Musical duplex perception: perception of figurally good chords with subliminal distinguishing tones.

In a variant of duplex perception with speech, phoneme perception is maintained when distinguishing components are presented below intensities required for separate detection, forming the basis for the claim that a phonetic module takes precedence over nonspeech processing. This finding is replicated with music chords (C major and minor) created by mixing a piano fifth with a sinusoidal distinguishing tone (E or E flat). Individual threshold intensities for detecting E or E flat in the context of the fixed piano tones are established. Chord discrimination thresholds defined by distinguishing tone intensity were determined. Experiment 2 verified masked detection thresholds and subliminal chord identification for experienced musicians. Accurate chord perception was maintained at distinguishing tone intensities nearly 20 dB below the threshold for separate detection. Speech and music findings are argued to demonstrate general perceptual principles.     

Towards a real phenomenology of logic

This paper was presented at the Workshop on Husserlian Perspectives on Cognition and Ontology in Gargnano (Italy), September 1986. It is a revised version deriving from Ch. 4 of my book on noemata, in which the relationships between mind and logic are investigated through the framework provided by Husserl's thought (Noema. Mente e logica attraverso Husserl, Franco Angeli, Milan, 1988). I wish to thank Ernest LePore, Barry Smith and an anonymous reader for this Journal for helpful suggestions.     

Relative effectiveness of three stimulus variables for locating a moving sound source

A study is reported in which it is shown that observers can use at least three types of acoustic variables that indicate reliably when a moving sound source is passing: interaural temporal differences, the Doppler effect, and amplitude change. Each of these variables was presented in isolation and each was successful in indicating when a (stimulated) moving sound source passed an observer. These three variables were put into competition (with each indicating that closest passage occurred at a different time) in an effort to determine their relative importance. It was found that amplitude change dominated interaural temporal differences which, in turn, dominated the Doppler effect stimulus variable. The results are discussed in terms of two interpretations. First, it is possible that subjects based their judgements on the potential discriminability of each stimulus variable. However, because the stimuli used involved easily discriminable changes, subjects may instead have based their judgements on the independence of a stimulus variable from different environmental situation conditions. The dominance ordering obtained supports the second interpretation.     

Delving into brand anthropomorphisation strategies in the experiential context of name-brand voice assistants

Consumers' increasing use of voice-activated artificial intelligence technologies is stimulating the development of a new line of research in the field of marketing aiming to analyse the branding implications in this innovative experiential context. The spread of so-called name-brand voice assistants (NBVAs) is creating interesting opportunities in terms of brand anthropomorphism. The brand anthropomorphisation strategies adopted by companies are poorly studied in the academic literature, and only one contribution has been made in the experiential field of NBVAs. Therefore, the objective of our work is to begin to fill this gap by investigating the pillars of brand anthropomorphisation strategies (i.e., activities and branding outcomes) in the specific NBVA context by adopting a managerial perspective. Therefore, we followed an exploratory qualitative approach based on in-depth personal interviews with practitioners engaged in these strategies in the automotive sector. The resulting cognitive map reveals the following three levels of strategic pillars: drivers (i.e., designing a human-like brand voice and human-like consumer-brand dialogue), intermediate outcomes (i.e., brand personality and the strength of consumer-brand relationships), and final outcomes (i.e., multidimensional brand loyalty). Our study enriches both the literature concerning brand anthropomorphisation strategies and the nascent stream on NBVAs and provides managerial guidelines in the new in-car NBVA context.     

Within-category discrimination of musical chords: Perceptual magnet or anchor?

Recent speech research has begun to evaluate the internal structure of categories. In one such study, Kuhl (1991) found that discrimination was poorer for vowel stimuli that were more representative of the category (prototype, or P, set) than it was for less representative stimuli (nonprototype, or NP, set). This finding was interpreted as indicating that a category prototype may function as a “perceptual magnet,” effectively decreasing perceptual distance, and thus discriminability, between stimuli. The present study examines the function of prototypes in a musical category—another natural, but nonspeech category. Paralleling the Kuhl study, representative (P) and less representative (NP) sets of major triad stimuli were constructed, based on equal temperament. Musically experienced subjects rated the stimuli in each set for goodness as a major triad, with the highest rated stimulus serving as a prototype standard for a subsequent discrimination task. Results from the discrimination task demonstrated better performance in the P context than in the NP context. The current nonspeech results indicate that a prototype functions as an anchor rather than a magnet. In addition to providing a natural, nonspeech standard for comparison with speech findings, the results provide some important insights into the nature of musical categories.     

Duplex perception with musical stimuli

Duplex perception, a phenomenon previously demonstrated for speech stimuli, is demonstrated here for musical stimuli. In the first experiment, major and minor chords are produced by dichotic fusion of two simultaneous piano notes presented to one ear (perfect fifth) with a “natural” or “flat” single note presented to the opposite ear. Musically trained subjects perceive simultaneously both the single tone and a fused (major or minor) chord. The chords are labeled more consistently than the single notes, even though the fused chords differ solely in terms of the contralateral notes. In a second experiment, using pure tones in place of piano notes, other musically trained subjects individually exhibited categorical perception for either the fused chord or the single tones, but never for both types of stimuli. The duplex phenomenon is discussed in terms of its implications for its specific component modes of perception.     

Sex differences on the serial color-word test

The Serial Color-Word Test was administered to nonclinical volunteers of three age strata (17-29, 30-45, 46-65 yr.). Sex differences on the 17 variables of the test were explored for each age stratum. Only six significant intersex differences were found. In all age strata women scored significantly higher on linear regression of reading times in one of the last two subtests, i.e., R4 or R5.