Objective: This study was a basic investigation of the ability of concurrent speech segregation in hearing impaired children. Concurrent segregation is one of the fundamental components of auditory scene analysis and plays an important role in process of speech perception. In the present study, auditory late potentials of impaired children were studied and were compared to the responses of normal groups.Materials & Methods: Auditory late potentials in response to 12 double vowels were recorded in 10 children with moderate to severe sensory neural hearing loss and 10 normal children who were selected randomly. The age range of all participants was 4-6 years old (4.95 ± 0.72 for the normal group and 5.05 ± 0.79 for the hearing impaired ones). Double vowels (pairs of synthetic vowels) were presented concurrently and binaurally. Fundamental frequency (F0) of these vowels and the size of the difference in F0 between vowels was 100 Hz and 0.5 semitones respectively. The hearing impaired children were selected randomly and blindly.Results: Comparing N1-P2 amplitude showed statistically significant difference in some stimuli between hearing impaired and normal children (P-value<0.05). More careful study of the results, N1-P2 amplitude- which is index of detecting vowel changes and reflecting verbal stimuli in central auditory system in absence of active participants- decreased in hearing impaired children.Conclusion: The present study showed concurrent speech segregation problems in hearing impaired children and provides evidence on problems in detection of speech features in a bo􀆩om-up processing (based on fundamental frequency and its differences) in the mentioned children.

Because the soul of Jalāl ad-Dīn Muhammad Mowlavi was mixed with music and the music had penetrated in all aspects of his existence, his poetic works are full of phones, intonations and musical elements. According to his poems, especially his sonnets, it can be concluded that he was scientifically and even practically expert in music of his time. When his speech becomes full of rhythm and music, one can understand the meaning of his words, and that the music of the poem is rooted in the cosmos and "sounds" of any kind are the best tools for creating music in his opinion. These sounds and intonations represent Mowlavi's enthusiastic and roaring soul that always moves and struggles restlessly. Music helps him significantly to get "meaning" from the "word". Among the various kinds of music, in Mowlavi's verses, one can find a type of music that sounds and their repetitions play an important role to create it. In this music of sounds, which is created through a harmony between consonants and vowels and relates to the internal music of the poetry, Mowlavi has abundantly used sound (quasi-sentence), onomatopoeia, subsidiaries (apparently obscure but music producer words), and prosodic elements.

In this paper، an underwater targets classification system is presented using the noise released from them. This system is proposed for shallow water environments such as Persian Gulf. Acoustic noise is non-Gaussian and due to the near-surface and properties of the environment acoustic noise is nonlinear and nonstationary. This fact affects the quality of the classification system. To classify acoustic noise، a target identification system is developed using a feature extraction section based on Hilbert Huang's Transform (HHT) and Support Vector Machine (SVM). Then the performance of the proposed method is illustrated using simulation results. Simulations take on two groups of signals. The first group of noise was related to three different type of vessels، and the second group of noise was related to a number of heavy and a number of light vessels، which were used in the Persian Gulf. Classification results show that the proposed method has a better performance than the wavelet transform method.

Introduction: Word selection and combinatorial structure derive from Formalist theory, where poetic form constitutes a system of associations. In Formalism, poetic art prioritizes structure and form, with the artist's role being to create forms and interpretive possibilities based on lexical approaches that engage the audience's perception. This article examines the use of obscure words/phrases or lexemes with secondary meanings in selected ghazals from the Divan-e Shams. The significance of this topic and lack of prior research heighten its necessity. Repetition, sonic aesthetics—especially of complex words—based on Formalist theory form this study's foundation. We address how suprasegmental phonemes and obscure lexemes create meaning through logical connections in discourse structure, explaining the rhythmic elements of semantic association. Research questions: What role do Rumi's self-invented phonemes, morphemes, and phrases play in energizing his ghazals? What literary-logical justification exists for such constructions? Research Method This study analyzes obscure lexemes in Divan-e Shams ghazals ending with " ی".   Emphasis falls on musicality and lexical repetition, as sonic prominence elevates language from ordinary state to captivating rhythms, arousing emotions. Ecstatic states and overwhelming emotions cause—amidst absence of rational/empirical awareness—the unconscious mind's contents to surge into consciousness, creating emotional and semantic clusters. Thus, through Formalist analysis of these ghazals, we investigate how musicality of obscure words/phrases generates meaning. Discussion To discuss and examine the subject, the article is organized into four sections: morphemes with the titles of sound components (sound, sound noun, conjugated or suffixed uses, subjects or omissions), words with titles (simple words, dual and triple words, repetition for specific meanings), phrases and sentences with a subset of rhyme and row (heterogeneous and non-consonant rows, innovative sound rows) and complete repetition, etanin and afa'il and avarad and azkar khanqahih, and literary evidence from the aforementioned ghazals has been provided. Conclusion Obscure phrases often surpass explicit lexemes in semantic association. Sound units like "vogh vogh", "ʿaf ʿaf", "qū qū", and meaningless syllables (e. g., "qīqī") beyond rhyme/refrain are used liberally by Rumi. Deviations include: Atānīn/afāʿīl metrical patterns, Phrasal repetitions, Extended unconventional refrains, Invented phrases (e. g., "daqqā daqqqā daq daqqqā. . . ")These stem from spiritual ecstasy (ghalyān-e rūḥī) and inner fervor.