Previous work demonstrated that dynamic pitch (i.e., pitch variation in speech) aids speech recognition in various types of noises. While this finding suggests dynamic pitch enhancement in target speech can benefit speech recognition in noise, it is of importance to know what noise characteristics affect dynamic pitch benefit and who will benefit from enhanced dynamic pitch cues. Following our recent finding that temporal modulation in noise influences dynamic pitch benefit, we examined the effect (...) of speech masker characteristics on dynamic pitch benefit. Specifically, the first goal of the study was to test the hypothesis that dynamic pitch benefit varies depending on the availability of pitch cues in the masker and the intelligibility of masker. The second goal of this study was to investigate whether older listeners as a group can benefit from dynamic pitch for speech recognition in speech maskers. In addition, individual factors of hearing loss and working memory capacity were examined for their impact on older listeners’ dynamic pitch benefit. Twenty-three younger listeners with normal hearing and 37 older listeners with varying levels of hearing sensitivity participated the study, in which speech reception thresholds were measured with sentences in speech maskers. While we did not find an effect of masker characteristics on dynamic pitch benefit, the results showed older listeners can benefit from dynamic pitch for recognizing speech in speech maskers. The data also suggest that among those older listeners with hearing loss, dynamic pitch benefit is stronger for individuals with higher working memory capacity. This can be attributed to their ability to exploit facilitated lexical access in processing of degraded speech signal. (shrink)

Delusions are currently characterised as false beliefs produced by incorrect inference about external reality (DSM IV). This inferential conception has proved hard to link to explanations pitched at the level of neurobiology and neuroanatomy. This paper provides that link via a neurocomputational theory, based on evolutionary considerations, of the role of the prefrontal cortex in regulating offline cognition. When pathologically neuromodulated the prefrontal cortex produces hypersalient experiences which monopolise offline cognition. The result is characteristic psychotic experiences and patterns of thought. (...) This bottom-up account uses neural network theory to integrate recent theories of the role of dopamine in delusion with the insights of inferential accounts. It also provides a general model for evolutionary psychiatry which avoids theoretical problems imported from evolutionary psychology. (shrink)

New uses of preimplantation genetic diagnosis to screen embryos prior to transfer raise ethical, legal, and policy issues that deserve close attention. Extensions for medical purposes, such as to identify susceptibility genes, late onset disease, and human leukocyte antigen matching, are usually ethically acceptable. Whether embryo screening for gender, perfect pitch, or other non-medical characteristics are also acceptable depends upon the parental needs served and the harm posed to embryos, children, and society. Speculations about potential future uses of (...) PGD should not prevent otherwise acceptable current uses of PGD. (shrink)

Listening closely to the religious pitch in Rousseau's voice, Cladis convincingly shows that Rousseau, when attempting to portray the most characteristic aspects of the public and private, reached for a religious vocabulary. Honoring both love of self and love of that which is larger than the self--these twin poles, with all the tension between them--mark Rousseau's work, vision and challenge--the challenge of 21st-century democracy.

Much controversy surrounds Schenker's mature theory and its attempt to explain musical pitch motion. Becoming Heinrich Schenker brings a new perspective to Schenker's theoretical work, showing that ideas characteristic of his mature theory, although in many respects fundamentally different, developed logically out of his earlier ideas. Robert P. Morgan provides an introduction to Schenker's mature theory and traces its development through all of his major publications, considering each in detail and with numerous music examples. Morgan also explores the relationship (...) between Schenker's theory and his troubled ideology, which crucially influenced the evolution of his ideas and was heavily dependent upon both the empirical and idealist strains of contemporary German philosophical thought. Relying where possible on quotations from Schenker's own words, this book offers a balanced approach to his theory and a unique overview of this central music figure, generally considered to be the most prominent music theorist of the twentieth century. (shrink)

In futsal there are two referees on the playing court and their capacity to respond to physical and physiological demands imposed during the game is essential for the success. The futsal characteristics such as size pitch, referees position and rules of games or type of league could impose specific physical efforts probably. The aim of this study were to analyze the physical demands of eight elite referees from seven matches of Spanish Futsal Cup 2020. The physical activity of (...) each referee during the match was monitored with a Local Positioning System, which was installed on futsal pitch where the matches were played. The data differences were evaluated as Paired-Samples T-Test procedure. The results revealed a similar total distance between halves. The zone 3 distance showed a significative decrease during the match in comparison to the first and second halves. The number of high-intensity acceleration and deceleration decreased in the second half of the match. Therefore, the use of the tracking device to monitoring physical performance provides knowledge of the specific activity profile from futsal referees. This information to can be useful to design more accurate the training programs. (shrink)

Asif A. Ghazanfar,1,3,* Hjalmar K. Turesson,1,3 statistical pattern recognition [16, 17] and psychophys- Joost X. Maier,1 Ralph van Dinther,2 ics [13, 18–23] have suggested that formants are signif- Roy D. Patterson,2 and Nikos K. Logothetis1 icant contributors to these indexical cues. It is likely, 1Max Planck Institute for Biological Cybernetics then, that detecting formants could have provided 72076 Tuebingen ancestral primates with indexical cues necessary for Germany navigating the complex social interactions that are the 2Centre for the Neural Basis of (...) Hearing essence of primate societies. One important indexical Department of Physiology cue is body size. Formant cues related to body size University of Cambridge could be used by monkeys to determine the sex (in sex- CB2 3EG Cambridge ually dimorphic species), degree of potential threat (e.g., United Kingdom whether a competitor is larger or smaller), and/or age of an individual, as such cues do for human listeners [13, 18, 20, 21]. Summary Formants are the result of acoustic filtering by the supralaryngeal vocal tract—the nasal and oral cavities Vocal-tract resonances (or formants) are acoustic sigabove the vocal folds. During vocal production, pulses natures in the voice and are related to the shape and of air generated by the rapid movement of the vocal length of the vocal tract. Formants play an important folds produce an acoustic signal. The frequency of these role in human communication, helping us not only to pulses—the glottal-pulse rate—determines the fundadistinguish several different speech sounds [1], but mental frequency of the signal, which in turn is perceived also to extract important information related to the as pitch. As the signal passes through the supralaryngphysical characteristics of the speaker, so-called ineal vocal tract, it excites resonances, resulting in the dexical cues. How did formants come to play such an enhancement of particular frequency bands; these are important role in human vocal communication? One the formants.. (shrink)

Listening closely to the religious pitch in Rousseau's voice, Cladis convincingly shows that Rousseau, when attempting to portray the most characteristic aspects of the public and private, reached for a religious vocabulary. Honoring both love of self and love of that which is larger than the self--these twin poles, with all the tension between them--mark Rousseau's work, vision and challenge--the challenge of 21st-century democracy.

Assigning something to the category “discrimination” is not tantamount to saying that it is wrong, but the assignment is disquieting. Conversely, when conduct is classified as non-discriminatory, one weighty ground to be on the guard is set aside. So we should not talk flippantly about discrimination, but do our best to place moral assessment on the proper pitch. There are two ways of drawing a line between discriminatory and non-discriminatory conduct because there are two competing ways of spelling out (...) a crucial characteristic of discrimination. Whichever way we do it, “discrimination” is a category that cannot be defined with precision. In view of this, discrimination is best conceived as a graded property of action – one which is always, to some extent, part of the picture when someone is treated worse than others. (shrink)

This article concerns sound aesthetic preferences for European foreign languages. We investigated the phonetic-acoustic dimension of the linguistic aesthetic pleasure to describe the “music” found in European languages. The Romance languages, French, Italian, and Spanish, take a lead when people talk about melodious language – the music-like effects in the language (a.k.a., phonetic chill). On the other end of the melodiousness spectrum are German and Arabic that are often considered sounding harsh and un-attractive. Despite the public interest, limited research has (...) been conducted on the topic of phonaesthetics, i.e., the subfield of phonetics that is concerned with the aesthetic properties of speech sounds (Crystal, 2008). Our goal is to fill the existing research gap by identifying the acoustic features that drive the auditory perception of language sound beauty. What is so music-like in the language that makes people say “it is music in my ears”? We had 45 central European participants listening to 16 auditorily presented European languages and rating each language in terms of 22 binary characteristics (e.g., beautiful – ugly and funny – boring) plus indicating their language familiarities, L2 backgrounds, speaker voice liking, demographics, and musicality levels. Findings revealed that all factors in complex interplay explain a certain percentage of variance: familiarity and expertise in foreign languages, speaker voice characteristics, phonetic complexity, musical acoustic properties, and finally musical expertise of the listener. The most important discovery was the trade-off between speech tempo and so-called linguistic melody (pitch variance): the faster the language, the flatter/more atonal it is in terms of the pitch (speech melody), making it highly appealing acoustically (sounding beautiful and sexy), but not so melodious in a “musical” sense. (shrink)

What do we systematically experience when hearing an utterance in a familiar language? A popular and intuitive answer has it that we experience understanding an utterance or what the speaker said or communicated by uttering a sentence. Understanding a meaning conveyed by the speaker is an important element of linguistic communication that might be experienced in such cases. However, in this paper I argue that two other elements that typically accompany the production of spoken linguistic utterances should be carefully considered (...) when we address the question of what is systematically experienced when we listen to utterances in a familiar language. First, when we listen to a familiar language we register various prosodic phenomena that speakers routinely produce. Second, we typically register stable vocal characteristics of speakers, such as pitch, tempo or accent, that are often systematically related to various properties of the speaker. Thus, the answer to the question of what we typically experience when listening to a familiar language is likely to be a complex one. Dedicated attention is needed to understand the nature and scope of phenomenology that pertains to linguistic communication. This paper lays some groundwork for that project. (shrink)

Interactive sonification of biomechanical quantities is gaining relevance as a motor learning aid in movement rehabilitation, as well as a monitoring tool. However, existing gaps in sonification research have prevented its widespread recognition and adoption in such applications. The incorporation of embodied principles and musical structures in sonification design has gradually become popular, particularly in applications related to human movement. In this study, we propose a general sonification model for the sit-to-stand transfer, an important activity of daily living. The model (...) contains a fixed component independent of the use-case, which represents the rising motion of the body as an ascending melody using the physical model of a flute. In addition, a flexible component concurrently sonifies STS features of clinical interest in a particular rehabilitative/monitoring situation. Here, we chose to represent shank angular jerk and movement stoppages, through perceptually salient pitch modulations and bell sounds. We outline the details of our technical implementation of the model. We evaluated the model by means of a listening test experiment with 25 healthy participants, who were asked to identify six normal and simulated impaired STS patterns from sonified versions containing various combinations of the constituent mappings of the model. Overall, we found that the participants were able to classify the patterns accurately, confidently, and in a timely manner. The amount of sonified kinematic information significantly impacted classification accuracy. The six STS patterns were also classified with significantly different accuracy depending on their kinematic characteristics. Learning effects were seen in the form of increased accuracy and confidence with repeated exposure to the sound sequences. We found no significant accuracy differences based on the participants' level of music training. Overall, we see our model as a concrete conceptual and technical starting point for STS sonification design catering to rehabilitative and clinical monitoring applications. (shrink)

This compilation of fifty-six articles together with a substantial Introduction and Afterword offers itself as a work for "students and specialists" alike. But, since the majority of articles are less than ten pages long, it is hard to regard the reference to specialists as much more than a sales pitch. The work is, in fact, in all but name, an encyclopedia. Both its length—680 pages—and its scope—Kant to Le Doeuff via, saliently, Hegel, Marx, Nietzsche, and Freud, Hermeneutics, Phenomenology, Critical (...) Theory, Structuralism, and French Post-Structuralism—indicate the ambition to comprehensiveness characteristic of an encyclopedia. (shrink)

Prosodic patterning is known to affect the impression that speakers make on their listeners. This study explores prosodic phrasing in good public speakers of American English and Czech. Czech is a West Slavic language whose intonation is reported to be flatter and prosodic phrases longer than in English. We analyzed prosodic characteristics of 10 speakers of Czech and American English who appeared in TED Talks, assuming such appearance to be a mark of a “good speaker.” Our objective was to (...) see whether prosodic phrasing will be more similar in these public speeches between the two languages. We measured the length of prosodic phrases, speech rate in each phrase, and pitch range and melodic variability in the entire phrase, as well as in its pre-nuclear and nuclear portion. The number of syllables per phrase was higher in Czech than in English, although phrases were generally very short in both languages. The melodic indicators confirm smaller melodic variability in Czech even in publicly performed TED Talks. Overall, our results show that there are differences between Czech and English prosodic phrasing in good public speakers but that the genre also affects phrasing. Prosodic rendition—especially prosodic phrase length and melodic variability—is therefore a vital, albeit somewhat language-specific aspect of speech performance which public speakers should pay close attention to, both in their native language and in foreign languages. (shrink)

This compilation of fifty-six articles together with a substantial Introduction and Afterword offers itself as a work for "students and specialists" alike. But, since the majority of articles are less than ten pages long, it is hard to regard the reference to specialists as much more than a sales pitch. The work is, in fact, in all but name, an encyclopedia. Both its length—680 pages—and its scope—Kant to Le Doeuff via, saliently, Hegel, Marx, Nietzsche, and Freud, Hermeneutics, Phenomenology, Critical (...) Theory, Structuralism, and French Post-Structuralism—indicate the ambition to comprehensiveness characteristic of an encyclopedia. (shrink)

Absolute pitch, besides the psychological and neurological interests it has, raises some conceptual difficulties that can teach us about the richness of our notion of musical tone and various aspects of its identification. It is argued that when AP is conceived under a slim notion of identifying the pitch of a crude sound, it is hardly meaningful and has no significance in music comprehension. The rich notion, which is the meaningful and important one, involves knowing the position of (...) a tone in a tone-space and its relations. This is presented as experiential: hearing and identifying tones under concepts and relations that are experienced rather than figured out or derived on the basis of crude identification of bare tones. Since many of these concepts and relations are musically meaningful, this rich notion of identification is thus connected to musical understanding and aesthetic appreciation of a musical work. It may also be claimed to be vital in passing between different sense modalities, and can explain various aspects of AP and puzzles connected with it. (shrink)

In Cavell (1994), the ability to follow and produce Austinian examples of ordinary language use is compared with the faculty of perfect pitch. Exploring this comparison, I clarify a number of central and interrelated aspects of Cavell's philosophy: (1) his way of understanding Wittgenstein's vision of language, and in particular his claim that this vision is "terrifying," (2) the import of Wittgenstein's vision for Cavell's conception of the method of ordinary language philosophy, (3) Cavell's dissatisfaction with Austin, and in (...) particular his claim that Austin is not clear about the nature and possible achievements of his own philosophical procedures, and (4) Cavell's notion that the temptation of skepticism is perennial and incurable. Cavell's reading of Wittgenstein is related to that of John McDowell. Like McDowell, Cavell takes Wittgenstein to be saying that the traditional attempt to justify our practices from an external standpoint is misguided, since such detachment involves losing sight of those conceptual and perceptual capacities in terms of which a practice is understood by its engaged participants. Unlike McDowell, however, Cavell consistently rejects the idea that philosophical clearsightedness can or should free us from that fear of groundlessness which motivates the traditional search for external justification. (shrink)

Some sounds have pitch, some do not. A tuba’s notes are lower pitched than a flute’s, but the fuzz from an untuned radio has no discernible pitch. Pitch is an attribute in virtue of which sounds that possess it can be ordered from “low” to “high”. Given how audition works, physics has taught us that frequency determines what pitch a sound auditorily appears to have.

This paper examines the representationalist view of experiences in the light of the phenomena of perfect and relative pitch. Two main kinds of representationalism are identified - environment-based and cognitive role-based. It is argued that to explain the relationship between the two theories a distinction should be drawn between various types of implicit and explicit content. When investigated, this distinction sheds some light on the difference between the phenomenology of perfect and relative pitch experiences and may be usefully (...) applied to describe the nature of experiences in the other sense modalities. (shrink)

Height-pitch associations are claimed to be universal and independent of language, but this claim remains controversial. The present study sheds new light on this debate with a multimodal analysis of individual sound and melody descriptions obtained in an interactive communication paradigm with speakers of Dutch and Farsi. The findings reveal that, in contrast to Dutch speakers, Farsi speakers do not use a height-pitch metaphor consistently in speech. Both Dutch and Farsi speakers’ co-speech gestures did reveal a mapping of (...) higher pitches to higher space and lower pitches to lower space, and this gesture space-pitch mapping tended to co-occur with corresponding spatial words (high-low). However, this mapping was much weaker in Farsi speakers than Dutch speakers. This suggests that cross-linguistic differences shape the conceptualization of pitch and further calls into question the universality of height-pitch associations. (shrink)

This paper presents a novel account of focal stress and pitch contour in English dialogue. We argue that one should analyse and treat focus and pitch contour jointly, since (i) some pragmatic interpretations vary with contour (e.g., whether an utterance accepts or rejects; or whether it implicates a positive or negative answer); and (ii) there are utterances with identical prosodic focus that in the same context are infelicitous with one contour, but felicitous with another. We offer an account (...) of two distinct pitch contours that predicts the correct felicity judgements and implicatures, outclassing other models in empirical coverage or formality. Prosodic focus triggers a presupposition, where what is presupposed and how the presupposition is resolved depends on prosodic contour. If resolving the presupposition entails the proffered content, then the proffered content is uninteresting and hence the utterance is in-felicitous. Otherwise, resolving the presupposition may lead to an implicature. We regiment this account in SDRT. (shrink)

Wittgenstein was apparently looking for someone else. It was because he had not been successful that he had knocked at the Leavises’ door, to bide his time there before he looked again. On entering the house, he immediately peered through the window into the street. Yet after a moment he turned and said abruptly: “You’ve got a gramophone, I see—I don’t suppose you’ve anything worth playing.” And “Then,” so Leavis continues the description,with a marked change of tone, he exclaimed “Ah!”: (...) from the repository just at hand he pulled out the album of Schubert’s Great C Major Symphony and put the first record on the machine. A moment after the music began to sound he lifted the tone-arm, altered the speed, and lowered... (shrink)

Pitch is an audible quality of sound which can be explained not only in terms of strong correlation with sound waves’ properties, but also by a neat correlation to the properties of the sounding object. This seems to be in favour of the theory of sound labelled “distal view”, according to which sound is the vibration of the sounding object.