Repetition can boost memory and perception. However, repeating the same stimulus several times in immediate succession also induces intriguing perceptual transformations and illusions. Here, we investigate the Speech to Song Transformation (S2ST), a massed repetition effect in the auditory modality, which crosses the boundaries between language and music. In the S2ST, a phrase repeated several times shifts to being heard as sung. To better understand this unique cross-domain transformation, we examined the perceptual determinants of the S2ST, in particular the role of acoustics. In 2 Experiments, the effects of 2 pitch properties and 3 rhythmic properties on the probability and speed of occurrence of the transformation were examined. Results showed that both pitch and rhythmic properties are key features fostering the transformation. However, some properties proved to be more conducive to the S2ST than others. Stable tonal targets that allowed for the perception of a musical melody led more often and quickly to the S2ST than scalar intervals. Recurring durational contrasts arising from segmental grouping favoring a metrical interpretation of the stimulus also facilitated the S2ST. This was, however, not the case for a regular beat structure within and across repetitions. In addition, individual perceptual abilities allowed to predict the likelihood of the S2ST. Overall, the study demonstrated that repetition enables listeners to reinterpret specific prosodic features of spoken utterances in terms of musical structures. The findings underline a tight link between language and music, but they also reveal important differences in communicative functions of prosodic structure in the 2 domains.
While voice onset time (VOT) is known to be sensitive to a range of phonetic and linguistic factors, much less is known about VOT in spontaneous speech, since most studies consider stops in single words, in sentences, and/or in read speech. Scottish English is typically said to show less aspirated voiceless stops than other varieties of English, but there is also variation, ranging from unaspirated stops in vernacular speakers to more aspirated stops in Scottish Standard English; change in the vernacular has also been suggested. This paper presents results from a study which used a fast, semi-automated procedure for analyzing positive VOT, and applied it to stressed syllable-initial stops from a real-and apparent-time corpus of naturally-occurring spontaneous Glaswegian vernacular speech. We confirm significant effects on VOT for place of articulation and local speaking rate, and trends for vowel height and lexical frequency. With respect to time, our results are not consistent with previous work reporting generally shorter VOT in elderly speakers, since our results from models which control for local speech rate show lengthening over real-time in the elderly speakers in our sample. Overall, our findings suggest that VOT in both voiceless and voiced stops is lengthening over the course of the twentieth century in this variety of Scottish English. They also support observations from other studies, both from Scotland and beyond, indicating that gradient shifts along the VOT continuum reflect subtle sociolinguistic control.
Rhythmic properties of speech and language have been a matter of long-standing debates, with both traditional production and perception studies delivering controversial findings. The present study examines the possibility of investigating linguistic rhythm using movementbased paradigms. Informed by the theory and methods of sensorimotor synchronization, we developed two finger-tapping tasks (synchronization and reproduction), and tested them with English participants. The synchronization task required participants to tap along with the beat of a looped sentence while the reproduction task asked them to tap out the perceived beat patterns after listening to a sentence loop. The results showed that both tasks engaged participants in period tracking of a beat-like structure in the linguistic stimuli, though synchronization did so to a greater extent. Patterns obtained in the reproduction task tended to converge toward participants' spontaneous tapping rates and showed a degree of regularization. Data collected in the synchronization task displayed a consistent anchoring of taps with the vowel onsets. Overall, synchronization performance with language resembled many well-established findings of sensorimotor synchronization with metronome and music. We conclude that our setting of the sensorimotor synchronization paradigm-finger tapping along with looped spoken phrases-is a valid experimentation tool for studying rhythm perception in language.
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