Sentence examples for listener performance from inspiring English sources

Their responses were analyzed in order to determine the effect of sonification design on listener performance.

Listener performance was first measured in a baseline task with unmodified stimuli, and then compared to responses with resynthesized stimuli under three conditions: (1) normalized mean-pitch; (2) normalized duration; and (3) normalized linear predictive coefficients (LPCs).

These results show that L2 listeners' performance crucially depends on the nature of the task, with higher L2 listener accuracy on an acoustic-phonetic analysis task than on tasks involving lexical processes.

In another future study, we intend to change the minimum perceived levels of pitch, rate and volume, in order to eliminate the pitfalls of the current study and to optimize listeners' performance (e.g., the misunderstanding of bold-italics and bold during their acoustic rendition) or the use of non-linear quantization.

As the participants were not trained with the acoustic representation of the typography, it would be very interesting to examine, in a future study, the proposed methodology in an experiment with trained participants with the same prosodic variations in order to examine "if" and "how much" a training session possibly optimize listeners' performance.

The frequency difference (ΔF) between the two tones on the first different trial was 500 Hz and it was adapted based on listeners' performance using a 3 down/1 up staircase procedure converging on a performance level of 79% [23].

DOI: http://dx.doi.org/10.7554/eLife.00699.004 It is difficult to account for listeners' performance in experiments 1 and 2 based on the standard, adaptation-based models proposed in the context of the streaming paradigm (Micheyl et al., 2007a; Fishman and Steinschneider, 2010a).

The experiment showed that exchanging speech rhythm alone or speech rhythm combined with intonation had very little effect on the listeners' dialect identification performance: listeners appear to use primarily segmental information in the identification process.

In contrast, in the same listeners, average performance for AM of wideband noise carriers was still not adult-like in the 11 12 y/o, though performance consistency was already mature in the 8 10 y/o.

Yet over the last three decades, the early-music movement has conditioned listeners to performances of Baroque music that abound with fleet tempos, dry articulation, clipped rhythmic execution and liberal use of rubato.

There were moments when a listener thought the performance would take that long as well.