Adjective ratings and dimension analyses of auditory rhythm patterns

Gabrielsson, A. Adjective ratings and dimension analyses of auditory rhythm patterns. Scand. J. psychol., 1973, 14, 244–260.-Rhythm experience for three classes of auditory rhythm stimuli, including music, was investigated by a variant of semantic differential technique in six experiments. The rating scales were chosen by means of questionnaires to musicians. The subjects rated the rhythms in a number of the scales and the ratings were subjected to factor analysis. The factors were interpreted as "uniformity-variation" or "simplicity-complexity", "accentuated first beat", "meter", "basic pattern", "rapidity", "movement characters" (floating-stuttering, dancing-walking and others), "vital-dull", "excited-calm", and "rigid-flexible".     

Similarity ratings and confusability of lipread consonants compared with similarity ratings of auditory and orthographic stimuli.

Similarity ratings of pairs of lipread consonants were obtained using a 5-point scale. Matrices were constructed showing mean similarity ratings and confusions among stimuli. Both the similarity and the confusion data provide normative data useful for researchers in many areas. Lipread data collected here are compared with similarity ratings of orthographically and auditorily presented consonants collected by Manning (1977). These comparisons provide information about how stimulus similarity both within and between presentation formats may affect information processing of the three types of stimuli. These data are of special interest to researchers studying the visual processing of speech and the effect of format of presentation on recall.     

Studies in auditory timing: 1. Simple patterns

Listeners' accuracy in discriminating one temporal pattern from another was measured in three psychophysical experiments. When the standard pattern consisted of equally timed (isochronic) brief tones, whose interonset intervals (IOIs) were 50, 100, or 200 msec, the accuracy in detecting an asynchrony or deviation of one tone in the sequence was about as would be predicted from older research on the discrimination of single time intervals (6%-8% at an IOI of 200 msec, 11%-12% at an IOI of 100 msec, and almost 20% at an IOI of 50 msec). In a series of 6 or 10 tones, this accuracy was independent of position of delay for IOIs of 100 and 200 msec. At 50 msec, however, accuracy depended on position, being worst in initial positions and best in final positions. When one tone in a series of six has a frequency different from the others, there is some evidence (at IOI = 200 msec) that interval discrimination is relatively poorer for the tone with the different frequency. Similarly, even if all tones have the same frequency but one interval in the series is made twice as long as the others, temporal discrimination is poorer for the tones bordering the longer interval, although this result is dependent on tempo or IOI. Results with these temporally more complex patterns may be interpreted in part by applying the relative Weber ratio to the intervals before and after the delayed tone. Alternatively, these experiments may show the influence of accent on the temporal discrimination of individual tones.     

Similarity of poetic rhythms with different amounts of semantic content-stress ratings and pairwise similarity ratings

Abstract.— Two experiments are reported. In exp. 1 12 lines, taken from Swedish poems, were presented in written form. Exp. II concerned 12 "nonsense" lines metrically equivalent to the ones in exp. I and presented in the same way. Fourteen subjects made pairwise similiarity ratings and also rated stress of the syllables in each verse line. The intra-as well as the interrater reliability turned out to be low in the similarity data and INDSCAL analysis did not suggest any interpretable multidimensional solutions. The ratings of syllabic stress, however, showed a very good correspondence to prosodic norms and meter. Moreover, the correlations between rated stress in the "poetic" lines and that in the "nonsense" lines were mostly around 0.90.     

Revised estimates of dimension and exercise variance components in assessment center postexercise dimension ratings

The authors reanalyzed assessment center (AC) multitrait-multimethod (MTMM) matrices containing correlations among postexercise dimension ratings (PEDRs) reported by F. Lievens and J. M. Conway (2001). Unlike F. Lievens and J. M. Conway, who used a correlated dimension-correlated uniqueness model, we used a different set of confirmatory-factor-analysis-based models (1-dimension-correlated Exercise and 1-dimension-correlated uniqueness models) to estimate dimension and exercise variance components in AC PEDRs. Results of reanalyses suggest that, consistent with previous narrative reviews, exercise variance components dominate over dimension variance components after all. Implications for AC construct validity and possible redirections of research on the validity of ACs are discussed.     

Performance of rhythm patterns

Abstract.— Two pianists and one percussionist performed a number of notated rhythms on the piano and on the side drum or the bongo drum. The tape-recordings of the performances were analyzed by an analyzer for mono-phonic sound sequences as regards the durations and the amplitudes. Several characteristic deviations from the norms implied by the musical notation appeared. The recordings were used as stimuli in experiments on rhythm experience described elsewhere.     

Theoretical vs. actuarial analyses of personality ratings, and other rudimentary distinctions

In their respective attempts to identify the “critical flaws” in Lamiell, Foss, Trierweiler, and Leffel's research on the role of dialectical reasoning in intuitive personology, both Conger and Woody (1983; see preceding articles) err by obscuring a crucial distinction between judgments, which are mental phenomena, and ratings, which are behavioral phenomena. By elaborating this distinction in the present article, we explain, among other things, the following: (1) Contrary to Woody's claim, Lamiell et al.'s formal representation of dialectical reasoning via interactive measurement is neither equivalent to nor reducible to Anderson's weighted averaging model of impression formation. (2) Contrary to Conger's claim, Lamiell et al.'s formal representations of demonstrative reasoning in terms of the normal-curve equivalents of z-scores did not bias their results against the normative or ipsative models, and in fact presented those models more favorably and in a manner more consistent with the extant empirical literature on rating behavior than does the alternative Conger proposes. (3) The profile dissimilarity analyses reported by Lamiell et al. were entirely adequate for their purposes. It is concluded that Lamiell et al.'s findings stand as billed: preliminary evidence for the dialectical quality of subjective personality impressions.     

The effect of dimension content on observation and ratings of job performance

Recent theory and research in the performance appraisal area (e.g., Denisi, Cafferty, & Meglino, 1984; Feldman, 1986; Ilgen & Feldman, 1983; Williams, Denisi, & Blencoe, 1985) have suggested that providing information regarding the performance dimension to be rated will cause raters to select appropriate observational schemata and, as a result, produce higher quality ratings. A study was conducted to determine if giving raters dimension-relevant information prior to performance observation would affect their attention processes and rating quality. Prior to watching a videotape of an instructor giving a lecture, 156 subjects were given either: 1) correct information, 2) incorrect information, or 3) no information regarding dimensions of performance they would subsequently be asked to rate. The results indicated that giving prior information regarding dimension content affected subjects' attention processes. Further, raters receiving no information and those receiving misinformation prior to performance observation produced less accurate ratings compared to expert raters. Ratings produced by subjects receiving correct information did not differ significantly from experts' ratings. These results are discussed in terms of both their practical and theoretical implications.     

Detection and recognition of auditory patterns

The detection/recognition theorem (Starr, Metz, Lusted, & Goodenough, 1975) provides a signal detection theory prediction of an observer's ability to identify one of a set of possible signals on the basis of the observer's ability to detect whether any signal is presented. The present findings show that the theorem can be applied to complex auditory stimuli in a fashion that is not merely a trivial extension of the results obtained with simple auditory stimuli.     

Discrimination of auditory temporal patterns

Two same-different discrimination experiments were performed for click patterns having a total duration of about 4 sec and interclick intervals ofn × 250 msec, withn a random integer. In Experiment 1, the influence of the physical click group structure on discrimination performance was investigated. In Experiment 2, the effect of the strength of an induced internal clock on discrimination performance was measured. Performance was poor if the group structure of clicks was maintained during a change in click pattern and also if the induced infernal clack strength was low. The performance of about 70% of the subjects improved significantly if either a change in click grouping structure occurred or a strong internal clock could be induced. These results cannot be accounted for with simple models based an single-interval duration discrimination or between-pattern correlation statistics.     

Studies in auditory timing: 2. Rhythm patterns

Listeners discriminated between 6-tone rhythmic patterns that differed only in the delay of the temporal position of one of the tones. On each trial, feedback was given and the subject's performance determined the amount of delay on the next trial. The 6 tones of the patterns marked off 5 intervals. In the first experiment, patterns comprised 3 "short" and 2 "long" intervals: 12121, 21121, and so forth, where the long (2) was twice the length of a short (1). In the second experiment, patterns were the complements of the patterns in the first experiment and comprised 2 shorts and 3 longs: 21212, 12212, and so forth. Each pattern was tested 45 times (5 positions of the delayed tone x 3 tempos x 3 replications). Consistent with previous work on simple interval discrimination, absolute discrimination (delta t in milliseconds) was poorer the longer the intervals (i.e., the slower the tempo). Measures of relative discrimination (delta t/t, where t was the short interval, the long interval, or the average of 2 intervals surrounding the delayed tone) were better the slower the tempo. Beyond these global results, large interactions of pattern with position of the delayed tone and tempo suggest that different models of performance are needed to explain behavior at the different tempos. A Weber's law model fit the slow-tempo data better than did a model based on positions of "natural accent" (Povel & Essens, 1985).     

Color and Similarity1

Similarity claims about the colors, for instance that blue is more similar to purple than to yellow, are Sometimes held to pose a serious problem for physicalism about color: the view that colors are physical properties of some kind. I examine various responses to this problem, find them wanting, and give my own solution, which appeals to the way colors are visually represented. Finally, I argue that the proposed account removes the principal motivation for Lewis's and Walker's response to Kripke's Wittgenstein, in terms of “natural” properties.     

Lateralization of auditory rhythm length in temporal lobe lesions

In the visual modality, short rhythmic stimuli have been proven to be better processed (sequentially) by the left hemisphere, while longer rhythms appear to be better (holistically) processed by the right hemisphere. This study was set up to see if the same holds in the auditory modality. The rhythm task as originally designed by Seashore was computerized and is part of the Fepsy Neuropsychological battery. This task was performed by 85 patients with intractable temporal lobe epilepsy (left TLE = 32; right TLE = 53) enrolled in the Dutch Collaborative Epilepsy Surgery Program. They performed the task before and 6 months after surgery. The task consists of 30 pairs of rhythmic patterns in 3 series of 10 items. The series contains patterns of 5, 6, or 7 notes. The purpose is to indicate whether the two patterns are the same or different. Reaction times are also measured. If the hypothesis is true, the short-item sequence will be better processed by patients with right temporal lobe epilepsy (nonimpaired left temporal lobe), the longer sequence will be better processed by the left temporal epilepsy group (nonimpaired right temporal lobe). No overall laterality effect on rhythm perception could be found and no difference was found between both test moments. IQ did not correlate with rhythm performance. However, there was an interaction effect of laterality and rhythm length on performance and reaction time. This effect can be explained by the increase after the operation of the score of the left focus group and a decrease in the right focus group on the longer rhythms. This effect was somewhat less strong in the reaction times: a clear tendency for faster reaction times after surgery in the left and longer reaction times in the right focus group. The effect could not be explained for by the difference in extent of resection in either temporal lobe. This study showed that memory for and discrimination of auditory rhythm is dependent on which hemisphere is used in processing. The effect could be demonstrated for the right hemisphere, which uses a holistic processing of stimuli, which outperforms the left in rhythms consisting of a long sequence. In left temporal resections an improvement occurs on the longer rhythms and in right temporal resections the performance on the longest rhythms decreases.     

Automated analyses of circadian rhythm activity of small arthropods

An automated apparatus is described which measures circadian activity rhythms of small invertebrates in darkness or in the presence of monochromatic light. Back-and-forth activity in tilt cages is measured without physical contact by magnet-activated reed switches. Four such cages are grouped around a mercury pen lamp, whose spectra lines can be selectively filtered, and all are placed in a large enclosure with light-baffling for complete control of intensity and color, delivered to each animal. Activity, measured as reed-switch closures, is counted digitally and punched out periodically onto paper tape. An interactive computer program reads, stores, plots, and further analyzes the data.     

A meta-analytic evaluation of the impact of dimension and exercise factors on assessment center ratings

Two recent reviews have attempted to summarize findings quantitatively regarding assessment center (AC) construct-related validity (i.e., Lance, Lambert, Gewin, Lievens, & Conway, 2004; Lievens & Conway, 2001). Unlike these previous studies, which reanalyzed individual multitrait-multimethod (MTMM) matrices from previously published research, the authors recoded and combined past matrices into a single MTMM matrix. This matrix, comprised of 6 dimensions each measured by 6 exercises, was then analyzed, providing a more generalizable set of results. Both dimensions and exercises were found to contribute substantially to AC ratings. Specific dimensions (i.e., communication, influencing others, organizing and planning, and problem solving) appeared more construct valid than others (i.e., consideration/awareness of others and drive). Implications for AC design and practice are discussed.     

Sensorimotor synchronization: motor responses to regular auditory patterns.

Subjects (N = 32) were asked to synchronize a motor response with tones in auditory patterns. These patterns were created from six tones and six intertone intervals of equal duration. The pitch of the first tone differed from the others. It was found that subjects used three types of timing in their motor response: (1) the first intertone interval was prolonged and the second interval was shortened, (2) the second intertone interval was prolonged and the first interval was shortened, and/or (3) the first interval and the second interval were of approximately the same length. The prolongation of the fifth interval was observed during all three types of timing. The results are explained using the concept of suprasegmental control of timing, which explains a prolongation of intervals at critical control point of the patterns. The occurrence of three different strategies of timing is discussed in connection with similar principles in musical performance.