This investigation examined whether speakers produce reliable prosodic correlates to meaning across semantic domains and whether listeners use these cues to derive word meaning from novel words. Speakers were asked to produce phrases in infant‐directed speech in which novel words were used to convey one of two meanings from a set of antonym pairs (e.g., big/small). Acoustic analyses revealed that some acoustic features were correlated with overall valence of the meaning. However, each word meaning also displayed a unique (...) acoustic signature, and semantically related meanings elicited similar acoustic profiles. In two perceptual tests, listeners either attempted to identify the novel words with a matching meaning dimension (picture pair) or with mismatched meaning dimensions. Listeners inferred the meaning of the novel words significantly more often when prosody matched the word meaning choices than when prosody mismatched. These findings suggest that speech contains reliable prosodic markers to word meaning and that listeners use these prosodic cues to differentiate meanings. That prosody is semantic suggests a reconceptualization of traditional distinctions between linguistic and nonlinguistic properties of spoken language. (shrink)

In many communities around the world, speech to infants and small children has increased mean pitch, increased pitch range, increased vowel duration, and vowel hyper-articulation when compared to speech directed to adults. Some of these IDS and CDS features are also attested in foreigner-directed speech, which has been studied for a smaller range of languages, generally major national languages, spoken by millions of people. We examined vowel acoustics in CDS, conversational ADS, and monologues directed to a foreigner in the Towet (...) dialect of the Papuan language Nungon, spoken by 300 people in a remote region in northeastern Papua New Guinea. Previous work established that Nungon CDS entails optional use of consonant alteration, special nursery vocabulary, and special morphosyntax. This study shows that Nungon CDS to children aged 2;2–3;10 lacks vowel hyper-articulation, but still displays other common prosodic traits of CDS styles around the world: increased mean pitch and pitch range. A developmental effect was also attested, in that speech to 2-year-olds contained vowels that were significantly longer than those in speech to 3-year-olds, which in turn had vowels of similar duration to those in Nungon ADS. We also found that Nungon FDS vowel triangles, measured from monologues primarily directed to a non-native speaker, were significantly larger than those of either CDS or conversational ADS, indicating vowel hyper-articulation. The Nungon pattern may align with the patterns of vowels in Norwegian IDS, CDS, and FDS, where hyper-articulation is found in FDS, but not CDS or IDS. The languages of the New Guinea area constitute 20% of the world's languages, but neither an acoustic comparison of vowels in CDS and ADS, nor an acoustic study of FDS, has previously been completed for any language of New Guinea. The function of an FDS style in a small, closed community like those of much of New Guinea may differ from that in larger societies, since there are very few non-native speakers of Nungon. Thus, this study uses monologues recorded with a foreign researcher as interlocutor to study Nungon FDS. (shrink)

Any account of “what is special about the human brain” (Passingham 2008) must specify the neural basis of our unique ability to produce speech and delineate how these remarkable motor capabilities could have emerged in our hominin ancestors. Clinical data suggest that the basal ganglia provide a platform for the integration of primate-general mechanisms of acoustic communication with the faculty of articulate speech in humans. Furthermore, neurobiological and paleoanthropological data point at a two-stage model of the phylogenetic evolution of (...) this crucial prerequisite of spoken language: (i) monosynaptic refinement of the projections of motor cortex to the brainstem nuclei that steer laryngeal muscles, presumably, as part of a “phylogenetic trend” associated with increasing brain size during hominin evolution; (ii) subsequent vocal-laryngeal elaboration of cortico-basal ganglia circuitries, driven by human-specificFOXP2mutations.;>This concept implies vocal continuity of spoken language evolution at the motor level, elucidating the deep entrenchment of articulate speech into a “nonverbal matrix” (Ingold 1994), which is not accounted for by gestural-origin theories. Moreover, it provides a solution to the question for the adaptive value of the “first word” (Bickerton 2009) since even the earliest and most simple verbal utterances must have increased the versatility of vocal displays afforded by the preceding elaboration of monosynaptic corticobulbar tracts, giving rise to enhanced social cooperation and prestige. At the ontogenetic level, the proposed model assumes age-dependent interactions between the basal ganglia and their cortical targets, similar to vocal learning in some songbirds. In this view, the emergence of articulate speech builds on the “renaissance” of an ancient organizational principle and, hence, may represent an example of “evolutionary tinkering” (Jacob 1977). (shrink)

Introduction. A radical tendency in modern approaches to understanding the mechanisms of the brain is the tendency of some scientists to believe that the brain is a receptor capable of capturing thoughts; the nature of the occurrence of the thoughts themselves, however, is not to be clarified. However, speech expressing thoughts is undoubtedly the result of the work of the brain, so studies of the frequency structure of speech can be the basis for considering the material structure of the brain (...) as a kind of “antenna”. In this approach, the problem of noise protection against the background of the undeniable frequency similarity of speech and music appears to us from somewhat different positions. This study raises the question of how essential the overall height of the musical system is to the perception of music (are there musical systems that are harmful or useful, in terms of their effects on the psyche). This question is also relevant to speech perception.Methodology and sources. The main sources in which the work of the brain and the essence of consciousness are considered from the positions indicated above were for us the work of American and British neurophysiologists and psychiatrists (Sam Parnia, Peter Fenwick). These scientists are studying the phenomena that accompany clinical death, and argue that at these moments the brain functions to the greatest extent as a receiving “antenna”. Assuming that any antenna is to be tuned, we are trying to identify possible ways to “tune” the brain. To do this, we propose to study the frequency characteristics of speech (in the simplest case, when singing vowels in a calm state) for their belonging to a particular musical system, as well as the peculiarities of music perception depending on the musical system (on the height of the note “la”). Varying the frequency characteristics of speech in a particular musical system can be considered, in our opinion, the main way to “tune” the brain. The methodology of the method is based on the use of frequency analysis of sound and the basic provisions of the elementary theory of music.Results and discussion. The main conclusion made by Western psychiatrists is the brain is not an organ of thought, consciousness exists independently from outside, the work of consciousness cannot be explained by the functioning of the brain – it requires a hardware check. If the neural network is an “antenna” that captures thoughts, and its “adjustment” at the physical level can be carried out (and is carried out) through sensory systems (including the hearing organ), the study of the frequency structure of speech will answer a number of important questions, including including related and higher brain functions (insight, creativity). Our experiments (Saint Petersburg Electrotechnical University, FIBS, department of EUT) showed that the influence of the “increased” or “lowered” musical-speech system on brain activity is insignificant. The study revealed the equiprobability of the frequency structure of speech. Since our brain lacks some characteristic set of frequencies – elements of a uniformly temperamental system, it is not necessary to talk about the harmful (or any other noise) effect of the “raised” and “lowered” systems due to deviation from the “internal standard”.Conclusion. In response to the assumptions made by Western experts, we proposed a frequency interpretation of the processes occurring in the brain, which, perhaps, will explain in more detail such phenomena as inspiration, discovery, etc., which occur with minimal activity of consciousness. Despite the limited methods of hardware study of factors that influence the activity of the brain and largely determine its higher functions (for example, creativity), the results of the brain's work in relation to music (both in terms of its creation and in terms of our reaction to it) are quite analyzable, which was shown in this study. The “musicality” of speech is extremely vividly represented in its frequency structure and allows one to reveal, to one degree or another, the features of the brain. (shrink)

Phonemes have variant pronunciations depending on context. For instance, in American English, the [t] in pat [pæt] and the [d] in pad [pæd] are both realized with a tap [ɾ] when the –ing suffix is attached, [pæɾɪŋ]. We show that despite greater distributional and acoustic support for the [t]-tap alternation, 12-month-olds successfully relate taps to stems with a perceptually-similar final [d], not the dissimilar final-[t]. Thus, distributional learning of phonological alternations is constrained by infants' preference for the alternation of (...) perceptually-similar segments. Further, the ability to relate variant surface forms emerges between 8- and 12-months. Our findings of biased learning provide further empirical support for a role for perceptual similarity in the acquisition of linguistically-relevant categories. We discuss the implications of our findings for phonological theory, language acquisition and models of the mental lexicon. (shrink)

From the first months of life, human infants produce “protophones,” speech-like, non-cry sounds, presumed absent, or only minimally present in other apes. But there have been no direct quantitative comparisons to support this presumption. In addition, by 2 months, human infants show sustained face-to-face interaction using protophones, a pattern thought also absent or very limited in other apes, but again, without quantitative comparison. Such comparison should provide evidence relevant to determining foundations of language, since substantially flexible vocalization, the inclination to (...) explore vocalization, and the ability to interact socially by means of vocalization are foundations for language. Here we quantitatively compare data on vocalization rates in three captive bonobo (Pan paniscus) mother–infant pairs with various sources of data from our laboratories on human infant vocalization. Both humans and bonobos produced distress sounds (cries/screams) and laughter. The bonobo infants also produced sounds that were neither screams nor laughs and that showed acoustic similarities to the human protophones. These protophone-like sounds confirm that bonobo infants share with humans the capacity to produce vocalizations that appear foundational for language. Still, there were dramatic differences between the species in both quantity and function of the protophone and protophone-like sounds. The bonobo protophone-like sounds were far less frequent than the human protophones, and the human protophones were far less likely to be interpreted as complaints and more likely as vocal play. Moreover, we found extensive vocal interaction between human infants and mothers, but no vocal interaction in the bonobo mother–infant pairs—while bonobo mothers were physically responsive to their infants, we observed no case of a bonobo mother vocalization directed to her infant. Our cross-species comparison focuses on low- and moderate-arousal circumstances because we reason the roots of language entail vocalization not triggered by excitement, for example, during fighting or intense play. Language appears to be founded in flexible vocalization, used to regulate comfortable social interaction, to share variable affective states at various levels of arousal, and to explore vocalization itself. (shrink)

What are the factors that contribute to (or inhibit) diachronic sound change? While acoustically motivated sound changes are well documented, research on the articulatory and audiovisual-perceptual aspects of sound change is limited. This paper investigates the interaction of articulatory variation and audiovisual speech perception in the Northern Cities Vowel Shift (NCVS), a pattern of sound change observed in the Great Lakes region of the United States. We focus specifically on the maintenance of the contrast between the vowels /ɑ/ and /ɔ/, (...) both of which are fronted as a result of the NCVS. We present results from two experiments designed to test how the NCVS is produced and perceived. In the first experiment, we present data from an articulatory and acoustic analysis of the production of fronted /ɑ/ and /ɔ/. We find that some speakers distinguish /ɔ/ from /ɑ/ with a combination of both tongue position and lip rounding, while others do so using either tongue position or lip rounding alone. For speakers who distinguish /ɔ/ from /ɑ/ along only one articulatory dimension, /ɑ/ and /ɔ/ are acoustically more similar than for speakers who produce multiple articulatory distinctions. While all three groups of speakers maintain some degree of acoustic contrast between the vowels, the question is raised as to whether these articulatory strategies differ in their perceptibility. In the perception experiment, we test the hypothesis that visual speech cues play a role in maintaining contrast between the two sounds. The results of this experiment suggest that articulatory configurations in which /ɔ/ is produced with unround lips are perceptually weaker than those in which /ɔ/ is produced with rounding, even though these configurations result in acoustically similar output. We argue that these findings have implications for theories of sound change and variation in at least two respects: 1) visual cues can shape phonological systems through misperception-based sound change, and 2) phonological systems may be optimized not only for auditory but also for visual perceptibility. (shrink)

From the first months of life, human infants produce “protophones,” speech-like, non-cry sounds, presumed absent, or only minimally present in other apes. But there have been no direct quantitative comparisons to support this presumption. In addition, by 2 months, human infants show sustained face-to-face interaction using protophones, a pattern thought also absent or very limited in other apes, but again, without quantitative comparison. Such comparison should provide evidence relevant to determining foundations of language, since substantially flexible vocalization, the inclination to (...) explore vocalization, and the ability to interact socially by means of vocalization are foundations for language. Here we quantitatively compare data on vocalization rates in three captive bonobo (Pan paniscus) mother–infant pairs with various sources of data from our laboratories on human infant vocalization. Both humans and bonobos produced distress sounds (cries/screams) and laughter. The bonobo infants also produced sounds that were neither screams nor laughs and that showed acoustic similarities to the human protophones. These protophone-like sounds confirm that bonobo infants share with humans the capacity to produce vocalizations that appear foundational for language. Still, there were dramatic differences between the species in both quantity and function of the protophone and protophone-like sounds. The bonobo protophone-like sounds were far less frequent than the human protophones, and the human protophones were far less likely to be interpreted as complaints and more likely as vocal play. Moreover, we found extensive vocal interaction between human infants and mothers, but no vocal interaction in the bonobo mother–infant pairs—while bonobo mothers were physically responsive to their infants, we observed no case of a bonobo mother vocalization directed to her infant. Our cross-species comparison focuses on low- and moderate-arousal circumstances because we reason the roots of language entail vocalization not triggered by excitement, for example, during fighting or intense play. Language appears to be founded in flexible vocalization, used to regulate comfortable social interaction, to share variable affective states at various levels of arousal, and to explore vocalization itself. (shrink)

Lipkind et al. compare the development of vocal units and sound sequences in sound production in human infants and songbirds. Early in development, infant as well as songbird vocalizations vary along continuous acoustic parameters, with discrete vocal categories and structured vocalizations only emerging later on. This emergence process shows remarkable similarities between infants and zebra finches. Contrary to earlier views, Lipkind et al. suggest that the early development of songbird song (subsong) is more comparable to the phonation stage in (...) infants than to babbling. (shrink)

Words sound slightly different each time they are said, both by the same talker and across talkers. Rather than hurting learning, lab studies suggest that talker variability helps infants learn similar sounding words. However, very little is known about how much variability infants hear within a single talker or across talkers in naturalistic input. Here, we quantified these types of talker variability for highly frequent words spoken to 44 infants, from naturalistic recordings sampled longitudinally over a year of life (from (...) 6 to 17 months). We used non‐contrastive acoustic measurements (e.g., mean pitch, duration, harmonics‐to‐noise ratio) and holistic measures of sound similarity (normalized acoustic distance) to quantify acoustic variability. We find three key results. First, pitch‐based variability was generally lower for infants' top talkers than across their other talkers, but overall acoustic distance is higher for tokens from the top talker versus the others. Second, the amount of acoustic variability infants heard could not be predicted from, and thus was not redundant with, other properties of the input such as the number of talkers or tokens, or proportion of speech from particular sources (e.g., women, children, electronics). Finally, we find that patterns of pitch‐based acoustic variability heard in naturalistic input were similar to those found with in‐lab stimuli that facilitated word learning. This large‐scale quantification of talker variability in infants' everyday input sets the stage for linking naturally occurring variability “in the wild” to early word learning. (shrink)

A sound in a real space (e.g. a street or a room) is studied by acousticians as the relationship between an anechoic signal and the reverberant sound field. We define ‘anechoic signal’ a signal representing the pressure variation emitted by the sound source, while the ‘reverberant field’ is a field representing the sum of all the sound reflections of the environment in which the sound exists, delayed in time due to the positions of the sound source and the listener. The (...) auditory ability of detecting a sound and assigning it to a source depends both on the anechoic signal and the reverberant sound field. This relationship has been analysed in acoustic literature using the autocorrelation properties of the anechoic signals and objective metrics of the sound field, the last ones being the ‘room criteria’ described in ISO 3382. In this context, the ‘effective duration’ of the autocorrelation function (τe) has been proposed as key factor to ‘preferred’ values of several room criteria in relation to different kind of music signals. Relying on some similarities between the definition of ‘auditory objects’ and the sound detection in a reverberant space, this paper proposes the use of τe as a potential tool to study and catalogue auditory objects. (shrink)

Acoustic emission technique is a common approach to identify the damage of the refractories; however, there is a complex problem since there are as many as fifteen involved parameters, which calls for effective data processing and classification algorithms to reduce the level of complexity. In this paper, experiments involving three-point bending tests of refractories were conducted and AE signals were collected. A new data processing method of merging the similar parameters in the description of the damage and reducing the (...) dimension was developed. By means of the principle component analysis for dimension reduction, the fifteen related parameters can be reduced to two parameters. The parameters were the linear combinations of the fifteen original parameters and taken as the indexes for damage classification. Based on the proposed approach, the Gaussian mixture model was integrated with the Bayesian information criterion to group the AE signals into two damage categories, which accounted for 99% of all damage. Electronic microscope scanning of the refractories verified the two types of damage. (shrink)

Singing humpback whales (Megaptera noavaengliae) collectively and progressively change the sounds and patterns they produce within their songs throughout their lives. The dynamic modifications that humpback whales make to their songs are often cited as an impressive example of cultural transmission through vocal learning in a non-human. Some elements of song change challenge this interpretation, however, including: (1) singers often incrementally and progressively morph phrases within and across songs as time passes, with trajectories of change being comparable across multiple time (...) scales; (2) acoustically isolated subpopulations singing similar songs morph the acoustic properties of songs in similar ways; and (3) complex sound patterns, including phrases, themes, and whole songs, recur across years and populations. These properties of song dynamics suggest that singing humpback whales may be modulating song features in response to local conditions and genetic predispositions rather than socially learning novel sound patterns by copying other singers. Experimental and observational tests of key predictions of these alternative hypotheses are critical to identifying how and why singing humpback whales constantly change their songs. (shrink)

Studios resist reductive analyses. Although isolated, they have their own frontstages and backstages, and like the laboratories studied by Knorr-Cetina, function as more than simply “internal environments.” The placeness of studios leaves both audible traces (the early reflections of sounds) and visible ones, if we think of those studios that become shrines or pilgrimage sites, or photo or video documentation of studios that provide the outside world a brief glimpse into the interior isolation of recording studio life. It would seem (...) that major facilities such as Abbey Road, Ocean Way or Sun Records are emphatically not “placeless place[s]” (Gieryn 2008), nor are they decontextualized from their immediate geographic surroundings. -/- Although atomized project studios (including bedroom studios, garages, and barns) may not immediately appear to be embedded within the social relations of a bounded local culture, many such studios are embedded within the social relations of specific online networked cultures,20 as is evinced by the vibrant online recording engineer communities that support everything from amateur acoustician pedagogy to advanced mixing techniques and even online mixing/remixing competitions. Such studios can be considered as “local anchoring points in the cultural metropolises of the global urban network” (Watson, Hoyler and Mager 2009). Knorr-Cetina (1992) suggests something similar when she discusses how laboratories function not just as “internal environments” but rather as “a link between internal and external environments, a border in a wider traffic of objects and observations”. Like their larger counterparts, project studios are acoustic environments isolated from various perceived outsides, use the very same technologies of audition to make up for the constrained paths of audibility, and similarly shape the kinds of musical and social practices that can transpire within (even if this shaping process effectively restricts the studio’s usage to a single musician at a time). I argue that the more we wish to understand the vibe and sound of the studios, the more we may wish to consider the studio as an active agent in the process of recording production, an actor in the social worlds that inhabit its very wombs and bunkers. (shrink)

Acoustic signals serving intraspecific communication by predators are perceived by potential prey as warning signals. We analysed the acoustic characteristics of howling of wolves and found a striking similarity to the warning sounds of technical sirens. We hypothesize that the effectivity of sirens as warning signals has been enhanced by natural sensory predisposition of humans to get alerted by howling of wolves, with which they have a long history of coexistence. Psychoacoustic similarity of both stimuli seems (...) to be supported by the fact that wolves and dogs perceive the sound of technical sirens as a relevant releasing supernormal stimulus and reply to it with howling. Inspiration by naturally occurring acoustic aposematic signals might become an interesting example of biomimetics in designing new warning sound systems. (shrink)

Sound symbolism refers to non‐arbitrary mappings between the sounds of words and their meanings and is often studied by pairing auditory pseudowords such as “maluma” and “takete” with rounded and pointed visual shapes, respectively. However, it is unclear what auditory properties of pseudowords contribute to their perception as rounded or pointed. Here, we compared perceptual ratings of the roundedness/pointedness of large sets of pseudowords and shapes to their acoustic and visual properties using a novel application of representational similarity (...) analysis (RSA). Representational dissimilarity matrices (RDMs) of the auditory and visual ratings of roundedness/pointedness were significantly correlated crossmodally. The auditory perceptual RDM correlated significantly with RDMs of spectral tilt, the temporal fast Fourier transform (FFT), and the speech envelope. Conventional correlational analyses showed that ratings of pseudowords transitioned from rounded to pointed as vocal roughness (as measured by the harmonics‐to‐noise ratio, pulse number, fraction of unvoiced frames, mean autocorrelation, shimmer, and jitter) increased. The visual perceptual RDM correlated significantly with RDMs of global indices of visual shape (the simple matching coefficient, image silhouette, image outlines, and Jaccard distance). Crossmodally, the RDMs of the auditory spectral parameters correlated weakly but significantly with those of the global indices of visual shape. Our work establishes the utility of RSA for analysis of large stimulus sets and offers novel insights into the stimulus parameters underlying sound symbolism, showing that sound‐to‐shape mapping is driven by acoustic properties of pseudowords and suggesting audiovisual cross‐modal correspondence as a basis for language users' sensitivity to this type of sound symbolism. (shrink)

The massive acoustic redundancy of minimally contrasting speech sounds, coupled with the auditory integration of psychoacoustically similar acoustic properties produces a highly invariant percept, which cannot be improved by top-down feedback from the lexicon. Contextual effects are also bottom-up but not all entirely auditory and may thus differ in whether they affect sensitivity or only response bias.

Because human languages vary in sound and meaning, children must learn which distinctions their language uses. For speech perception, this learning is selective: initially infants are sensitive to most acoustic distinctions used in any language1–3, and this sensitivity reflects basic properties of the auditory system rather than mechanisms specific to language4–7; however, infants’ sensitivity to non-native sound distinctions declines over the course of the first year8. Here we ask whether a similar process governs learning of word meanings. We investigated (...) the sensitivity of 5-month-old infants in an English-speaking environment to a conceptual distinction that is marked in Korean but not English; that is, the distinction between ‘tight’ and ‘loose’ fit of one object to another9,10. Like adult Korean speakers but unlike adult English speakers, these infants detected this distinction and divided a continuum of motion-into-contact actions into tightand loose-fit categories. Infants’ sensitivity to this distinction is linked to representations of object mechanics11that are shared by non-human animals12–14. Language learning therefore seems to develop by linking linguistic forms to universal, pre-existing representations of sound and meaning. Our research focuses on the crosscutting conceptual distinctions between actions producing loose- and tight-fitting contact relationships (compare left and right columns in Fig. 1a) and actions producing containment versus support relationships (compare first and second rows in Fig. 1a). As early as Korean and English children begin to talk about such actions, they categorize them differently from one another and similarly to Korean- and Englishspeaking adults9,15. Moreover, English and Korean adults differ in their performance on non-linguistic categorization tasks involving heterogeneous examples of these actions, in accord with the differing semantics of their languages16,17, whereas the performance of young children on such tasks has been mixed9,10,18,19.. (shrink)

Inter- and transdisciplinary (ITD) approaches represent promising ways to address complex global challenges, such as climate change. Importantly, arts–sciences collaborations as a form of inter and transdisciplinarity have been widely recognized as potential catalysts for scientific development and social change towards sustainability. However, little attention has been paid to the process of reasoning among the participants in such collaborations. How do participants in arts–science collaboration reason together to overcome disciplinary boundaries and to co-create interventions? This article investigates how inter- and (...) transdisciplinary reasoning (or ITD reasoning) unfolded in a collaboration involving experts from the natural sciences, humanities, and the arts. We studied how collaborators reasoned through different understandings and experiences of climate change as well as through multiple ways of fostering motivation to take action via two co-designed artworks, HOMONEXUS (a participatory textile and acoustic installation) and GLACIER NEX US (a performance staging a dialogue between a melting glacier and a glaciologist). Our conclusions are threefold: (i) ITD reasoning can increase participants’ capacity to navigate often-unpredictable situations by cross-fertilizing ideas and overcoming blind-spots; (ii) humanities in arts–science collaborations can foster a more nuanced understanding of the differences and similarities of different knowledge systems as well as a deeper ecological understanding of sustainability problems; and (iii) the aesthetic experiences stimulated by arts–science interventions may help to raise awareness about the climate emergency and sustainable actions by providing pleasant and positive or dazzling and negative aesthetic experiences. (shrink)

This paper reviews evidence concerning the nature of grouping in music and language and their interactions with other linguistic and musical systems. I present brief typological surveys of the relationship between constituency and acoustic parameters in language and music, drawing from a wide variety of languages and musical genres. The two domains both involve correspondence between auditory discontinuities and group boundaries, reflecting the Gestalt principles of proximity and similarity, as well as a nested, hierarchical organization of constituents. Typically, (...) computational-level theories of musical grouping take the form of a function from acoustic properties through grouping representations to syntactic or interpretive constituents. Linguistic theories tend to be cast as functions in the opposite direction. This study argues that the difference in orientation is not grounded in principled differences in information flow between the two domains, and that reconceptualizing one or both theories allows for gains in analytical understanding. There are also obvious differences between musical and linguistic grouping. Grappling with those differences requires one to think in detail about modularity, information flow, levels of description, and the functional nature of cognitive domains. (shrink)

Music and language are universal human abilities with many apparent similarities relating to their acoustics, structure, and frequent use in social situations. We might therefore expect them to be understood and processed similarly, and indeed an emerging body of research suggests that this is the case. But the focus has historically been on the individual, looking at the passive listener or the isolated speaker or performer, even though social interaction is the primary site of use for both domains. Nonetheless, an (...) important goal of emerging research is to compare music and language in terms of acoustics and structure, social interaction, and functional origins to develop parallel accounts across the two domains. Indeed, a central aim of both of evolutionary musicology and language evolution research is to understand the adaptive significance or functional origin of human music and language. An influential proposal to emerge in recent years has been referred to as the social bonding hypothesis. Here, within a comparative approach to animal communication systems, I review empirical studies in support of the social bonding hypothesis in humans, non-human primates, songbirds, and various other mammals. In support of this hypothesis, I review six research fields: (i) the functional origins of music; (ii) the functional origins of language; (iii) mechanisms of social synchrony for human social bonding; (iv) language and social bonding in humans; (v) music and social bonding in humans; and (vi) pitch, tone and emotional expression in human speech and music. I conclude that the comparative study of complex vocalizations and behaviors in various extant species can provide important insights into the adaptive function(s) of these traits in these species, as well as offer evidence-based speculations for the existence of “musilanguage” in our primate ancestors, and thus inform our understanding of the biology and evolution of human music and language. (shrink)

There are some complex experiences, such as the experiences that allow us to understand linguistic expressions and pictures respectively, which seem to be very similar. For they are stratified experiences in which, on top of grasping certain low-level properties, one also grasps some high-level semantic-like properties. Yet first of all, those similarities notwithstanding, a phenomenologically-based reflection shows that such experiences are different. For a meaning experience has a high-level fold, in which one grasps the relevant expression’s meaning, which is not (...) perceptual, but is only based on a low-level perceptual fold that merely grasps that expression in its acoustically relevant properties. While a pictorial experience, a seeing-in experience, has two folds, the configurational and the recognitional fold, in which one respectively grasps the physical basis of a picture, its vehicle, and what the picture presents, its subject, that are both perceptual, insofar as they are intimately connected. For unlike a meaning experience, in a seeing-in experience one can perceptually read off the picture’s subject from the picture’s vehicle. Moreover, this phenomenological difference is neurologically implemented. For not only the cerebral areas that respectively implement such experiences are different, at least as far as the access to those experiences’ respective high-level content is concerned. As is shown by the fact that one can selectively be impaired in the area respectively implementing the meaning vs. the seeing-in experience without losing one’s pictorial vs. semantic competence respectively. But also, unlike meaning experiences, the area implementing the seeing-in experiential folds is perceptual as a whole. For not only a picture’s subject can be accessed earlier than an expression’s meaning, but also the neural underpinnings of such folds are located in the perceptual areas of the brain. (shrink)

Why do humpback whales sing? This paper considers the hypothesis that humpback whales may use song for long range sonar. Given the vocal and social behavior of humpback whales, in several cases it is not apparent how they monitor the movements of distant whales or prey concentrations. Unless distant animals produce sounds, humpback whales are unlikely to be aware of their presence or actions. Some field observations are strongly suggestive of the use of song as sonar. Humpback whales sometimes stop (...) singing and then rapidly approach distant whales in cases where sound production by those whales is not apparent, and singers sometimes alternately sing and swim while attempting to intercept another whale that is swimming evasively. In the evolutionary development of modern cetaceans, perceptual mechanisms have shifted from reliance on visual scanning to the active generation and monitoring of echoes. It is hypothesized that as the size and distance of relevant events increased, humpback whales developed adaptive specializations for long-distance echolocation. Differences between use of songs by humpback whales and use of sonar by other echolocating species are discussed, as are similarities between bat echolocation and singing by humpback whales. Singing humpback whales are known to emit sounds intense enough to generate echoes at long ranges, and to flexibly control the timing and qualities of produced sounds. The major problem for the hypothesis is the lack of recordings of echoes from other whales arriving at singers immediately before they initiate actions related to those whales. An earlier model of echoic processing by singing humpback whales is here revised to incorporate recent discoveries. According to the revised model, both direct echoes from targets and modulations in song-generated reverberation can provide singers with information that can help them make decisions about future actions related to mating, traveling, and foraging. The model identifies acoustic and structural features produced by singing humpback whales that may facilitate a singer’s ability to interpret changes in echoic scenes and suggests that interactive signal coordination by singing whales may help them to avoid mutual interference. Specific, testable predictions of the model are presented. (shrink)

As with biological systems, spoken languages are strikingly robust against perturbations. This paper shows that languages achieve robustness in a way that is highly similar to many biological systems. For example, speech sounds are encoded via multiple acoustically diverse, temporally distributed and functionally redundant cues, characteristics that bear similarities to what biologists call “degeneracy”. Speech is furthermore adequately characterized by neutrality, with many different tongue configurations leading to similar acoustic outputs, and different acoustic variants understood as the same (...) by recipients. This highlights the presence of a large neutral network of acoustic neighbors for every speech sound. Such neutrality ensures that a steady backdrop of variation can be maintained without impeding communication, assuring that there is “fodder” for subsequent evolution. Thus, studying linguistic robustness is not only important for understanding how linguistic systems maintain their functioning upon the background of noise, but also for understanding the preconditions for language evolution. (shrink)

Excessive dog barking is among the leading sources of noise pollution world-wide; however, the reasons for the annoyance of barking to people remained uninvestigated. Our questions were: is the annoyance rating affected by the acoustic parameters of barks; does the attributed inner state of the dog and the nuisance caused by its barks correlate; does the gender and country of origin affect the subjects’ sensitivity to barking. Participants from Hungary (N = 100) and Brazil (N = 60) were tested (...) with sets of 27 artificial bark sequences. Subjects rated each bark according to the inner state of the dog and the annoyance caused by the particular bark. Subjects from both countries found high-pitched barks the most annoying: however, harsh, fast-pulsing, low-pitched barks were also unpleasant. Men found high-pitched barks more annoying than the women did. Annoyance ratings showed positive correlation with assumed negative inner states of the dog, positive emotional ratings showed negative correlation with the annoyance level. This is the first indication that acoustic features that were selected for effective vocal signalling may be annoying for human listeners. Among the explanations for this effect the role of affective communication and similar bioacoustics of particular animal vocalizations and baby cries are discussed. (shrink)

The current study examines the self-voice benefit in an early bilingual population. Female Cantonese–English bilinguals produced words containing Cantonese contrasts. A subset of these minimal pairs was selected as stimuli for a perception task. Speakers’ productions were grouped according to how acoustically contrastive their pronunciation of each minimal pair was and these groupings were used to design personalized experiments for each participant, featuring their own voice and the voices of others’ similarly-contrastive tokens. The perception task was a two-alternative forced-choice word (...) identification paradigm in which participants heard isolated Cantonese words, which had undergone synthesis to mask the original talker identity. Listeners were more accurate in recognizing minimal pairs produced in their own voice than recognizing the realizations of speakers who maintain similar degrees of phonetic contrast for the same minimal pairs. Generally, individuals with larger phonetic contrasts were also more accurate in word identification for self and other voices overall. These results provide evidence for an own-voice benefit for early bilinguals. These results suggest that the phonetic distributions that undergird phonological contrasts are heavily shaped by one’s own phonetic realizations. (shrink)

The album Echo was produced in a depressed, drug-riddled phase when Tom Petty’s first marriage was ending and his physical condition so degraded that he took to using a cane. Petty filmed no videos, avoided playing the album’s songs on the follow-up tour and reported little memory of its making. The thoughtfulness and self-reflection that traumatic circumstances spur distinguish the album. So too does the tendency to look backwards in times of crisis, whether in hopes of finding solidity in the (...) past or just out of exhausted inability to cope with the present. -/- While melancholically creative, the album might be regarded as an echoing of past musical fragments. The sprightly mix of acoustic and electric guitars, the backing vocal harmonies and the stories of loss in songs such as “Won’t Last Long” and “This One’s for Me” harken to Petty’s albums from the late 80s to mid-90s. “Accused of Love” similarly contains echoes of Petty’s more upbeat work, but with depressing lyrical undertones. The production qualities and lyrics of “Rhino Skin” recollect “Asshole,” a Beck cover from Petty’s previous album. “I Don’t Wanna Fight”—a Heartbreakers performance composed and sung by Mike Campbell—returns to the hard driving rock of Damn the Torpedoes. The lyrics, straight-laced drums and layered drones of electric guitars of “Free Girl Now” go back further to “American Girl,” which itself was influenced by psychedelic music. At the same time, all of this typifies Petty’s oeuvre. Throughout his career, he made music steeped in past rock traditions. He was also a seminal figure in Southern rock, with its emphatically nostalgic character. -/- The crisis that Petty was experiencing echoes throughout the album in more specific ways, with many songs repeating the theme of being up or down, high or low. The theme of fighting or not wanting to has an especially strong echo, showing up in “Swingin’,” “Billy the Kid” and “I Don’t Wanna Fight.” These songs, in turn, exhibit nostalgia for past icons, with protagonists going down hard like Billy the Kid; or going down swinging like Sonny Liston; or again like Benny Goodman, Glenn Miller and Sammy Davis in a punny reference to the swing era. -/- The retrospective feel of the album is one of looking to the past for the sake of self-preservation in the present, along lines discussed by Nietzsche. While symptomatic of illness, Nietzsche maintains this movement “springs from the protective instinct of a degenerating life which tries by all means to sustain itself and to fight for existence.” This seeming denial of growth can, as Nietzsche continues, be “among the greatest conserving and yes-creating forces of life.” Petty clearly associated Echo with personal grief, refusing to listen to it for years. As with many other examples of art, however, the album was also a way of surviving and growing beyond a present trauma, and one more specifically that compelled him to overcome an important part of his past, namely, his wife of 20-plus years. One can speculate that clinging to fragments of the past—musical and otherwise—was a way of coping with a difficult present and a fading past. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Schizophrenic Delusions, Embodiment, and the BackgroundGiovanni Stanghellini (bio)Keywordsschizophrenia, delusion, embodiment, common sense, phenomenologyIn their article Delusions, Certainty, and the Background, Rhodes and Gipps (2008) argue for a Background theory of delusions. Their central argument may be summed up as follows:• The formation and maintenance of delusions becomes intelligible once they are seen to reflect a basic disturbance. When studying delusions, the focus should be on providing an adequate framework (...) for understanding, rather than providing empirical hypotheses to be tested.• The basic disturbance in delusions, and insanity in general, is not a deficiency in reasoning or a defect in the content of experience, but rather something more fundamental.• Delusions––this is their central claim––are caused by a failure of the Bedrock of beliefs (Wittgenstein) or the Background (Searle) to adequately inform or constrain the process of belief formation.• Our Bedrock certainties are defined––following Wittgenstein––as ultimately constituted by our ability to act in the world and demonstrate our primary engagement with the world. They are born out of our everyday experience of the world, conveying our direct, pre-reflective, and practical grasp of the world, rather than expressing judgments we make about it.• Similarly, the Background is defined as those abilities and dispositions that are neither representations nor rules, that function before we can make sense of our experiences.• Wittgenstein’s Bedrock and Searle’s Background in great part overlap with Blankenburg’s pre-reflective natural self-evidence and Stanghellini’s common sense, namely, our own unreflecting know-how, a set of nonpropositional skills, capacities, and dispositions that attune us with the world.• Without a fully functioning Background, the distinctions between imaginary and real (mind and world), self and non-self, and cause and coincidence fail to be adequately drawn within experience. Also, grasping the meaning of others’ behaviors and a weakening of contextual influences are entailed by an erosion of Background sensibilities.I feel extremely sympathetic to this account and, as Rhodes and Gipps report, there are remarkable points of overlap between their and my own ideas about the formation of schizophrenic delusions. I would like to add some comments on the main theories on the basic disorders entailed in the pathogenesis of delusions and conclude with some suggestions to integrate the Background theory of delusions. [End Page 311]Syntagmatic Versus Paradigmatic Models of DelusionsLet me raise first an epistemological point: paradigmatic models of delusions––defining what a delusion is in itself and what are its borders with similar phenomena––proved to be unsatisfactory in psychopathology. As Schneider and Huber (1975) put it more that 40 years ago, “[w]hat counts in delusions is not the delusion itself... but snagging the course of the lived experience, rather than its product” (p. 2042). What we do need, to understand what delusions really are, are syntagmatic models how––delusions (in this case, delusions in persons with schizophrenia) are connected to other phenomena within a structure or a process. What we should look for, then, are the phenomena that contribute as motivationally (or causally) necessary vulnerability, that is, the basic disturbance for the development of delusions. This logically implies that we need studying delusions in fieri, or the pathways that lead to delusions themselves. I subscribe to the principle that studying delusion by merely concentrating exclusively on its crystallized forms would be like studying stroke victims to know more about hypertension (Parnas and Sass 2001). This methodological move from crystallized delusions to delusions in-the-making is quintessential to define the subtle, basic, phenomenal invariant core that characterizes a given psychopathological phenomenon and that emerges across the manifold facets of the phenomenon itself and shapes them and keeps them meaningfully interconnected.A syntagmatic model should account for (at least) the following features of schizophrenic delusions:• abnormalities in symbolization (loss of commonsense meaning of a given thing or fact),• formal aspects (e.g., revelation character, experience of centrality), and• specificity of content (e.g., metaphysical tinge).It should also be compatible with those phenomena like self-disorders (loss of sense of ownership and of agency) that are entailed in most schizophrenic symptoms (e.g., verbal–acoustic hallucinations and experiences of alien control). Finally, it should keep meaningfully... (shrink)

Word in noise identification is facilitated by acoustic differences between target and competing sounds and temporal separation between the onset of the masker and that of the target. Younger and older adults are able to take advantage of onset delay when the masker is dissimilar to the target word, but only younger adults are able to do so when the masker is similar. We examined the neural underpinning of this age difference using cortical evoked responses to words masked by (...) either Babble or Noise when the masker preceded the target word by 100 or 600 ms in younger and older adults, after adjusting the signal-to-noise ratios to equate behavioural performance across age groups and conditions. For the 100 ms onset delay, the word in noise elicited an acoustic change complex response that was comparable in younger and older adults. For the 600 ms onset delay, the ACC was modulated by both masker type and age. In older adults, the ACC to a word in babble was not affected by the increase in onset delay whereas younger adults showed a benefit from longer delays. Hence, the age difference in sensitivity to temporal delay is indexed by early activity in the auditory cortex. These results are consistent with the hypothesis that an increase in onset delay improves stream segregation in younger adults in both noise and babble, but only in noise for older adults and that this change in stream segregation is evident in early cortical processes. (shrink)

Some facets of making music are explored by combining arguments of Raffman's cognitivist explanation of ineffability with Merleau-Ponty's view of embodied perception. Behnke's approach to a phenomenology of playing a musical instrument serves as a further source. Focusing on the skilled performer-listener, several types of ineffable knowledge of performing music are identified: gesture feeling ineffability —the performer's sensorimotor knowledge of the gestures necessary to produce instrumental sounds is not exhaustively communicable via language; gesture nuance ineffability —the performer is aware of (...) nuances of instrumental gestures, e.g., micro-variations of intensity or duration of musical gestures, but cannot perceptually, and consequently conceptually, categorize those fine-grained variations; and ineffabilities of inter-subjectivity —the non-verbal interaction between performers that makes a performance a vibrant dialogue is similarly incommunicable. An attempt to identify some of the ineffable dimensions of this dialogue is proposed. Further ineffabilities relating the acoustical embedding of performing are identified. (shrink)

During the COVID-19 pandemic, questions have been raised about the impact of face masks on communication in classroom settings. However, it is unclear to what extent visual obstruction of the speaker’s mouth or changes to the acoustic signal lead to speech processing difficulties, and whether these effects can be mitigated by semantic predictability, i.e., the availability of contextual information. The present study investigated the acoustic and visual effects of face masks on speech intelligibility and processing speed under varying (...) semantic predictability. Twenty-six children and twenty-six adults performed an internet-based cued shadowing task, in which they had to repeat aloud the last word of sentences presented in audio-visual format. The results showed that children and adults made more mistakes and responded more slowly when listening to face mask speech compared to speech produced without a face mask. Adults were only significantly affected by face mask speech when both the acoustic and the visual signal were degraded. While acoustic mask effects were similar for children, removal of visual speech cues through the face mask affected children to a lesser degree. However, high semantic predictability reduced audio-visual mask effects, leading to full compensation of the acoustically degraded mask speech in the adult group. Even though children did not fully compensate for face mask speech with high semantic predictability, overall, they still profited from semantic cues in all conditions. Therefore, in classroom settings, strategies that increase contextual information such as building on students’ prior knowledge, using keywords, and providing visual aids, are likely to help overcome any adverse face mask effects. (shrink)

Listeners can attend to and track instruments or singing voices in complex musical mixtures, even though the acoustical energy of sounds from individual instruments may overlap in time and frequency. In popular music, lead vocals are often accompanied by sound mixtures from a variety of instruments, such as drums, bass, keyboards, and guitars. However, little is known about how the perceptual organization of such musical scenes is affected by selective attention, and which acoustic features play the most important role. (...) To investigate these questions, we explored the role of auditory attention in a realistic musical scenario. We conducted three online experiments in which participants detected single cued instruments or voices in multi-track musical mixtures. Stimuli consisted of 2-s multi-track excerpts of popular music. In one condition, the target cue preceded the mixture, allowing listeners to selectively attend to the target. In another condition, the target was presented after the mixture, requiring a more “global” mode of listening. Performance differences between these two conditions were interpreted as effects of selective attention. In Experiment 1, results showed that detection performance was generally dependent on the target’s instrument category, but listeners were more accurate when the target was presented prior to the mixture rather than the opposite. Lead vocals appeared to be nearly unaffected by this change in presentation order and achieved the highest accuracy compared with the other instruments, which suggested a particular salience of vocal signals in musical mixtures. In Experiment 2, filtering was used to avoid potential spectral masking of target sounds. Although detection accuracy increased for all instruments, a similar pattern of results was observed regarding the instrument-specific differences between presentation orders. In Experiment 3, adjusting the sound level differences between the targets reduced the effect of presentation order, but did not affect the differences between instruments. While both acoustic manipulations facilitated the detection of targets, vocal signals remained particularly salient, which suggest that the manipulated features did not contribute to vocal salience. These findings demonstrate that lead vocals serve as robust attractor points of auditory attention regardless of the manipulation of low-level acoustical cues. (shrink)

This study investigated the possible prosodic transfer influences native regional dialects may have in the perception of English lexical stress by speakers of three Chinese dialects [Beijing (BJ), Changsha (CS), and Guangzhou (GZ)] compared to 20 American English (AE) speakers. F0, duration, intensity, and vowel reduction were manipulated in nonce disyllabic words. Participants performed four-word sequence recall tasks to identify lexical stress location. They performed better with natural sounds than with manipulated words. This study focused on the performance differences in (...) manipulating words. The results showed that all four-group members performed similarly processing F0 condition nonce words. BJ and CS participants were more accurate than GZ participants in duration and vowel reduction cues. Reaction time (RT) suggested that the processing time of acoustic cues differed significantly across language groups. The findings indicate that first language (L1) dialect effect is robust in second language (L2) stress perception tasks. (shrink)

Potential speech abilities constitute a key component in the description of the Neandertals and their relations with modern Homo Sapiens. Since Lieberman & Crelin postulated in 1971 the theory that “Neanderthal man did not have the anatomical prerequisites for producing the full range of human speech” their speech capability has been a subject of hot debate for over 30 years, and remains a controversial question. In this study, we first question the methodology adopted by Lieberman and Crelin, and we point (...) out articulatory and acoustic flaws in the data and the modeling. Then we propose a general articulatory-acoustic framework for testing the acoustic consequences of the trade-off between oral and pharyngeal cavities. Specifically, following Honda & Tiede, we characterize this trade-off by a Laryngeal Height Index corresponding to the length ratio of the pharyngeal cavity to the oral cavity. Using an anthropomorphic articulatory model controlled by lips, jaw, tongue and larynx parameters, we can generate the Maximal Vowel Space, which is a triangle in the F1 / F2 plane, the three point vowels /a/, /i/, and /u/ being located at its three extremities. We sample the evolution of the position of the larynx from birth to adulthood with four different LHI values, and we show that the associated MVS are very similar. Therefore, the MVS of a given vocal tract does not depend on the LHI: gestures of the tongue body, lips and jaw allow compensations for differences in the ratio between the dimensions of the oral cavity and pharynx. We then infer that the vowel space of Neandertals was potentially no smaller than that of a modern human and that Neandertals could produce all the vowels of the world’s languages. Neandertals were no more vocally handicapped than children at birth are. Therefore, there is no reason to believe that the lowering of the larynx and a concomitant increase in pharynx size are necessary evolutionary pre-adaptations for speech. However, since our study is strictly limited to the morphological and acoustic aspects of the vocal tract, we cannot offer any definitive answer to the question of whether Neandertals could produce human speech or not. (shrink)

Assistive Device Art derives from the integration of Assistive Technology and Art, involving the mediation of sensorimotor functions and perception from both, psychophysical methods and conceptual mechanics of sensory embodiment. This paper describes the concept of ADA and its origins by observing the phenomena that surround the aesthetics of prosthesis-related art. It also analyzes one case study, the Echolocation Headphones, relating its provenience and performance to this new conceptual and psychophysical approach of tool design. This ADA tool is designed to (...) aid human echolocation. They facilitate the experience of sonic vision, as a way of reflecting and learning about the construct of our spatial perception. Echolocation Headphones are a pair of opaque goggles which disable the participant’s vision. This device emits a focused sound beam which activates the space with directional acoustic reflection, giving the user the ability to navigate and perceive space through audition. The directional properties of parametric sound provide the participant a focal echo, similar to the focal point of vision. This study analyzes the effectiveness of this wearable sensory extension for aiding auditory spatial location in three experiments; optimal sound type and distance for object location, perceptual resolution by just noticeable difference, and goal-directed spatial navigation for open pathway detection, all conducted at the Virtual Reality Lab of the University of Tsukuba, Japan. The Echolocation Headphones have been designed for a diverse participant base. They have both the potential to aid auditory spatial perception for the visually impaired and to train sighted individuals in gaining human echolocation abilities. Furthermore, this Assistive Device artwork instigates participants to contemplate on the plasticity of their sensorimotor architecture. (shrink)

Speakers with autism spectrum disorder are found to exhibit atypical pitch patterns in speech production. However, little is known about the production of lexical tones as well as neutral tones by tone-language speakers with ASD. Thus, this study investigated the height and shape of tones produced by Mandarin-speaking children with ASD and their age-matched typically developing peers. A pronunciation experiment was conducted in which the participants were asked to produce reduplicated nouns. The findings from the acoustic analyses showed that (...) although ASD children generally produced both lexical tones and neutral tones with distinct tonal contours, there were significant differences between the ASD and TD groups for tone height and shape for T1/T1N, T3/T3N, and T4/T4N. However, we did not find any difference in T2/T2N. These data implied that the atypical acoustic pattern in the ASD group could be partially due to the suppression of the F0 range. Moreover, we found that ASD children tended to produce more errors for T2/T2N, T3/T3N than for T1/T1N, T4/T4N. The pattern of tone errors could be explained by the acquisition principle of pitch, similarities among different tones, and tone sandhi. We thus concluded that deficits in pitch processing could be responsible for the atypical tone pattern of ASD children, and speculated that the atypical tonal contours might also be due to imitation deficits. The present findings may eventually help enhance the comprehensive understanding of the representation of atypical pitch patterns in ASD across languages. (shrink)

Many studies have observed modulation of the amplitude of the neural index mismatch negativity (MMN) related to which member of a phoneme contrast [phoneme A, phoneme B] serves as the frequent (standard) and which serves as the infrequent (deviant) stimulus (i.e., AAAB vs. BBBA) in an oddball paradigm. Explanations for this amplitude modulation range from acoustic to linguistic factors. We tested whether exchanging the role of the mid vowel /ε/ vs. high vowel /ɪ/ of English modulated MMN amplitude and (...) whether the pattern of modulation was compatible with an underspecification account, in which the underspecified height values are [−high] and [−low]. MMN was larger for /ε/ as the deviant, but only when compared across conditions to itself as the standard. For the within-condition comparison, MMN was larger to /ɪ/ deviant minus /ε/ standard than to the reverse. A condition order effect was also observed. MMN amplitude was smaller to the deviant stimulus if it had previously served as the standard. In addition, the amplitudes of late discriminative negativity (LDN) showed similar asymmetry. LDN was larger for deviant /ε/ than deviant /ɪ/ when compared to themselves as the standard. These findings were compatible with an underspecification account, but also with other accounts, such as the Natural Referent Vowel model and a prototype model; we also suggest that non-linguistic factors need to be carefully considered as additional sources of speech processing asymmetries. (shrink)