Perception experiments using rising and falling F0 slopes in 4 German word-final opening and closing diphthongs show that closing/opening diphthongs support the perception of falling/ rising pitch movements. The latter effect is suggested to be enhanced when the initial close vowel quality is retracted and rounded. Hence, the current knowledge of the relationship between intrinsic pitch and vow...

The paper reports on a web-based perception experiment investigating the perceptual prominence of seven attested nuclear pitch accent types plus deaccentuation in German. Unlike previous studies which link prominence judgments of accents to aspects of intonational meaning, the present study directly asks for the perceived degree of prosodic prominence. Results reveal gradual differences between...

We try to better understand decision making in baseball, specifically the interaction between visual stimuli from an incoming pitch and a hitter decision to swing. We employ a psychophysical model of human perception of moving 3d projectiles based on the angular momentum of a pitch to model and classify visual stimuli. Using this as a better characterization for "tunneling", we use this as our ...

The source of conscious experience has fueled scientific and philosophical debates for centuries. In the auditory and motor domains, it is not yet known how consciously and unconsciously obtained information combine to enable the production and perception of speaking and singing. Both forms of vocalization rely upon the interaction of brain networks responsible for perception and action. While ...

The pitch of a harmonic complex tone corresponds to its fundamental frequency (f0). Interestingly, this sensation does not depend on the physical presence of f0. The phenomenon, commonly referred to as virtual pitch [1], has often been compared to the perception of visual illusory contours. It is contrasted by the perception of spectral pitches, elicited by a tone's physically present harmonics...

In the experiment we proof the paradoxical perception of pitch. A tone sequence demonstrates this paradox: the sequence is perceived as descending, although the first and last tone are identical. The intransitivity of pitch perception generalizes (Shepard 1964). It applies also to harmonic complex tones with variate amplitude envelope and partials that are arranged in intervals different from o...

This study investigates phonetic and lexical effects on speech perception of high-falling tones and low-falling tones in Hakka and Mandarin. An identification task and a lexical decision task were conducted on 30 participants for each language. The results illustrate that onset pitch and pitch drop are more crucial phonetic attributes than offset pitch for native speakers to distinguish high-fa...