Modeling infant speech sound discrimination using simple associative networks

Infants' responses in speech sound discrimination tasks can be nonmonotonic over time. Stager and Werker (1997) reported such data in a bimodal habituation task. In this task, 8-month-old infants were capable of discriminations that involved minimal contrast pairs, whereas 14-month-old infants were not. It was argued that the older infants' attenuated performance was linked to their processing of the stimuli for meaning. The authors suggested that these data are diagnostic of a qualitative shift in infant cognition. We describe an associative connectionist model showing a similar decrement in discrimination without any qualitative shift in processing. The model suggests that responses to phonemic contrasts may be a nonmonotonic function of experience with language. The implications of this idea are discussed. The model also provides a formal framework for studying habituation-dishabituation behaviors in infancy.

Changing state disruption of lip-reading by irrelevant sound in perceptual and memory tasks

Three experiments investigated irrelevant sound interference of lip-read lists. In Experiment 1, an acoustically changing sequence of nine irrelevant utterances was more disruptive to spoken immediate identification of lists of nine lip-read digits than nine repetitions of the same utterances (the changing-state effect; Jones, Madden, & Miles, 1992). Experiment 2 replicated this finding when lip-read items were sampled with replacement from the nine digits to form the lip-read lists. In Experiment 3, when the irrelevant sound was confined to the retention interval of a delayed recall task, a changing-state pattern of disruption also occurred. Results confirm a changing-state effect in memory for lip-read items but also point to the possibility that, for lip-reading, changing-state effects may occur at an earlier, perceptual stage.

Auditory memory and the irrelevant sound effect: further evidence for changing state disruption

Four experiments investigate the hypothesis that irrelevant sound interferes with serial recall of auditory items in the same fashion as with visually presented items. In Experiment 1 an acoustically changing sequence of 30 irrelevant utterances was more disruptive than 30 repetitions of the same utterance (the changing-state effect; Jones, Madden, & Miles, 1992) whether the to-be-remembered items were visually or auditorily presented. Experiment 2 showed that two different utterances spoken once (a heterogeneous compound suffix; LeCompte & Watkins, 1995) produced less disruption to serial recall than 15 repetitions of the same sequence. Disruption thus depends on the number of sounds in the irrelevant sequence. In Experiments 3a and 3b the number of different sounds, the "token-set" size (Tremblay & Jones, 1998), in an irrelevant sequence also influenced the magnitude of disruption in both irrelevant sound and compound suffix conditions. The results support the view that the disruption of memory for auditory items, like memory for visually presented items, is dependent on the number of different irrelevant sounds presented and the size of the set from which these sounds are taken. Theoretical implications are discussed.

Too much information? : Drama teachers’ perceptions of the value of subject knowledge

This paper reports on research into what drama teachers consider they really need to know as drama specialists. In the first instance the very concept of knowledge is discussed as it pertains to education in the arts as is the current situation in England regarding the extent to which new drama teachers’ subject specialist knowledge has been formally accredited and what the implications of this may be to an evolving curriculum. The research itself initially involved using a questionnaire to investigate the way in which drama teachers prioritised different aspects of professional knowledge. Results of this survey were deemed surprising enough to warrant further investigation through the use of interviews and a multiple-sorting exercise which revealed why the participants prioritised in the way they did. Informed by the work of Bourdieu, Foucault and Kelly, a model is proposed which may help explain the tensions experienced by drama teachers as they try to balance and prioritise different aspects of professional knowledge.

Resilience or resistance? The value of subject knowledge for drama teachers

This paper reports on research undertaken by the author into what secondary school drama teachers think they need to possess in terms of subject knowledge in order to operate effectively as subject specialists. ‘Subject knowledge’ is regarded as being multi faceted and the paper reports on how drama teachers prioritise its different aspects. A discussion of what ‘subject knowledge’ may be seen to encompass reveals interesting tensions between aspects of professional knowledge that are prescribed by statutory dictate and local context, and those that are valued by individual teachers and are manifest in their construction of a professional identity. The paper proposes that making judgements that associate propositional and substantive knowledge with traditionally held academic values as ‘bad’ or ‘irrelevant’ to drama education, and what Foucault has coined as ‘subjugated knowledge’ (i.e. local, vernacular, enactive knowledge that eludes inscription) as ‘good’ and more apposite to the work of all those involved in drama education, fails to reflect the complex matrices of values that specialists appear to hold. While the reported research focused on secondary school drama teachers in England, Bourdieu’s conception of field and habitus is invoked to suggest a model which recognises how drama educators more generally may construct a professional identity that necessarily balances personal interests and beliefs with externally imposed demands.

The role of drama in the teaching of speaking and listening as the basis for social capital

This paper explores how the concept of 'social capital' relates to the teaching of speaking and listening. The argument draws on Bourdieu's notion that a common language is an illusion but posits that an understanding of the grammar of speech can be productive in the development of both an understanding of what constitutes effective speech and the development of competence in speaking. It is argued that applying structuralist notions of written grammar is an inadequate approach to understanding speech acts or enhancing the creative use of speech. An analysis is made of how typical features of speech relate to dramatic dialogue and how the meaning of what is said is contingent upon aural and visual signifiers. On this basis a competent speaker is seen as being one who produces expressions appropriate for a range of situations by intentionally employing such signifiers. The paper draws on research into the way drama teachers make explicit reference to and use of semiotics and dramatic effectiveness in order to improve students' performance and by so doing empower them to increase their social capital. Ultimately, it is concluded that helping students identify, analyse and employ the aural, visual and verbal grammar of spoken English is not an adjunct to the subject of drama, but an intrinsic part of understanding the art form. What is called for is a re-appraisal by drama teachers of their own understanding of concepts relating to speech acts in order to enhance this area of their work.