Alison Lester's Sophie Scott Goes South
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The Roles of Attention and Sensory Information During Speech
PSSXXX10.1177/0956797614563766Meekings et al.Do We Know What We’re Saying? 563766research-article2015 Commentary Psychological Science 2015, Vol. 26(12) 1975 –1977 Do We Know What We’re Saying? © The Author(s) 2015 Reprints and permissions: sagepub.com/journalsPermissions.nav The Roles of Attention and Sensory DOI: 10.1177/0956797614563766 Information During Speech Production pss.sagepub.com Sophie Meekings, Dana Boebinger, Samuel Evans, César F. Lima, Sinead Chen, Markus Ostarek, and Sophie K. Scott Institute of Cognitive Neuroscience, University College London Received 5/19/14; Revision accepted 11/20/14 Lind, Hall, Breidegard, Balkenius, and Johansson (2014a, experiment, of the word that they currently needed to 2014b) recently published articles tackling a core question inhibit. Lind et al. focused their analysis and interpreta- concerning speech production: At which stage of process- tion exclusively on those trials within this subset in ing are communicative intentions specified? Taking a posi- which participants did not notice that the word had tion contrary to dominant models of speech production been exchanged. However, according to the criteria (e.g., Levelt, 2001), they suggested that utterances “often Lind et al. used, there was evidence that the majority of are semantically underspecified” (Lind et al., 2014a, p. 8) these exchanges were in fact detected (~73%), and only before articulation, and that “auditory feedback” (Lind a minority went unnoticed (~27%). The frequent detec- et al., 2014a, 2014b) is an important mechanism for speci- tion of the manipulations suggests that auditory feed- fying the meaning of what one says. In their experiment back is unlikely to be a prime mechanism (Lind et al., (Lind et al. -
Adventures of the Amazing Revelators
The Adventures of the Amazing Revelators "I don't see this as a greatest hits recording, more an opportunity to pay homage to some of the great writers of our time. The Revelators were formed out of a desire to keep this music alive. Some of these songs have been with us for some time - others we were drawn to because of their charm.... and every word is true." Joe Camilleri These were the words that graced The Revelators' 1991 debut CD release. 'Debut' is an odd word to use for a group of musicians who have been an integral part of the Australian music scene for so long. The Revelators The Revelators story started in the late 80's when Joe Camilleri, along with friends James Black and Joe Creighton, took to the stage as 'The Delta Revelators' . Their desire was to blow out the serious days' work with people who shared the same interest in music and who simply wanted to play it. On stage with Pete Luscombe on drums (Black Sorrows, Paul Kelly, Rebecca's Empire) and Jeff Burstin on guitar (Black Sorrows, Vika & Linda) the word spread that this was a great band. Soon the occasional gig was not enough to keep the punters happy. Regular sessions at ID's (now The Continental) and The Botanical Hotel had the fans asking 'When are you going to do a CD?' 'Amazing Stories' 'Amazing Stories' was released in 1991 and everyone in the band agreed it was the best album they had ever made. The fans felt the same and the CD is still eagerly sought after by roots music aficionados. -
Biography 2002
THE BLACK SORROWS Biography 2002 Joe Camilleri is an Australian legend who has given his life to music. In the mid 80s following the success of his first band, Jo Jo Zep and The Falcons, Joe Camilleri gathered together a group of musician friends and dubbed them The Black Sorrows. The band began playing for the fun of it, recording independent albums and selling them out of the boot of his car. When radio picked up the classic track, 'Mystified',The Black Sorrows really took flight. They signed to CBS and proceeded to release some of Australia's most successful albums including the multi-platinum sellers Hold On To Me, Harley & Rose and The Chosen Ones. Over the past fifteen years, The Black Sorrows have toured Australia more times than anyone can remember, played sell out shows across Europe, won the ARIA for 'Best Band' and sold more than a million albums world-wide. Joe Camilleri's songs have become part of our lives. The Sorrows' string of hits is seemingly endless: Dear Children, Country Girls, Snake Skin Shoes, Harley & Rose, The Chosen Ones, Mystified, Ain't Love The Strangest Thing, Better Times, Never Let Me Go, Chained To The Wheel, Daughters of Glory, Stir It Up, New Craze... and he's certainly not done yet. Look around the world and you have to put Joe in the same company as people like Eric Clapton and Van Morrison - legends, performers whose careers span decades, transcending all styles and fads, performers who are loved for the fact that they're obviously in it for the music. -
ARIA Charts, 1993-01-10 to 1993-04-18
4 i Enjoy iian /21.'oril industty %s °clai!? m 1'3 A U S T R A L I A N SINGLES CHART ALBUMS CHART TW LW TI TITLE / ARTIST TW LW TI TITLE / ARTIST 1 1 6 I WILL ALWAYS LOVE YOU Whitney Houston A BMG 4321120654 *1 3 4 STILL THE 12TH MAN The Twelfth Man A2 EMI 8141392 *2 12 7 YOU DON'T TREAT ME NO GOOD Sonia Dada • FES C 12078 *2 10 11 TIMELESS (THE CLASSICS) Michael Bolton A COL/SONY 472302.2 3 2 14 END OF THE ROAD Boyz II Men A PDR/POL 8600644 3 1 10 ABBA GOLD • GREATEST HITS ABBA A2 PDR/POL 5172752 4 4 10 ACCIDENTLY KELLY STREET Frente A VVHUFES C 12063 *4 14 17 UNPLUGGED Eric Clapton A WARNER 9362450242 5 3 10 WOULD I LIE TO YOU? Charles & Eddie • EMI 8802284 *5 23 4 THE BODYGUARD Soundtrack BMG 7822186992 6 7 25 NOVEMBER RAIN Guns n' Roses A GEF/BMG GEFCS19067 6 7 6 MARVIN THE ALBUM Frente A WHI/FES D 93367 *7 18 7 DECEMBER 1963 (OH WHAT A NIGHT) The Four Seasons SONY 658441.8 7 5 9 THE ESSENTIAL COLLECTION Joe Cocker A EMI 7807572 8 5 20 ACHY BREAKY HEART Billy Ray Cyrus A2 PHON/POL 8640554 *8 16 10 COOLEYHIGHHARMONY Boyz II Men A PDR/POL 530 089-2 9 6 18 THE DAY YOU WENT AWAY Wendy Matthews • WARNER 4509905224 9 2 9 GLITTERING PRIZE 81.92 Simple Minds A VIR/EMI 7865082 10 10 9 TEQUILA A.L.T. -
Songs by Title
Karaoke Box London www.karaokebox.co.uk 020 7329 9991 Song Title Artist 22 Taylor Swift 1234 Feist 1901 Birdy 1959 Lee Kernaghan 1973 James Blunt 1973 James Blunt 1983 Neon Trees 1985 Bowling For Soup 1999 Prince If U Got It Chris Malinchak Strong One Direction XO Beyonce (Baby Ive Got You) On My Mind Powderfinger (Barry) Islands In The Stream Comic Relief (Call Me) Number One The Tremeloes (Cant Start) Giving You Up Kylie Minogue (Doo Wop) That Thing Lauren Hill (Everybody's Gotta Learn Sometime) I Need Your Loving Baby D (Everything I Do) I Do It For You Bryan Adams (Hey Wont You Play) Another Somebody… B. J. Thomas (How Does It Feel To Be) On Top Of The World England United (I Am Not A) Robot Marina And The Diamonds (I Love You) For Sentinmental Reasons Nat King Cole (If Paradise Is) Half As Nice Amen Corner (Ill Never Be) Maria Magdalena Sandra (I've Had) The Time Of My Life Bill Medley and Jennifer Warnes (Just Like) Romeo And Juliet The Reflections (Just Like) Starting Over John Lennon (Keep Feeling) Fascination The Human League (Maries The Name) Of His Latest Flame Elvis Presley (Meet) The Flintstones B-52S (Mucho Mambo) Sway Shaft (Now and Then) There's A Fool Such As I Elvis Presley (Sittin On) The Dock Of The Bay Otis Redding (The Man Who Shot) Liberty Valance Gene Pitney (They Long To Be) Close To You Carpenters (We Want) The Same Thing Belinda Carlisle (Where Do I Begin) Love Story Andy Williams (You Drive Me) Crazy Britney Spears 1 2 3 4 (Sumpin New) Coolio 1 Thing Amerie 1+1 (One Plus One) Beyonce 1000 Miles Away Hoodoo Gurus -
6-7 January 2005 1
LONDON MEETING 6-7 JANUARY 2005 1 A scientific meeting will be held at the Department of Psychology, University College London on 6/7 January, 2005. The local organiser is Dr Sophie Scott. EPS Prize Lecture Thursday 6 January at 5.30 – 6.30 A Framework for Facial Expression Recognition: Better Late than Never Dr Andy Calder, (MRC Cognition and Brain Sciences Unit, Cambridge) Symposia Thursday 6 January 9.30 – 1pm Mechanisms of Imitation Organiser: Professor Cecilia Heyes Friday 7 January 10.00 – 1pm “The Social Face” Organiser: Dr Andy Calder Poster Session Will be held on Thursday 6 January at 4pm – 5.30pm in Room 305 (Third Floor Seminar Room) and the Third Floor Common Room. Assigned poster numbers can be found in the Poster Index of this programme. Delegates may put up posters from 9.00 and take them down by 5.30. Platform Presentations Sessions will be held in the Ground Floor and Lower Ground Floor Lecture Theatres of the Psychology Department (26 Bedford Way, WC1). Both theatres have data projectors available for Powerpoint presentations. Presenters may provide their own laptops and connector leads, or bring disks or CDs for the on-site computers which run Powerpoint 97 under Windows NT/2000. Any queries about facilities in the theatres should be sent to the local organiser, Sophie Scott ([email protected]) Coffee will be served in Room 308 (Third Floor Common Room) There will be a drinks reception on Thursday evening at 6.30 in the Old Refectory, on the main UCL campus. The conference dinner will be at 7.30 at Bertorelli’s, 19-23 Charlotte Street, London WC1 – (020-7636 4174). -
Bio the Revelators
The Revelators LAUNCH THEIR 3rd LP THE REVELATORS So you’ve played the stadiums, you’ve topped the charts, you’ve toured the world and racked up gold, platinum and sundry other mantelpiece trifles. You’ve written songs, recorded albums, managed bands, produced bands, played sessions and watched your stock rise, fall and rise again on the whims of fashion. Four decades later, what really matters? For The Revelators, THE it’s the music itself and the people you play it with. It’s how much you love it and how well you do it. And it’s something REVELATORS else you’ll never quite put your finger on. James Black: ‘It’s probably a soul thing primarily. We like roots music, that style of playing, that mixture of blues and soul and country with good songs thrown in. We’ve also made a lot of records so we’re always trying to get a good feeling, a good sound. And we can play.’ Joe Creighton: ‘It’s an opportunity to plug directly into that source material, whether it’s John Lee Hooker or Muddy Waters or Doug Sahm. We approach roots music in the way jazz musicians play: we open it up and jam on it, we don’t play a song the same way every night.’ Joe Camilleri: ‘For me, it’s as simple as loving the people and loving what they do. Joe Creighton’s one of the best bass players in Australia and James is a world class musician too. He’s always looking for something inside a song. -
Jen Anderson: Discography 1 Contents 1. Discography Chronology
Jen Anderson: Discography 1 as solo artist and band member Last updated 31 May 2010 Contents 1. Discography Chronology: All recordings (no details) ………………………… 1. • LPs • Singles and EPs • Compilations 2. Jen Anderson (incl. Sonic Lifeform / soundtracks) ………………………… 2. 3. Black Sorrows ………………………………………………………………. 5. 4. Weddings Parties Anything …………………………………………................ 7. 5. Tim Rogers and the Twin Set ……………………………………………. 11. 6. Mick Thomas ………………………………………………………………. 12. ° Also as producer. * Not then an official member of Weddings Parties Anything. This discography is incomplete. __________________________________________________________________________________________ 1. Discography Chronology LPs 1990: Harley and Rose (Black Sorrows) 1992: Better Times (Black Sorrows) • Difficult Loves (Weddings Parties Anything)* 1993: Pandora's Box (Jen Anderson)° • King Tide (Weddings Parties Anything) 1995: Donkey Serenade (Weddings Parties Anything) 1997: Riveresque / Garage Sale (Weddings Parties Anything) 1998: Trophy Night (Weddings Parties Anything) 1999: What Rhymes with Cars and Girls (Tim Rogers and the Twin Set)° • Silent Catalyst (Sonic Lifeform with Jen Anderson) • They Were Better Live (Weddings Parties Anything) 2000: Goddess of 1967 (Jen Anderson)° 2004: The Sentimental Bloke (Jen Anderson)° • Anythings, Sure Thimgs, Other Things (Mick Thomas) Singles / EPs 1991: "Never Let Me Go" and "Hold it Up to the Mirror" (Black Sorrows) 1992: "Harley and Rose," "Better Times" and "Ain't Love the Strangest Thing" (Black Sorrows) • Seek (EP, -
The Role of Imitation in Learning to Pronounce
The Role of Imitation in Learning to Pronounce Piers Ruston Messum University College London April 2007 1 UMI Number: U592142 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI U592142 Published by ProQuest LLC 2013. Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 Declaration I, Piers Ruston Messum, declare that the work presented in this thesis is my own. Where information has been derived from other sources this has been acknowledged in the thesis. 2 Abstract Timing patterns and the qualities of speech sounds are two important aspects of pronunciation. It is generally believed that imitation from adult models is the mechanism by which a child replicates them. However, this account is unsatisfactory, both for theoretical reasons and because it leaves the developmental data difficult to explain. I describe two alternative mechanisms. The first explains some timing patterns (vowel length changes, ‘rhythm’, etc) as emerging because a child’s production apparatus is small, immature and still being trained. As a result, both the aerodynamics of his speech and his style of speech breathing differ markedly from the adult model. -
Discriminating Between Auditory and Motor Cortical Responses to Speech and Nonspeech Mouth Sounds
Discriminating between Auditory and Motor Cortical Responses to Speech and Nonspeech Mouth Sounds Zarinah K. Agnew, Carolyn McGettigan, and Sophie K. Scott Downloaded from http://mitprc.silverchair.com/jocn/article-pdf/23/12/4038/1777201/jocn_a_00106.pdf by guest on 18 May 2021 Abstract ■ Several perspectives on speech perception posit a central role mouth (ingressive click) sounds. Speech sounds activated bilat- for the representation of articulations in speech comprehension, eral superior temporal gyri more than other sounds, a profile Downloaded from http://direct.mit.edu/jocn/article-pdf/23/12/4038/1942776/jocn_a_00106.pdf by guest on 25 September 2021 supported by evidence for premotor activation when participants not seen in motor and premotor cortices. These results suggest listen to speech. However, no experiments have directly tested that there are qualitative differences in the ways that temporal whether motor responses mirror the profile of selective auditory and motor areas are activated by speech and click sounds: Ante- cortical responses to native speech sounds or whether motor rior temporal lobe areas are sensitive to the acoustic or phonetic and auditory areas respond in different ways to sounds. We used properties, whereas motor responses may show more general- fMRI to investigate cortical responses to speech and nonspeech ized responses to the acoustic stimuli. ■ INTRODUCTION and by studies showing increased corticospinal excitability Several recent theories of perceptual processing have iden- during processing of speech sounds (Fadiga et al., 2002). tified a central role for motor representations in the rec- Links between motor, somatosensory and acoustic pro- ognition of action (Rizzolatti, Fogassi, & Gallese, 2001) cessing have been suggested in the literature. -
Headmaster's Report
Headmaster's Report t is almost incredible to believe new school information manage- that this is my fourth year back ment system, all introduced this Iat King’s. In September 2011, I September, say much about the started my first Prize-Giving Speech school’s confidence and ambition, with a quotation from Aristotle: ‘We but they also speak volumes about are what we repeatedly do. Excellence the tremendous commitment and then is not an act, but a habit.’ Little hard work of my colleagues. did I realise that three short years later The last couple of years have seen the school would be launching King’s some major improvements in our Learning Habits, an initiative designed infrastructure. We have completed to promote and develop the key learn- the netball and junior cricket facili- ing skills of collaboration, reasoning, ties at Fence Avenue, refreshed and questioning, reflection and resilience. rearranged our Infant and Junior These Learning Habits will consciously accommodation and upgraded our underpin all we do at King’s and build dining halls on both sites. In the further on the excellent strides we summer term we opened the new have been making to develop lively facilities on Westminster Road and it and enquiring minds and to nurture has been one of the delights of the ambitious and well-rounded individu- new school year to see boys and girls als. from across the Foundation using Growing and developing as a the area to the full, made possible school is much the same as grow- by our new timetable arrangements. ing and developing as a person. -
Discriminating Between Auditory and Motor Cortical Responses to Speech and Nonspeech Mouth Sounds
Discriminating between Auditory and Motor Cortical Responses to Speech and Nonspeech Mouth Sounds Zarinah K. Agnew, Carolyn McGettigan, and Sophie K. Scott Downloaded from http://mitprc.silverchair.com/jocn/article-pdf/23/12/4038/1777201/jocn_a_00106.pdf by guest on 18 May 2021 Abstract ■ Several perspectives on speech perception posit a central role mouth (ingressive click) sounds. Speech sounds activated bilat- for the representation of articulations in speech comprehension, eral superior temporal gyri more than other sounds, a profile supported by evidence for premotor activation when participants not seen in motor and premotor cortices. These results suggest listen to speech. However, no experiments have directly tested that there are qualitative differences in the ways that temporal whether motor responses mirror the profile of selective auditory and motor areas are activated by speech and click sounds: Ante- cortical responses to native speech sounds or whether motor rior temporal lobe areas are sensitive to the acoustic or phonetic and auditory areas respond in different ways to sounds. We used properties, whereas motor responses may show more general- fMRI to investigate cortical responses to speech and nonspeech ized responses to the acoustic stimuli. ■ INTRODUCTION and by studies showing increased corticospinal excitability Several recent theories of perceptual processing have iden- during processing of speech sounds (Fadiga et al., 2002). tified a central role for motor representations in the rec- Links between motor, somatosensory and acoustic pro- ognition of action (Rizzolatti, Fogassi, & Gallese, 2001) cessing have been suggested in the literature. For exam- and the use of simulation to guide perception (Gallese, ple, Nasir & Ostry (2009) have shown that subjects who Fadiga, Fogassi, & Rizzolatti, 1996) and as a basis for mirror adapt to jaw perturbations when producing speech also responses in the human brain (Rizzolatti & Craighero, show perceptual adaptations, although the precise mech- 2004).