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Comd 5070 Exam 1 Study Guide Modules 1-5 Questions And Answers Well Illustrated.
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Comd 5070 Exam 1 Study Guide Modules 1-5 Questions And Answers Well Illustrated.
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Comd 5070 Exam 1 Study Guide Modules1-5 Questions And Answers Well Illustrated.
• .what .is .science?4 .features .of .the .scientific .method .- .correct .answer. . . . .1) .EMPIRICAL .-
.based .on .data
2) .DETERMINISTIC .- .obeys .physical .laws
3) .PREDICTIVE .- .if .you .this....then .that .will .happen
4) .PARSIMONIOUS .- .use .the .simplest .explanation .poss.
• .SLPs' .use .of .technology .[why .do .we .use .it .clinically? .how .can .acoustics .help?] .- .correct
.answer. . . . .- .OVERCOME .LISTENER .BIAS. .Consistent, .reliable .measurement .is .provided
.by .analysis.
- .Use .OBJECTIVE .TERMS .AND .MEASURES .TO .DESCRIBE .THE .SEVERITY .of .a
.disorder .objectively. .We .can .standardize .our .measurements .of .speech .since .we .have
.objective .criteria .to .measure .each .patient .against.
- .TRACK .PROGRESS .over .time, .and .DEMONSTRATE .TREATMENT .EFFICIENCY.
- .EBP .(Evidence .Based .Practice). .We .measure .the .client's .performance .before .and .after
.therapy .in .order .to .objectively .prove .that .the .treatment .was .effective. .
- .PROVIDE .BIOFEEDBACK .to .the .client. .Show .the .person .what .they .are .doing .on .a
.computer .display .in .real .time, .and .can .help .them .change .behavior.
How .can .acoustics .help .in .the .SLPs .use .of .technology? .- .correct .answer. . . . .1) .ACOUSTIC
.PHONETICS- .measuring .of .speech .production .through .MICROPHONE .RECORDINGS
.and .studying .what .it .can .tell .us .about .the .way .the .larynx .is .operating .or .the .articulators
.are .moving.
2) .PHYSIOLOGOCAL .PHONETICS .-
• .KINEMATICS .- .study .of .SPEECH .MOVEMENTS
• .AERODYNAMICS .- .PRESSURE, .FLOW .and .RESISTANCE .we .use .to .regulate .our
.breath .stream .as .we .speak.
• .ELECTROMYOGRAPHY .- .the .ELECTRICAL .ACTIVITY .OF .MUSCLES .as .they .are
.activated
,.3) .SPEECH .PERCEPTION .- .the .aspects .of .signal .processing .of .the .brain. .We .will
.DRAW .PARALELLS .FROM .the .PERCEPTUAL .ASPECTS .of .speech .understanding .and
.the .ACOUSTICAL .TECHNIQUES .that .we .use .to .evaluate .a .speech .signal .in .a
.quantitative .way.
How .is .pitch .perception .linked .to .frequency? .- .correct .answer. . . . .1. .We .interpret .higher
.frequency .sounds .to .have .a .higher .pitch
FREQUENCY .- .OBJECTIVE .
PITCH .- .SUBJECTIVE .cannot .be .measured
What .is .frequency? .- .correct .answer. . . . .1. .It .is .determined .by .HOW .FREQUENTLY .a
.WAVEFORM .REPEATS .ITSELF .OVERT .TIME
2. .Measured .in .HERTZ .(Hz) .= .cycles .per .second .(CPS)
a. .Acoustic .Measures
How .do .waveforms .differ .as .frequency .goes .up .and .down? .- .correct .answer. . . . .The
.HGHER .FREQUENCY .the .frequency, .the .MORE .COMPLETE .CYCLES .per .second
a) .The .waveforms .are .CLOSER .together
Define .loudness? .What .is .it .affected .by? .- .correct .answer. . . . .Loudness .is .a
.PERCEPTUAL .CHARACTERISTIC .of .sound
- .CanNOT .BE .MEASURED .by .equipment
- .JUDGED .BY .LISTENER; .it's .a .human .response
- .DURATION .AFFECTS .PERCEPTION .of .loudness
1. .The .LONGER .the .sound, .the .more .the .ear .integrates .the .energy .and .the .MORE
.AUDIBLE .it .becomes .
- .Individual .responses .vary .slightly .regarding .loudness .because .it .is .SUBJECTIVE
1. .There .is .no .way .to .objectively .measure .loudness .of .sound
What .is .intensity? .- .correct .answer. . . . .The .GREATER .the .intensity, .the .LOUDER .we
.perceive .it .to .be
a. .Intensity .is .an .ACOUSTIC .measure
How .is .intensity .measured? .- .correct .answer. . . . .- .Its .the .amplitude .or .'size' .of .a .sound
- .Measured .in .dB
- .LOGARITHMIC .scale
- .Intensity .Level .(IL)
- .Sound .Pressure .Level .(SPL)
What .do .SLPs .and .audiologists .use .to .measure .intensity? .- .correct .answer. . . . .A .sound
.level .meter
How .many .dBs .of .intensity .does .it .take .to .be .perceived .as .twice .as .loud? .- .correct
.answer. . . . .6-10 .dB .INCREASE .in .intensity .will .be .PERCIEVED .as .TWICE .AS .LOUD
.(doubling .of .loudness)
, What .affects .the .perception .of .loudness? .- .correct .answer. . . . .- .DURATION .affects
.perception .of .loudness
a. .The .LONGER .the .sound, .the .more .the .ear .integrates .the .energy .and .the .MORE
.AUDILBE .it .becomes .
- .Individual .responses .vary .slightly .regarding .loudness .because .it .is .subjective
a. .There .is .no .way .to .objectively .measure .sound
What .are .the .difference .limens .for .frequency .and .intensity? .- .correct .answer. . . .
.SMALLEST .DETECTABLE .CHANGE .in .frequency .a .person .can .perceive.
How .are .difference .limens .influenced .by .intensity, .duration, .etc.? .- .correct .answer. . . . .DLs
.INCREASE .with .stimulus .FREQUENCY
- .As .INTENSITY .DECREASES, .DLs .become .LARGER
- .HIGHER .FREQUENCY .sounds .MUST .DIFFER .MORE .to .be .heard .as .different .in .pitch
• .true .for .comfortable .listening .level
- .Measured .at .a .comfortable .level .and .reduce .amplitude .of .sound .played; .difference
.limens .become .GREATER .WITH .SOFTER .SOUNDS. .
-
T/F. .When .sounds .are .very .soft .it .is .harder .to .tell .them .apart .in .their .pitch .if .close .in
.frequency. .- .correct .answer. . . . .TRUE
Another .term .for .the .missing .fundamental .is? .- .correct .answer. . . . .RESIDUE .PITCH
T/F .A .fundamental .must .always .be .present .within .a .recorded .sound? .- .correct .answer. . . .
.FALSE
- .When .FUNDAMENTAL .IS .ABSCENT .from .a .harmonic .series, .THE .BRAIN .STILL
.PROCESSES .the .harmonic .structure .and .FILLS .IN .THE .GAP.
How .does .a .complex .periodic .sound .change .when .the .fundamental .is .removed/muted? .-
.correct .answer. . . . .- .The .timbre .or .QUALITY .IS .DIFFERNET, .but .the .PITCH .is .still
.PERCIEVED .as .the .SAME.
a) .Ex: .cheap .audio .equipment—simulated .bass
- .Brain .processes .harmonic .structure .and .fills .in .the .gap .by .calculation/interpolation.
How .many .semitones .in .one .octave, .two .octaves, .etc? .- .correct .answer. . . . .- .There .are .12
.SEMITONES .in .an .octave
- .Each .semitone .is .a .nonlinear .step .as .you .go .from .low .to .high
- .Each .step .up .is .bigger .than .the .last .one, .about .5.9%higher .frequency .than .the .one
.before .it.
T/F .Semitones .are .always .physically .identical .in .Hz? .- .correct .answer. . . . .FALSE
- .NO .TWO .SEMITONES .ARE .PHYSICALLY .IDENTICAL .(Hz)
- .they .can .be .PERCEIVED .as .being .IDENTICAL
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