By G. Underwood (Auth.)
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Slow frequency changes, but see Dberman et al for a complete description) of semi-vowels, and vowels are relevant to the REA, and hence to the processing of these stimuH by the speech areas. However, Haggard's REA effect for the semi-vowels was sHghtly larger than Shankweiler and Studdert-Kennedy's effect for steady state vowels. The former was a statisticaUy significant difference whereas the latter was not, and so Haggard considers this identified the semi-vowels with the stop consonants. A subsequent report by Cutting (1973) also indicates that the midpoint of semi-vowels between steady state vowels and stop consonants is reflected in the relative magnitudes of the REAs for these stimuli.
It is certainly true for traditional poetry (and modern songwriting) that the form of the poem is maintained not only by rhythm (the psychological discovery of which is discussed in Chapter 3) but also by rhyme - the last words of adjacent or alternating lines rhyme Immediate (Sensory) Memory 39 with each other. Psychologists would describe these words as being acoustically confusable, as they have acoustical features in common with each other. Now, why should these words be placed at the ends of Hnes if poets did not know about the recency effect and its reputed cause, precategorical acoustic storage?
If the recording holds not a perfect but a crude representation then a set of items with similar features would become indistinguishable, leading us to believe that no 50 A ttention and Memory acoustic storage was present, and no functional storage would be present. When the set of items are clearly discriminable, no matter how transient, then even with a certain amount of degradation and loss of transient features, they may still be discriminable from each other. From this discussion it is concluded that PAS does serve as a taperecorder, albeit an inefficient one, and that all parts of speech are available for analysis after presentation.
Attention and Memory by G. Underwood (Auth.)