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Mothers and their offspring perceive the tritone paradox in closely similar ways

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Warianty tytułu
Języki publikacji
EN
Abstrakty
EN
The tritone paradox is produced when two tones that are related by a half-octave (or tritone) are presented in succession, and the tones are so constructed that their pitch classes (C, C#, D; and so on) are clearly defined but their pitch heights are ambiguous. When listeners judge whether such tone pairs form ascending or descending patterns, their judgments show orderly relationships to the positions of the tones along the pitch-class circle: Tones in one region of the circle are heard as higher and those in the opposite region as lower. However, listeners disagree substantially as to which tones are heard as higher and which as lower, and these perceptual differences correlate with the language or dialect to which the listener has been exposed. In the present study, perceptions of mothers and their offspring were found to be strikingly similar, indicating that the mental representation influencing perception of the tritone paradox is formed early in life and survives into adulthood. It is conjectured that this mental representation is formed during the critical period in which infants acquire the features of their native language.
Słowa kluczowe
EN
Rocznik
Strony
517--528
Opis fizyczny
Bibliogr. 28 poz., rys.
Twórcy
autor
  • University of California Department of Psychology La Jolla, CA 92093, San Diego, U.S.A.
Bibliografia
  • [1] DEUTSCH D., A musical paradox, Music Perception, 3, 275–280 (1986).
  • [2] DEUTSCH D., The tritone paradox: An influence of language on music perception, Music Perception, 8, 335–347 (1991).
  • [3] DEUTSCH D., Paradoxes of musical pitch, Scientific American, 267, 88–95 (1992).
  • [4] DEUTSCH D., HENTHORN T., DOLSON M., Speech patterns heard early in life influence later perception of the tritone paradox, Music Perception, 21, 357–372 (2004).
  • [5] DEUTSCH D., KUYPER W. L., FISHER Y., The tritone paradox: Its presence and form of distribution in a general population, Music Perception, 5, 79–92 (1987).
  • [6] DEUTSCH D., NORTH T., RAY L., The tritone paradox: Correlate with the listener’s vocal range for speech, Music Perception, 7, 371–384 (1990).
  • [7] DOLSON M., The pitch of speech as a function of linguistic community, Music Perception, 11, 321–331 (1994).
  • [8] GIANGRANDE J., The tritone paradox: Effects of pitch class and position of the spectral envelope, Music Perception, 15, 1–12 (1998).
  • [9] DAWE L. A., PLATT J. R., WELSH E., Spectral motion after-effects and the tritone paradox among Canadian subjects, Perception and Psychophysics, 60, 209–220 (1998).
  • [10] CHALIKIA M. H., MILLER K. L., VAID J., The tritone paradox is perceived differently by Koreans and Americans, Paper presented at the 101-st Annual Convention of the American Psychological Association, San Francisco, CA. 2001.
  • [11] CHALIKIA M. H., LEINFELT F., Listeners in Sweden perceive tritone stimuli in a manner different from that of Americans and similar to that of British listeners, Journal of the Acoustical Society of America, 108, 2572 (2000).
  • [12] DOUPE A. J., KUHL, P. K., Birdsong and human speech: Common themes and mechanisms, Annual Review of Neuroscience, 22, 567–631 (1999).
  • [13] KUHL P. K., A new view of language acquisition, Proceedings of the National Academy of Sciences, 97, 11850–11857 (2000).
  • [14] WERKER J. F., TEES R., Cross-language speech perception: evidence for perceptual reorganization during the first year of life, Infant Behavioral Development, 7, 49–63 (1984).
  • [15] RAGOZZINE F., DEUTSCH D., A regional difference in perception of the tritone paradox within the United States, Music Perception, 12, 213–225 (1994).
  • [16] MOON C., COOPER R. P. FIFER W. P., Two-day-olds prefer their native language, Infant Behavioral Development, 16, 495–500 (1993).
  • [17] DECASPER A. J., FIFER W. P., Of human bonding: Newborns prefer their mothers’ voices, Science, 208, 1174–1176 (1980).
  • [18] DECASPER A. J. SPENCE M. J., Prenatal maternal speech influences newborns’ perception of speech sounds, Infant Behavioral Development, 9, 133–150 (1986).
  • [19] DEUTSCH D., The tritone paradox: effects of spectral variables, Perception and Psychophysics, 41, 563–575 (1987).
  • [20] DEUTSCH D., The tritone paradox: Some further geographical correlates, Music Perception, 12, 125–136 (1994).
  • [21] COHEN A. J., GROSSBERG S., WYSE L. L., The tritone paradox revisited: Effects of musical training, envelope peak, and response mode, Journal of the Acoustical Society of America, 95, 2937 (1994).
  • [22] REPP B. H., Spectral envelope and context effects in the tritone paradox, Perception, 26, 645–665 (1997).
  • [23] BESSON M., SCHON D., Comparison between language and music, [in:] Zatorre R. J. and Peretz I. [Eds.], The Biological Foundations of Music, Annals of the New York Academy of Sciences, 930, 232–258 (2001).
  • [24] SAMSON S. EHRLE N., Cerebral substrates for musical temporal processes, [in:] Peretz I., Zatorre R. [Eds.] The Cognitive Neuroscience of Music, pp. 204–206, Oxford University Press, Oxford 2003.
  • [25] CUTLER A., Linguistic rhythm and speech segmentation, [in:] Sundberg J., Nord L., Carlson R. [Eds.] In Music, Language, Speech, and Brain, pp. 157–166, Macmillan, London 1991.
  • [26] CUTLER A., DAHAN D., VAN DONSELAAR W., Prosody in the comprehension of spoken language: A literature review, Language and Speech, 40, 141–210 (1997).
  • [27] REPP B. H., The tritone paradox and the pitch range of the speaking voice: A dubious connection, Music Perception, 12, 227–255 (1994).
  • [28] DEUTSCH D., The tritone paradox and the pitch range of the speaking voice: Reply to Repp, Music Perception, 12, 257–263 (1994).
Typ dokumentu
Bibliografia
Identyfikator YADDA
bwmeta1.element.baztech-6add8b9a-9772-438a-a80a-d507d096bded
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