar (iv) pitch interval size and (v) timbral brightness. Exploratory analyses suggest that features vary along a “musi-linguistic” continuum when including instrumental melodies and recited lyrics. Our study provides strong empirical evidence of cross-cultural regularities in music and speech.