Continuous uptake of acoustic cues in spoken word recognition

Warren, Paul; Marslen–Wilson, William D.

doi:10.3758/bf03208224

Cited by 131 publications

(115 citation statements)

References 39 publications

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“…Instead of passing through initial stages that discard information by transforming the acoustic input into an abstract phonological or syllabic code, lexical access uses the full detail of the speech signal in identifying words (cf. Andruski, Blumstein, & Burton, 1994;Marslen-Wilson & Warren, 1994;Warren & Marslen-Wilson, 1987. We suggest that models such as TRACE and Shortlist, in which input representations are phonemically categorized, would be unable in their current form to simulate the experimental data reported in this article.…”

Section: Modeling Spoken Word Identificationmentioning

confidence: 74%

“…The first alignment point (AP 1 ) was placed at the offset of the syllable forming the embedded word, such as /kaep/ in cap or captain (see Warren & Marslen-Wilson, 1987, for the procedure used to identify syllable offsets). Measurements of the duration of this embedded syllable (onset to AP 1 ) showed a marked difference in acoustic duration between syllables from short and long words (syllable duration: monosyllables ϭ 291 ms, bisyllables ϭ 243 ms), t(39) ϭ 9.35, p Ͻ .001.…”

Section: Alignment Points and Acoustic Analysismentioning

confidence: 99%

See 1 more Smart Citation

Leading up the lexical garden path: Segmentation and ambiguity in spoken word recognition.

Davis¹,

Marslen–Wilson²,

Gaskell³

2002

Journal of Experimental Psychology: Human Perception &Amp; Performance

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Section: Modeling Spoken Word Identificationmentioning

confidence: 74%

Section: Alignment Points and Acoustic Analysismentioning

confidence: 99%

Leading up the lexical garden path: Segmentation and ambiguity in spoken word recognition.

Davis¹,

Marslen–Wilson²,

Gaskell³

2002

Journal of Experimental Psychology: Human Perception &Amp; Performance

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“…We made use of Warren and Marslen-Wilson's (1987) demonstration that listeners are sensitive to nasal coarticulation as well as West's (1999) demonstration that listeners are sensitive to liquid coarticulation. Warren and Marslen-Wilson showed that listeners can detect and use nasalization by the middle of a vowel to anticipate an upcoming nasal consonant.…”

Section: Introductionmentioning

confidence: 99%

Auditory word identification in dyslexic and normally achieving readers

Bruno

Manis

Keating

et al. 2007

Journal of Experimental Child Psychology

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The integrity of phonological representation/processing in dyslexic children was explored with a gating task in which children listened to successively longer segments (gates) of a word. At each gate, the task was to decide what the entire word was. Responses were scored for overall accuracy as well as the children's sensitivity to coarticulation from the final consonant. As a group, dyslexic children were less able than normally achieving readers to detect coarticulation present in the vowel portion of the word, particularly on the most difficult items, namely those ending in a nasal sound. Hierarchical regression and path analyses indicated that phonological awareness mediated the relation of gating and general language ability to word and pseudoword reading ability.

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“…To review, the cohort theory argues of spoken word identification argues relies on temporally ordered, bottom-up processing and claims that a word is identified when the physical input reaches a point that distinguishes it from all other words in the lexicon (Warren & Marslen-Wilson, 1987, 1988. Identification is unlikely to occur before this divergence point, and information that follows the divergence point should be relatively inconsequential.…”

Section: How Is the Physical Stimulus Reconciled With Its Correspondimentioning

confidence: 99%

Musical Features That Facilitate Melody Identification: How Do You Know It's “Your” Song When They Finally Play It?

2003

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JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.. University of California Press Duke UniversityWhat information do listeners use to "Name that Tune"? This question was investigated in a two-phase experiment. In Phase 1, the participants heard familiar melodies that were played on a note-by-note basis until they were identified. In Phase 2, each note of the melody was analyzed along a variety of musical dimensions. Multiple regression analyses determined which musical characteristics predicted identification performance. Identification was most strongly associated with notes located at phrase boundaries, notes that completed alternating sequences of rising and falling pitches, and metrically accented notes. As well, identification peaked after listeners heard moderate amounts of information (i.e., 5-7 notes). The data suggest that melody identification is a holistic, all-ornone process and that parallels can be drawn between melody and spoken word identification. Implications for current theories, future research, and the relationship between music perception and melody identification are discussed.

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Continuous uptake of acoustic cues in spoken word recognition

Cited by 131 publications

References 39 publications

Leading up the lexical garden path: Segmentation and ambiguity in spoken word recognition.

Leading up the lexical garden path: Segmentation and ambiguity in spoken word recognition.

Auditory word identification in dyslexic and normally achieving readers

Musical Features That Facilitate Melody Identification: How Do You Know It's “Your” Song When They Finally Play It?

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