A Case Study : REPET And Foundation Subtraction?

“involves a subject conducting a certain task, in this case recalling a series of numbers, while listening to different kinds of background music. If sound exhibits acoustical variations, or what Perham calls an "acute changing-state," performance is impaired. Steady-state sounds with little acoustical variation don't impair performance nearly as much.”(Cutler).

The director and creative team shot abstract video and used audio replication to manipulate the sensations audiences experience when viewing this film. It is hard to know if the characters are experiencing diagetic sound, or if the audio is removed from their

In this paper, I will inform of three concepts from the textbook Communication Matters, Second Edition by Kory Floyd that was most beneficial to my learning throughout the course of Speech 1700. The three concepts I selected to discuss of are affect displays, belief, and scripted speech. In addition, I will explain each concept that I selected by providing a necessary theoretical background and general examples. Moreover, I will discuss of each concepts and its benefits to my learning of communication. Furthermore, I will discuss of each concept 's importance in my daily communications and my application usage in personal and professional settings. Lastly, I will conclude of the overall experience learning of communications and the three concepts I selected that I found beneficial to my daily communication.

Ventriloquism suggests that as our perception of the location of sound changes, the actual physical origin does not (Choe, Welch, Gilford, & Juola, 1975). Its effects are shown as sounds are deemed to be coming from a different direction due to the perceiver being influenced by visual stimuli (Sharma, & Smith, 1987). This effect is exploited by stage ventriloquists who manipulate the movements of a puppet or dummy whilst speaking without moving their mouths (Pages, & Groh,

Auditory selective attention modulates the cortical responses. Because of the corticofugal feedback from the auditory cortex to the brainstem level, the brainstem responses are affected by higher order mechanisms. Auditory selective attention increases selectivity and shifts the responses to the target sound. In this study in order to evaluate selectivity at the brainstem level during auditory selective attention, the cross-phasogram method was used. The responses were obtained in 15 normal hearing subjects. In this study, the cross-phasogram method was applied to the brainstem responses to the diotically-presented /ba/ and /da/ stimuli. Then it was applied to the brainstem responses to the dichotically-presented /ba/ and /da/ stimuli while

The Los Angeles’ Film School stated the compounding of all three types of sounds in which includes human voices, sound effects and music gives the realistic feel of a film to the audiance. Further more, the original sound clips impacts the high quality sounds which would be believable rather than using the sound libraries for the sound effects which had already been made by someone as well as used for panelty of times. The synchronization of sounds and dialogues espacially in action films are the important one. If the sound does not match the action which is being presented on a screen so the factor of the believe would not even come closer. Harrell L. Scott said that the picture as visual and sound as audio are the two significant elements,

Based on the results of auditory transcription of tone productions by participants of this study, the major confusion pattern among speakers with non-distinctive production was T5 produced as T2, which seemed to align with the acoustic analyses. The acoustic forms of T5 were found to approximate those of T2 in terms of F0 offset and amplitude rise time [see Fig. 2(a) and Table III]. For the ERP findings, early components were elicited in the T2/T5 condition from the permutation test for both groups, whereas an early component in the T5/T2 condition was observed only in the [+Pro+Per] group. These results are particularly interesting as temporal cues are generally recognized as secondary or concomitant to the primary cue of F0 in the literature of tone perception (Gandour, 1983; Khouw and Ciocca, 2007). In cognitive frameworks of auditory perception (Holt and Lotto, 2008, 2010), the speech signal encompasses a multitude of acoustic

The indirect or reverberant sound field begins to dominate the listening environment when the child moves far from the teacher. The indirect sound field originates at the “critical distance” of the room (point in the room where reverberant sound level and direct sound level are equal). If the child is within the critical distance (the direct sound field), reverberation will have minimal effects. Beyond the critical distance (the indirect sound field), however, these reflections can reduce speech perception ability. Speech perception scores decreases when the distance increases, till the critical distance of the room is reached (Crandell, 1991; Crandell & Bess, 1986; Leavitt & Flexer, 1991; Peutz, 1971). After the critical distance, perception

used in remembering phone numbers. The phonological loop consists of two parts, the phonological store and the articulatory control process. The phonological store is linked to speech perception and holds speech for a couple of seconds, spoken words are stored directly but written words are first converted into spoken code before being stored. Articulatory control process is linked to speech production and is an inner voice that rehearses information stored in the phonological loop, circling it over and over on repeat. For example, when you repeat a phone number multiple times so not to forget it. The articulatory control processes written information into spoken code so it can be stored in the phonological

When visual information clashes with that from sound, sensory crosstalk can cause what we see to alter what we hear. When one sense drops out, another can pick up the slack. For instance, people who are blind can train

How I know what I do is a direct result of previous experience, either firsthand or through a secondary source, and it’s how I and all people grow and learn. However, if just for a moment I can put aside those associations and biases, some of which are perhaps instinctive and neuroscientific in nature, I gain a new perspective on what I observe. I entered this exercise with expectations and left with a new understanding of not only the soundscape, but of my own preconceptions.

Though Matlin (2012) says that speech perception is the sounds and translation of vibrations of someone talking, it is also the familiar cues that are presented through the visual. This study that Rouger, Fraysse, Deguine, and Barone (2008) conducted on Cochlear-implanted subjects shows that visual perception of speech is an important aspect not just audio perception, relating to the illusion that speech perception has on normal hearing

Sound localization occurs via interaural delay and interaural intensity, which affect the olivary bodies. Binaural hearing, the use of both ears, allows these processes to occur. However, individuals with asymmetric hearing loss or autism may struggle with sound localization, as binaural hearing is impossible and the olivary bodies have defects, respectively. One of the properties of sound, amplitude, tests spatial hearing abilities in this experiment. The hypothesis states that an increase in amplitude results in improved sound localization. In the study, a 180-degree angle was formed by lettered points. Blindfolded subjects pointed to the location a sound was played at, albeit a loud, moderate, or soft tone. Additionally, subjects completed trials in which the right ear was shut and both ears were open, in order to test binaural versus monaural hearing.

When most people see a wavelength of light, they find no difficulty in associating it with a color. Yet hearing a frequency of sound and associating

Speech codes theory was first published in prototypical form with an introduction to the concept of speech codes and a presentation of four empirically grounded principles about speech codes (Philipsen, 1992). Then it was presented as a formal theoretical statement with five empirically grounded propositions, four of which were carried over intact from the earlier version (Philipsen, 1997). Speech codes theory was created for two purposes. One purpose was to distill some of what might be learned from a large body of fieldwork research on culturally distinctive ways of speaking. When the first version of speech codes theory was written, there had been established a large body of fieldwork about cultural ways of speaking that had been conducted and published under the auspices of the ethnography of speaking (Hymes, 1968). Some 250 of these studies were cited in