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Spoken word

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What is spoken word? It is poetry intended for onstage performance, rather than exclusively designed for the page. While often associated with hip-hop culture, it also has strong ties to storytelling, modern poetry, post-modern performance, and monologue theatre, as well as jazz, blues, and folk music.

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Due to its immediacy and direct rapport with its audience, this type of poetry often contains references to current events and issues relevant to a contemporary audience. This means that the subject matter is often confrontational and can be upsetting to those performing and those listening. Often people speak about issues that means something to them, something they are passionate about. Perhaps something they want changed or simply want others to be aware of it all. Think social issues, politics, the refugee problem etc.

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At its best, spoken word is a powerful, high-energy form of expression that attracts artists and audiences of all ages from a wide range of disciplines and socio-cultural backgrounds.

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When writing a spoken word piece use words and phrases that project onto the minds of the listeners like vivid images, sounds, actions and other sensations. If your poem is rich with imagery, your listeners will see, smell, feel and maybe even taste what you’re telling them.

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Choose a subject and have attitude.
No attitude, no poem! Feelings and opinions give poetry its “richness.” Each poet has a unique perspective and view of the world that no one else has. It is important that a spoken word poem embodies the courage necessary to share one’s self with the rest of the world. The key here is to build confidence. We must acknowledge ourselves as writers and understand what we have to say is important. Practice. Practice. Practice.

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Pick your poetic devices.
Poems that get attention are ones that incorporate simple, but powerful poetic elements. Repetition is a device that can help a writer generate exciting poems with just repeating a key phrase or image. Rhyming can enrich your diction and performance. Rhythm is important, when a sentence is spoken quickly it feels rushed, uncomfortable, maybe even overwhelming. When spoken slowly each word is important, the audience will listen intently. Pitch speaks about how high or low your voice will project each word. Dynamics are also important. When spoken loudly one will assume anger or passion, when spoke quietly one will feel that it is a secret or incredibly important.

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Performance. Spoken word poems are written to be performed. After your poem is written, practice performing the poem with the elements of good stage presence in mind. It is important to maintain eye contact: Don’t stare at the floor, or hide behind a piece of paper/phone. From time to time, look into the eyes of people in the audience to capture their attention. Projection is also crucial, so remember to speak loudly and clearly so that your voice can be heard from a distance. Enunciation helps the listeners to hear exactly what you say. Don’t mumble. Speak clearly and distinctly so that the audience can understand what you are saying. Facial Expressions help animate your poem. You’re not a statue: smile if you’re reading something happy. Look angry if your poem is about anger. This might sound silly, but using the appropriate facial expressions help express various emotions in your performance. Gestures such as hand motions and body movements emphasize different elements of your performance. Choose the right gestures for your poem.

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Memorization Once you’ve memorized your spoken word piece, you can devote more time to your performance. Memorization allows you to be truly in touch with the meaning and the emotional content of your poem, even if you forget a word or a line you can improvise (freestyle), which is one of the most important elements of spoken word.

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To this day

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Self Evident

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The 4:00 am Mystery

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Beach Bodies

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If I should have a daughter

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This type of love

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Lost Voices

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Dear future generation: sorry

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Dear Young Man of Color

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Letters to my son

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Somewhere in America

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The Power of the Spoken Word Techniques of the Art
Plato, the Greek philosopher, once explained that rhetoric is the “art of enchanting the soul.” While you’ve already learned some of the basic elements of rhetoric and the dangers of bias, it is important to take a closer look at some of the tools that are used in oral communication if you are to enchant an audience. Greek philosopher, Plato.
A speaker’s toolbox includes many devices each of which meets at least one of the following purposes: • . • . • . • . • . • . • .
Handout: a speaker’s tool box • The following interactive activity reviews some of the devices in relation to Martin Luther King’s “I Have a Dream”speech.
Review of terms: • Identify the device used in the following: An old, beat up, black truck was creeping its way along the road.
Identify the device used in the following: There must be tolerance in any workplace; tolerance that allows each person to accept others; tolerance that allows us to be ourselves.
Identify the device is used in the following: The teacher descended upon the exams, sank her talons into their pages, ripped the answers to shreds and then, perching in her chair, began to digest.
Identify the device is used in the following: It isn’t very serious. My house burned down, I lost my job, and my ankle has been sprained.
Identify the device is used in the following: “What a beautiful day,” he said as he opened his umbrella.
Identify the device is used in the following: Pinocchio loved her as any real boy would.
While these tools are useful, it is important to consider that writing for an audience who is listening to you is different than writing to an audience who is reading your work • Keep in mind: A listener cannot go back and reread a sentence lacking clarity nor can a listener stop to look up a word in the dictionary.
To captivate an audience, it might be worthwhile to consider the advice of twentieth century writer and social critic George Orwell. He gave the following advice in his 1946 essay, ”Politics and the English Language”:
Never use a metaphor, simile, or other figure of speech which you are used to seeing in print. • . • If it is possible to cut a word out, always cut it out. • . • Never use a foreign phrase, a scientific word, or a jargon word if you can think of an everyday English equivalent. • Break any of these rules sooner than say anything outright barbarous.
By applying the tools in the Speaker’s Toolbox, as well as considering Orwell’s rules, it is possible to create captivating works of art!
The Power of the Spoken Word Words as a Force for Social Change
Have you ever had an idea that you think might make the lives of others better? • Ideas that provoke social change are big ideas indeed.
A lot of big ideas have probably started out sounding more than a little strange to those who heard them for the first time. • However, many big ideas go on to change the world.
Imagine that you were the first person to suggest that no human being should be considered property and that all humans deserve the same rights. • Many people might have thought this was a preposterous idea! • Yet, today, many parts of the world embrace the notion of equality for all and people are trying to spread this change across the planet.
Spoken Word • One very diverse contemporary group of people who often express big ideas are the members of the Spoken Word community. • . • When you read Shakespeare aloud, you are performing Spoken Word and when you are listening to a rap song you are listening to Spoken Word.
While the best way to understand how Spoken Word can captivate and energize an audience is to see a live performance, listening to poetry that is meant to be heard will give you a glimpse of how well artists use language to create feeling, convey a message and provoke thought.
Amani is a contemporary artist who performs all across Canada and the world performing. • Listen to her poem titled Heart of a Poet.
Check Your Understanding • What features stand out most for you in the performance? • Clearly, this is a personal response but an important question to answer nonetheless. • Did you react to her style (changes in volume; pace; enunciation; inflection; emphasis)? Or, did you respond more to the ideas themselves (that her poetry is not a passing phase; that the thoughts, language and expression come from her heart)? • Or, was it something else entirely?
Amani says that she “will give you a coronary occlusion when you hear [her] rhymes”. A “coronary occlusion” is a blockage of a blood vessel. What technique is she using?
In Amani’s poem, she says “prolific thoughts can overtake my soul.” What does the word “prolific” mean? a) kind b) angryc) abundant d) scarce
Amani says, “And this is not just some Poetic Passing Phase; some didactic, educational, edifying way of purging myself.” What techniques is she using in these lines? • contains many techniques • For example, there is alliteration in Poetic Passing. There is strong diction and parallelism in “didactic, educational, edifying”. • If you read the lines aloud, you’ll probably recognize a rhythm to the words, as well as a tendency to hear the internal rhyme between “phase” and “way” (the use of assonance underscores the long “a” sounds).
Did you know that “Slam” refers to a Spoken Word competition where poets square off on stage? Slams and Open Mic Nights (when any person can take a turn on stage) are popular in many big cities across North America. • Have you thought of a big idea yet? Does it deal with the environment? Human rights? Body image? Poverty? Something else?
One contemporary problem that has garnered a great deal of media attention is gun violence. Amani wrote a poem as a plea for change to the people most affected by this violence. • Listen to Amani’s poem titled This is Livicated.
After listening to “This is Livicated”, the use of anaphora probably stands out. Which line is Amani emphasizing through this device?
Why does Amani create a word, “livicate”, rather than simply dedicate her poem? • Amani considers the word “dedicate” a pun, since it sounds like the word “dead.” She explicitly explains, “So, I am going to livicate, not dedicate this poem cause, I don’t want to use the word dead no more.” This is an example of how language can both enslave and empower. By creating the word “livicate”, Amani puts emphasis on the living and creates a much more positive tone.
Amani pronounces, “Too many people searching for answers, too much violence, too many guns, too much sadness in the community, too many mothers and fathers losing their sons.” In addition to the rhythm and rhyme (guns and sons), what other device is the poet relying upon? • The use of “too” can be considered anaphora, but this is a much better example of parallelism. Both devices create emphasis, providing the listener with an opportunity to focus.
Notice how Amani is using her own voice, not only with the way she speaks, sings and projects, but also with the words she chooses. • Her voice comes through her diction, using expressions like “it is blowing my mind” and “walking off, but showing you could be rough”. • Her personality and perspective are made clear.
You have your own voice. • It is influenced by everything around you (your friends, your family, the media…) but it is uniquely yours. • As you find your voice in writing your speech, you’ll likely be more connected and proud of what you create.

Источник

Spoken Word services presentation to BBC staff. Presented on Wednesday 21st of November 2007 at BBC Broadcast Centre, London.

1. Presentation to the BBC Spoken Word Services 21 stNovember
2007 www.spokenword.ac.uk

2. The Team 3. Glasgow Caledonian

This is the body text

4. The Saltire Centre 5. Todays Talk

Spoken Word

(1) Introduction and Background

(2) What have we done?

(3) Challenges and how we overcame them

(4) Where to next?

(5) Questions and discussion

6. (1) Introduction and Background 7. The Spoken Word vision

to provide access to rich, authentic digital audio and video
resources for Higher Education

8. Nature of the Project

Digital Libraries in the Classroom

Programme funded by the JISC in the UK and the National Science
Foundation (NSF) in the USA.

call required joint UK/USA teams to submit proposals.

4 proposals were selected from over 30 responses

Spoken Word was rated the highest

Transformation of teaching and learning

9. The JISC

Based in the UK

The mission of the Joint Information Systems Committee (JISC)
is to provide world-class leadership in the innovative use of ICT
to support education and research.

JISC funds:-

national services

a range of programmes and projects

10. The National Science Foundation (NSF)

Based in the USA

to promote the progress of science; to advance the national
health, prosperity, and welfare; to secure the national
defense

NSF funds:-

20% of all federally supported basic research conducted by
America’s colleges and universities.

In many fields such as mathematics, computer science and the
social sciences, NSF is the major source of federal backing.

11. Duration of the Project

Phase 1: 2003-2006

Set-up, development, roll-out — $5million. The Glasgow
Caledonian portion of this money was the largest single source of
funding ever received by the University ($1 million+).

Phase 2: 2006-2008

Embedding and sustaining mainly funded by the Universities

Dissemination: Programme aspects with JISC funding

12. Project Partners

UK: GCU Partnership with the BBC Information and Archives

USA: Northwestern and Michigan State Universities

Overview of roles and responsibilities:

GCU: Teaching, learning and research

BBC: Access to content

MSU and NU: Technology and tools development

13. The Spoken Word project

Objectives

1) augmenting student competence to write on — and for — the
Internet

2) enhancing digital libraries through a focus on learning

3) improving student learning and retention

4) developing aural literacy in our students

We believe that 1 and 2 are pre-requisites for achieving 3 and
4

14. Content

Primarily but not exclusively from the BBC Radio and Television
Archives

Focus on Spoken Word material historical and contemporary news,
interviews, politics, etc.

Avoidance of drama, music, performance complex rights
issues

Initial focus on Humanities and Social Sciences, but discipline
range now broad

Initial focus on audio only, but now including material from TV
archives too

15. Content

Non BBC materials include a range ofrecorded materials from GCU
and partner institutions

Oral history materials

Lectures

Expert seminars

Important institutional events e.g. graduation ceremonies

16. Rights

Glasgow Caledonian University and the BBC agreed:-

A legal Deposit Agreement

An informal Memorandum of Understanding

Glasgow Caledonian University developed a legal End-User
Agreement based on this Deposit Agreement

17. Mission and values

EU — HMG JISC -GCU

Capacity building open source and open standards —
interoperability

GCU Mission Teaching and Learning — Saltire Centre

Contribute to delivery of learning that is:-

Personalised

Inclusive

Flexible

Productive

18. Where we want to be

Development of sustainable digital library services with
lasting benefit beyond project Spoken Word Services

Continuing to provide access to high quality digital audio and
video materials, selected and enhanced by academic experts

A continuing relationship with the BBC

19. (2) What have we done? 20. Developed a user base 21.
Learners

JISC programme and project aims:-

Transformation of Teaching and Learning

Transform what and why?

22. Learning and teaching

Some Traditional ValuesAspirations and Ambitions

To induce students to think for themselves, work on their own .
and contribute to the work of groups

But Elite Values and Mass Higher Education

Potential Opportunities and Advantages of C&IT

23. Learning and teaching

Some Contemporary Realities

Social and Technological Imperatives Citizenship, Work and
Leisure in an Ever-Changing World

Embracing the Socio-Technological World of the Modern
Learner

24. Student expectations? 25. Student expectations? 26.
Enhancing access 27. Spoken Word model

Enabling Pedagogical Pluralism … A modular approach for
managing change

Banks of content: the essence (primary audio/video
repositories)

Catalogues and finding aids (secondary and tertiary
repositories)

User Applications (the presentation layer)

28. Collaborations 29. Some examples in practice

Towards an international Community of Practice .

— English Language at Bologna

— Political Economy at Stirling and Glasgow Caledonian

— Social work and Social Policy at Glasgow Caledonian

— Anthropology (History of India) at Columbia

— History (impact of technology since 1945) at
Northwestern

— Law and Ethics at Edinburgh

— Hospitality Management at Strathclyde

— Media Ethics at Glasgow Caledonian (show)

— Women in British Politics at Kansas State

30. Digital Libraries

We developed a workflow for handling BBC materials and a
repository for storage

Repos

MySQL + PHP; developed by partners at Michigan State

Padova front-end finding aid built on top of this

31. Standards

Importance of standards for interoperability essential for
worldwide Scholarly Communication

Metadata standards

Mapped BBC Infax to Dublin Core

From DC to other standards such as MARC21, METS and UK-LOM
Core

Technical Standards

OAI-PMH for sharing metadata

SRW for cross searching

32. Finding stuff

Padova — an open source meta-linking finding aid which sits on
top of our Repos repository

Dynamic XML feeds for searches (RSS, ATOM, and for Podcasts),
Linking, Citation

Citations in standard formats

Integration with Delicious, Google Scholar, Wikipedia

33. Padova . find+

This is the body text

34. Accessing our resources

4 easy steps for learners

Go towww.spokenword.ac.uk

Click on Find Audio & Video

Start searching

35. Padova 36. What then? Adding value

Development of specific contextual services based on Spoken
Word content

Podcast services audio and video examples (show Karen
Thompson)

Blog services

Integration of content with existing educational systems e.g.
VLE like BlackBoard

Media Annotation!

37. (3) Challenges 38. Media Annotation

The Challenge

Let people work easily together with digital media online

Provide powerful tools for critiquing and

sharing annotations of digital media objects online in real
time

Provide federated search and ability to share

annotated materials via repositories

39. Media Annotation

Project Pad

Developed in partnership with Academic Technologies at
Northwestern University

Browser based annotation and collaboration tool for images,
audio and video

Potential integration with repository and VLE environments

Open Source

Java server side; Flash client side

40. Media Annotation 41. Project Pad 42. Rights

3 main challenges

Deposit and serving: BBC / Caledonian Legal Deposit
agreement

Users and permissions: the Glasgow Caledonian User License

Third party rights and permissions — coping with the 1988
Copyright Act

43. Legal Deposit Agreement

Gives worldwide permissions

to display

to stream

to download for individual study purposes

Restrictions

Provisional temporal permissions

Limited to educational users

Requirement to handle third party rights

44. Spoken Word End-User Licence Agreement

. OK, it goes like this you just accessed our materials
archive, for which we are truly grateful (after all, your interest
keeps us in business). However, when you accessed it, you were
actually only being given the right to download or stream parts of
it for educational use, not to republish or repost it. The stuff
contained in the archive still belongs to us, or those third
parties who have allowed us to make it available to you. By
allowing you access to this material, we are licensing it to you.
This is a lot like renting it forever we still own it but you can
use it all you want but only for educational use. What does all
this mean to you?

45. Radical Active Clearance

Procedures

Identify, trace and contact third parties

Request permissions

Present outcomes and request the comments of experts

Outcomes

Tracing participants

We have attempted to trace 659 participants

Failed to make contact with 278

Had replies from 250

Currently attempting 131 (46 of these we are in dialogue
with)

Refusals and confusions

Poetry: 14 refusals or acceptable conditions

General: 4 refusals or acceptable conditions

Confusions: «What did I say? Can I listen to that? etc» «I
don’t have any rights! Talk to the BBC…

Permissions

246 signed our permissions form with no reservations or
conditions

46. Some Examples

…..

47. (4) Where to next? 48. Digital Libraries

Moving now to Fedora

Open source

Java-based system

all content, metadata and relationships stored as XML

Highly flexible, scalable and configurable

All management and access tasks possible through web service
API interfaces

49. Why Fedora?

Meets OAIS requirements

Trusted digital repository requires:-

persistent identifiers

mechanisms for open access

mediated deposit

quality metadata

authentication and authorisation

federated resource discovery

provision for long term preservation

50. Fedora

Developed from the US education digital library community,
especially at Cornell University and University of Virginia

Now worldwide

51. Fedora UK & Ireland 52. Scholarly Communication

International Scholarly Communication requires:-

Trusted digital repositories

Use of common standards for interoperability

Better federated identity management Shibboleth

Ability to capture and store user generated content
annotations, metadata, objects

A flexible, modular approach to deal with technological
change

To support choice and allow imaginative connections between
scholars

53. Some Future Developments

A new front end finding aid to work with Fedora, retaining
Padova functionality

Integration of annotation tools with this finding aid allowing
users access to favourites, notes and annotations

Community of practice model showing different types of users
harnessing power of trusted academic experts

Automated systems to allow teachers and students to create
their own podcasts

54. Relationship with the BBC

Increasing demand for BBC content from further/higher
educational communities

Towards greater rights protection and jurisdiction —
Shibboleth

Towards «cease and desist» rights declarations?

How do we move forward?

Continuation of deposit model?

Hook into open BBC services; allowing us to build education
specific applications/expertise on top of BBC systems and
content?

55. (5) Questions? 56. Further Information

Spoken Word Services

http://www.spokenword.ac.uk

Digital Libraries in the Classroom

(including project videos)

http://www.jisc.ac.uk/whatwedo/programmes/programme_dlitc.aspx

The Saltire Centre

http://www.gcal.ac.uk/thesaltirecentre

57. Our blog 58. Contact

Iain Wallace

Digital Services Development Librarian

E:[email_address]

T: 0141 273 1901

W:http://www.spokenword.ac.uk

Источник

Accessing spoken words: the importance of word onsets — PowerPoint PPT Presentation

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Accessing spoken words: the importance of word onsets William Marslen-Wilson and Pienie Zwitserlood Presented by: Qinghua Tang Introduction Natural speech differs … – PowerPoint PPT presentation

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Transcript and Presenter’s Notes

Title: Accessing spoken words: the importance of word onsets

1
Accessing spoken words the importance of word
onsets

William Marslen-Wilson and Pienie Zwitserlood
Presented by Qinghua Tang

2
Introduction

Natural speech differs from written language in
its directionality in time. When we hear natural
speech, we hear it along a time line.
Does this mean we access words in our mental
lexicon along the time line as well?

3
Two different models

Cohort model by Marslen-Wilson, 1984
Based on the acoustic-phonetic properties, an
initial set of candidates are activated. For
example, when t is heard, all the words that
start with t will be activated.
Incoming input helps to eliminate candidates
until one is chosen.
Emphasis on the beginnings of words
TRACE model by Elman and McClelland, 1986
Three levels features, phonemes, and words
Relevant nodes are activated as the incoming
speech is matched to relevant nodes and will
keep being activated until the successful access
of the word.
A word is accessed when the activation reaches a
certain level.
Emphasis on the overall goodness of fit between
the complete stimulus and a given lexical
representation.
E.g. bleasure can be identified as pleasure
because of the overall activation level.
Directionality is not an explicit condition

4
Previous research

Earlier research has shown the effects of
word-initial partial matches (e.g.
Marslen-Wilson, et al., 1989).
Stimuli word pairs starting with same segments.
The average number of shared segments was 3.3.
For example, kapitein (meaning captain in
Dutch) and kapitaal (meaning capital in Dutch)
Procedure in the experiment, subjects heard
prime words like kapitein and kapitaal and
saw a word that was either related to kapitein
(e.g BOOT, meaning ship ) or kapitaal (e.g
GELD, meaning money). The subjects were
instructed to press a button to make lexical
decisions to the word they see.
Results when the probe word (visual word) was
presented during the t of kapitein, both the
word related to kapitein and the word related
to kapitaal were facilitated.

Previous research shows that partial match can
activate lexical representations, but,
Will partial match activate lexical
representations if the partial match starts late
in the word rather than the beginning of the
word?

6
Research questions

Is there a strong temporal directionality in
lexical access?
Does the on-line decision process tolerate later
entry into the decision space of candidates that
mismatch early in the word?

7
Experiment design — subjects

60 native speaker of Dutch. The subjects were
randomly assigned to one of the experimental
versions, six subjects per version.

8
Experiment design 5 experimental conditions

Original-word condition a word and its semantic
associate (e.g. honing, meaning honey, and bij,
meaning bee)
there was a complete match between acoustic
stimulus and lexical element
a baseline
Real-word rhyme condition the prime word rhymes
with the prime word in the original-word
condition (e.g. woning, meaning dwelling, and
bij, meaning bee)
A partial match between woning and honing
In this case, woning should obviously be
activated. Will honing, which rhymes with it,
also be activated? If so, the access of bij
should be facilitated.

Nonword rhyme condition the prime word was a
non-word that rhymed with the the prime word in
the original-word condition (e.g foning and bij)
A partial match condition
This condition was included to address one
concern from the TRACE model once a word like
woning was heard, it might inhibit the
activation of its competitors such as honing. A
non-word was therefore needed.
Two control conditions were used real-word
control condition (e.g. pakket and bij) and
nonword control condition (e.g. dakket and bij)
In order to match with both real word and nonword
conditions

10
Experiment design — materials

50 sets of rhyming pairs (such as honing /
woning) and their associated visual probes.
Each of the 50 sets was assigned to a different
version of the experiment. For example, in the
new version, woning would become the original
prime, a new word HUIS (meaning house) would be
used as the probe. Honing would become the
real-word prime in this case.
150 sets of filler pairs were added, balanced for
word / nonword types. The lengths of the words
were matched to real test targets.

11
Experiment design — procedure

The subjects were instructed to listen carefully
to the spoken materials ( the prime words) and
decide, as quickly as possible, whether the
string of letters that was presented visually
after each spoken word was a real word or not.

12
Results
13
Results

Only the original-word condition, in which there
was a complete match between the input and the
word associated with the visual probe, produced
significant priming effects (32 ms).
In neither of the two partial match conditions
was there any significant facilitation (11 ms for
real-word rhyme condition, 4 ms for nonword rhyme
condition).
The absolute reaction times for the two partial
match conditions were almost identical (547 vs.
548 ms).
However, rhyme primes did have some effect on the
lexical representations of items with which they
rhyme, even if this produceed only small
facilitation.

14
Discussion amount of segmental overlap

Could the failure of partial match in producing
significant facilitation be caused by lack of
sufficient overlap between real-word primes and
the original words?
Stimuli were divided into four categories,
depending on the number of shared segments which
ranges from 3 to 6 or more)
The number of items in each overlap group
16 items in 3 segment group
48 items in 4 segment group
12 items in 5 segment group
16 items in 6 or more segment group
The average segment overlap for previous
experiments was between 2.9 and 3.3.

15
Figure 2 segment overlap effects
16

There was a significant effect of prime type, but
no effect of length.
The degree of activation of a lexical
representation seemed to be independent of the
amount of overlapping segments.
These results make it unlikely that the failure
of rhyme primes to produce facilitation was
because they did not provide amounts of matching
input comparable to the word initial primes in
the previous experiment.

17
Discussion the competitor environment

Does the number of competitors matter?
In current models of lexical access, the number
of competitors that a prime word has to contend
with plays an important role in determining the
response of the system.
the current stimulus sets varied in the number of
rhyme competitors from 1 to 23.
30 sets had only 1 rhyme competitor (I.e. the
matched real-word rhyme). The other 70 sets had
rhyme competitors ranging from 2 to 23.
the stimuli were divided into 3 groups
30 sets with 1 competitor, 30 sets with 2 to 4
competitors, and 30 sets with 6 to 23 competitors

18
Figure 3
19

Variations in the number of competitors did not
affect the advantage of full primes over rhyme
primes, further confirming the overall advantage
of the directionality hypothesis.
On the other hand, the competitor environment
did seem to matter. When the competition was low,
the overall level of activation was higher for
both the complete match and partial match
conditions.

20
Conclusion

The dominant effect in the present results is
directionality of mapping. Primes that mismatched
at the beginning of the word with the relevant
lexical form representation were always less
effective than primes that did not mismatch word
initially. This suggests that word onsets do have
a special status in spoken word recognition.
There was no detectable effect of the lexical
status of the rhyme prime. The real-word rhyme
and nonword rhyme prime stimuli behaved the same
way throughout.
Partial match that starts late in the word rather
than the beginning also shows facilitation
effects and it interacts with the density of the
competitor environment. More research is needed
to account for this fact.

Thank you!

Источник