PubMed · 5668055
The source did not provide an abstract. Follow the original record for more information.
Explore connections, maps & timelines
G A Soderberg. 1968. Delayed auditory feedback and stuttering.. https://doi.org/10.1044/jshd.3303.260
Cite the original work for its findings. Save a collection to share your selection of sources.
KEEP EXPLORING
Music, like other forms of expression, requires specific skills for its production, and the organization and representation of these skills in the human brain are not well understood. With the use of positron emission tomography and magnetic resonance imaging, the functional neuroanatomy of musical sight-reading and keyboard performance was studied in ten professional pianists. Reading musical notations and translating these notations into movement patterns on a keyboard resulted in activation of cortical areas distinct from, but adjacent to, those underlying similar verbal operations. These findings help explain why brain damage in musicians may or may not affect both verbal and musical functions depending on the size and location of the damaged area.
The temporal properties of speech appear to play a more important role in linguistic contrasts than has hitherto been appreciated. Therefore, a new framework for describing the acoustic structure of speech based purely on temporal aspects has been developed. From this point of view, speech can be said to be comprised of three main temporal features, based on dominant fluctuation rates: envelope, periodicity, and fine-structure. Each feature has distinct acoustic manifestations, auditory and perceptual correlates, and roles in linguistic contrasts. The applicability of this three-featured temporal system is discussed in relation to hearing-impaired and normal listeners.
This paper reviews progress in understanding the psychology of lipreading and audio-visual speech perception. It considers four questions. What distinguishes better from poorer lipreaders? What are the effects of introducing a delay between the acoustical and optical speech signals? What have attempts to produce computer animations of talking faces contributed to our understanding of the visual cues that distinguish consonants and vowels? Finally, how should the process of audio-visual integration in speech perception be described; that is, how are the sights and sounds of talking faces represented at their conflux?