The role of line junctions in object recognition: The case of reading musical notation

Previous work has shown that line junctions are informative features for visual perception of objects, letters, and words. However, the sources of such sensitivity and their generalizability to other object categories are largely unclear. We addressed these questions by studying perceptual expertise in reading musical notation, a domain in which individuals with different levels of expertise are readily available. We observed that removing line junctions created by the contact between musical notes and staff lines selectively impaired recognition performance in experts and intermediate readers, but not in novices. The degree of performance impairment was predicted by individual fluency in reading musical notation. Our findings suggest that line junctions provide diagnostic information about object identity across various categories, including musical notation. However, human sensitivity to line junctions does not readily transfer from familiar to unfamiliar object categories, and has to be acquired through perceptual experience with the specific objects.     

Visual perception of musical notation: Registering pitch symbols in memory

Music bears formal relations to language which suggest that perceptual processes in the two modes may also be similar. These experiments examined the way in which experienced musicians differed from non-musicians in their recognition of briefly exposed pitch notation. Experiments I and II together demonstrated that musicians are superior to non-musicians in their immediate written recall of stimuli containing more than three notes, but only when the stimulus is available to them for 150 ms or more. These results are accounted for well by a model proposed by Coltheart (1972) for letter perception under conditions of brief exposure. In this model, two coding processes act simultaneously on the stimulus, one a fast visual coding, and the other a slower, but more permanent abstract (or name) coding. In this case non-musicians appear to be lacking a second, abstract, coding which musicians possess. Experiments III and IV attempted to investigate the nature of the abstract code for musicians by presenting various types of interference in the linguistic or musical mode. Neither concurrent letter naming nor concurrent memorization of pitches appeared to cause a decrement in the original visual task, suggesting that musicians may not have been using simple naming or pitching transformations in coding the visual input.     

Holistic processing of musical notation: Dissociating failures of selective attention in experts and novices

Holistic processing (i.e., the tendency to process objects as wholes) is associated with face perception and also with expertise individuating novel objects. Surprisingly, recent work also reveals holistic effects in novice observers. It is unclear whether the same mechanisms support holistic effects in experts and in novices. In the present study, we measured holistic processing of music sequences using a selective attention task in participants who vary in music-reading expertise. We found that holistic effects were strategic in novices but were relatively automatic in experts. Correlational analyses revealed that individual holistic effects were predicted by both individual music-reading ability and neural responses for musical notation in the right fusiform face area (rFFA), but in opposite directions for experts and novices, suggesting that holistic effects in the two groups may be of different natures. To characterize expert perception, it is important not only to measure the tendency to process objects as wholes, but also to test whether this effect is dependent on task constraints.     

Methodology in aesthetics: the case of musical expressivity

A central method within analytic philosophy has been to construct thought experiments in order to subject philosophical theories to intuitive evaluation. According to a widely held view, philosophical intuitions provide an evidential basis for arguments against such theories, thus rendering the discussion rational. This method has been the predominant way to approach theories formulated as conditional or biconditional statements. In this paper, we examine selected theories of musical expressivity presented in such logical forms, analyzing the possibilities for constructing thought experiments against them. We will argue that philosophical intuitions are not available for the evaluation of the types of counterarguments that would need to be constructed. Instead, the evaluation of these theories, to the extent that it can succeed at all, will centrally rely on inferential, non-immediate access to our subjective musical experiences. Furthermore, attempted thought experiments lose their methodological function because no proper distinction can be drawn between the persons figuring in the thought-experimental scenario and the evaluator of the scenario. Consequently, some of the central contributions to what is generally understood to be analytic philosophy of art are shown to represent a form of aesthetic criticism, offering much less basis for rational argumentation than is often thought.     

The representation of negative numbers: exploring the effects of mode of processing and notation

The representation of negative numbers was explored during intentional processing (i.e., when participants performed a numerical comparison task) and during automatic processing (i.e., when participants performed a physical comparison task). Performance in both cases suggested that negative numbers were not represented as a whole but rather their polarity and numerical magnitudes were represented separately. To explore whether this was due to the fact that polarity and magnitude are marked by two spatially separated symbols, participants were trained to mark polarity by colour. In this case there was still evidence for a separate representation of polarity and magnitude. However, when a different set of stimuli was used to refer to positive and negative numbers, and polarity was not marked separately, participants were able to represent polarity and magnitude together when numerical processing was performed intentionally but not when it was conducted automatically. These results suggest that notation is only partly responsible for the components representation of negative numbers and that the concept of negative numbers can be grasped only through that of positive numbers.     

The representation of negative numbers: Exploring the effects of mode of processing and notation

The representation of negative numbers was explored during intentional processing (i.e., when participants performed a numerical comparison task) and during automatic processing (i.e., when participants performed a physical comparison task). Performance in both cases suggested that negative numbers were not represented as a whole but rather their polarity and numerical magnitudes were represented separately. To explore whether this was due to the fact that polarity and magnitude are marked by two spatially separated symbols, participants were trained to mark polarity by colour. In this case there was still evidence for a separate representation of polarity and magnitude. However, when a different set of stimuli was used to refer to positive and negative numbers, and polarity was not marked separately, participants were able to represent polarity and magnitude together when numerical processing was performed intentionally but not when it was conducted automatically. These results suggest that notation is only partly responsible for the components representation of negative numbers and that the concept of negative numbers can be grasped only through that of positive numbers.     

The structure of musical preferences: a five-factor model

Music is a cross-cultural universal, a ubiquitous activity found in every known human culture. Individuals demonstrate manifestly different preferences in music, and yet relatively little is known about the underlying structure of those preferences. Here, we introduce a model of musical preferences based on listeners' affective reactions to excerpts of music from a wide variety of musical genres. The findings from 3 independent studies converged to suggest that there exists a latent 5-factor structure underlying music preferences that is genre free and reflects primarily emotional/affective responses to music. We have interpreted and labeled these factors as (a) a Mellow factor comprising smooth and relaxing styles; (b) an Unpretentious factor comprising a variety of different styles of sincere and rootsy music such as is often found in country and singer-songwriter genres; (c) a Sophisticated factor that includes classical, operatic, world, and jazz; (d) an Intense factor defined by loud, forceful, and energetic music; and (e) a Contemporary factor defined largely by rhythmic and percussive music, such as is found in rap, funk, and acid jazz. The findings from a fourth study suggest that preferences for the MUSIC factors are affected by both the social and the auditory characteristics of the music.     

The effects of overcorrection: a case study

The effects of overcorrection on multiple problems were studied in a single case. Whilst the techniques proved effective, they were extremely time-consuming and during treatment periods there were large increases in collateral behavior. Clinical implications of these findings are discussed.     

Asperger’s and musical creativity: The case of Erik Satie

The link between psychopathology and creativity was investigated in the study of one individual: the French composer Erik Satie. The current literature puts much emphasis on the connection between creativity and the psychoses – such as schizophrenia and the affective disorders – but there is relatively little concerning other psychological disorders. Nevertheless, there has been a recent upswing in the study of autism and associated disorders (such as Asperger’s syndrome), and their association with creativity. The literature reviewed here included a number of biographies, books about the autism spectrum disorders, and articles detailing the psychopathology-creativity link. The aim was not to diagnose Satie with a psychological disorder, but to illustrate that he, who was highly creative, innovative and influential in the development of 20th century music, displayed many of the personality traits typical of Asperger’s syndrome. These include perfectionism, perseverance, hatred of conventions, and heightened sensitivity; these combined enabled Satie to devise his own original musical idiom. This case study alone does not – and was not intended to – answer the overall question regarding the existence of a psychopathology-creativity link; but it does support the idea in the context of current literature.     

The effects of musical practice on structural plasticity: The dynamics of grey matter changes

Intensive training and the acquisition of expertise are known to bring about structural changes in the brain. Musical training is a particularly interesting model. Previous studies have reported structural brain modifications in the auditory, motor and visuospatial areas of musicians compared with nonmusicians. The main goal of the present study was to go one step further, by exploring the dynamic of those structural brain changes related to musical experience. To this end, we conducted a regression study on 44 nonmusicians and amateur musicians with 0–26 years of musical practice of a variety instruments. We sought first to highlight brain areas that increased with the duration of practice and secondly distinguish (thanks to an ANOVA analysis) brain areas that undergo grey matter changes after only limited years of musical practice from those that require longer practice before they exhibit changes. Results revealed that musical training results a greater grey matter volumes in different brain areas for musicians. Changes appear gradually in the left hippocampus and right middle and superior frontal regions, but later also include the right insula and supplementary motor area and left superior temporal, and posterior cingulate areas. Given that all participants had the same age and that we controlled for age and education level, these results cannot be ascribed to normal brain maturation. Instead, they support the notion that musical training could induce dynamic structural changes.     

Investigating digit ratio (2D:4D) in a highly male‐dominated occupation: The case of firefighters

Voracek, M., Pum, U. & Dressler, S. G. (2009). Investigating digit ratio (2D:4D) in a highly male‐dominated occupation: The case of firefighters. Scandinavian Journal of Psychology, 51, 146–156. Second‐to‐fourth digit ratio (2D:4D), a widely studied putative marker for masculinization through prenatal androgen exposure, is lower (more masculinized) in athletes than in general population controls, and athletes with lower 2D:4D have higher sporting success. Occupations differ markedly in perceived masculinity and actual maleness (sex ratios), but these givens have not yet been picked up and utilized in 2D:4D research. Accordingly, this study extended existing accounts on 2D:4D in athletes to a novel approach: 2D:4D and possible relationships to a variety of candidate variables (demographic, fertility‐related, psychological, and other) were investigated in firefighters, a highly male‐dominated occupation. Contrary to expectation, 2D:4D in firefighters (N = 134) was not lower than in local male population controls. Lower 2D:4D corresponded to lower service ranks. Replicating previous findings either unequivocally or partly, lower 2D:4D was associated with larger family size, later sibling position, left‐handedness, and higher scores in the disinhibition component of sensation seeking. Not replicating prior evidence, 2D:4D was unrelated to body‐mass index, offspring sex ratio, and sporting performance level. Novel findings included low 2D:4D in those with low relationship satisfaction and in cigarette smokers, especially among heavy smokers. Absolute finger length, a positive correlate of pubertal‐adolescent androgen levels, was also considered. This marker showed negative associations with relationship consensus and satisfaction and positive ones with perceived quality of relationship alternatives and the experience seeking component of sensation seeking. The merits of this additional marker, relative to 2D:4D, for supplementing studies of possible sex‐hormonal effects on personality and directions for future inquiry along these lines are discussed.     

The case for sensorimotor coding in working memory

The highly influential Baddeley and Hitch model of working memory (Baddeley & Hitch, 1974; see also Baddeley, 1986) posited analogical forms of representation that can be broadly characterized as sensorimotor, both for verbal and for visuospatial material. However, difficulties with the model of verbal working memory in particular have led investigators to develop alternative models that avoid appealing either to sensory coding or to motoric coding, or to both. This paper examines the evidence for sensorimotor coding in working memory, including evidence from neuropsychology and from sign language research, as well as from standard working memory paradigms, and concludes that only a sensorimotor model can accommodate the broad range of effects that characterize verbal working memory. In addition, several findings that have been considered to speak against sensorimotor involvement are reexamined and are argued to be in fact compatible with sensorimotor coding. These conclusions have broad implications, in that they support the emerging theoretical viewpoint of embodied cognition.     

Adaptive memory: The survival scenario enhances item-specific processing relative to a moving scenario

Nairne, Thompson, and Pandeirada (2007) found that retention of words rated for their relevance to survival is superior to that of words encoded under numerous other deep processing conditions. They suggested that our memory systems might have evolved to confer an advantage for survival-relevant information. Burns, Burns, and Hwang (2011) suggested a two-process explanation of the proximate mechanisms responsible for the survival advantage. Whereas most control tasks encourage only one type of processing, the survival task encourages both item-specific and relational processing. They found that when control tasks encouraged both types of processing, the survival processing advantage was eliminated. However, none of their control conditions included non-survival scenarios (e.g., moving, vacation, etc.), so it is not clear how this two-process explanation would explain the survival advantage when scenarios are used as control conditions. The present experiments replicated the finding that the survival scenario improves recall relative to a moving scenario in both a between-lists and within-list design and also provided evidence that this difference was accompanied by an item-specific processing difference, not a difference in relational processing. The implications of these results for several existing accounts of the survival processing effect are discussed.     

The mental representation of music notation: notational audiation

This study investigated the mental representation of music notation. Notational audiation is the ability to internally "hear" the music one is reading before physically hearing it performed on an instrument. In earlier studies, the authors claimed that this process engages music imagery contingent on subvocal silent singing. This study refines the previously developed embedded melody task and further explores the phonatory nature of notational audiation with throat-audio and larynx-electromyography measurement. Experiment 1 corroborates previous findings and confirms that notational audiation is a process engaging kinesthetic-like covert excitation of the vocal folds linked to phonatory resources. Experiment 2 explores whether covert rehearsal with the mind's voice also involves actual motor processing systems and suggests that the mental representation of music notation cues manual motor imagery. Experiment 3 verifies findings of both Experiments 1 and 2 with a sample of professional drummers. The study points to the profound reliance on phonatory and manual motor processing--a dual-route stratagem--used during music reading. Further implications concern the integration of auditory and motor imagery in the brain and cross-modal encoding of a unisensory input.     

Multiple coding strategies in the retention of musical tones by possessors of absolute pitch

Eighteen musicians with absolute pitch (AP) confirmed by screening tests participated in tonal and verbal short-term-retention tasks. In the tonal task, subjects identified three successive piano tones by their letter names. Recall of these note names after 18 sec of counting backwards was near perfect. Recall after an 18-sec delay filled with random piano tones was also near perfect. In contrast, the same subjects demonstrated significant forgetting when required to retain letter trigrams while counting backwards for 18 sec. These results were essentially replicated in a second experiment using longer (27 sec) retention intervals, a more demanding verbal interference task, and an active musical interference task (singing a descending scale). We interpret these results as indicating that retention of note names by possessors of AP is not limited to verbal encoding; rather, multiple codes (e.g., auditory, kinesthetic, and visual imagery) are probably used.     

Cross-octave masking of single tones and musical sequences: The effects of structure on auditory recognition

A series of experiments explored the role of structural information in the auditory recognition process, within the context of a backward recognition masking paradigm. A masking tone presented after a test tone has been found to interfere with the perceptual processing of the test tone, the degree of interference decreasing with increased durations of the silent intertone interval between the test and masking tones. In the current studies, the task was modified to utilize three-tone sequences as the test stimuli. Six test sequences were employed (LMH, LHM, MLH, MHL, HLM, HML), where L, M, and H represent the lowest, middle, and highest frequencies in the melody. The observers identified these six possible sequences when the three tones of the test sequence were interleaved with three presentations of a single masking tone. All three tones of the test sequence were drawn from the same octave, while the masking tones could be drawn from any of three octaves, symmetrical around the octave containing the test tones. Under these conditions, interference occurred primarily from masking tones drawn from the same octave as the test tones. Masking tones drawn from other octaves were found to produce little, if any, interference with perception of the test tones. This effect was found to occur only for the identification of tonal sequences. Substantial masking of single-tone targets occurred with masking tones drawn from octaves other than that containing the targets. The results make apparent the use of structural information during auditory recognition. A theoretical interpretation was advanced which suggests that, while single tones are perceived on the basis of absolute pitch, the presence of auditory structure may allow relational information, such as exact pitch intervals or melodic contour, to facilitate perception of the tonal sequence.     

The psychological representation of musical pitch in a tonal context

In this series of experiments, evidence was found for a complex psychological representation of musical pitch. The results of a scaling study, in which subjects judged the similarities between pairs of tones presented in an explicitly tonal context, suggest that musical listeners extract a pattern of relationships among tones that is determined not only by pitch height and chroma, but also by membership in the major triad chord and the diatonic scale associated with the tonal system of the context. Multidimensional scaling of the similarity ratings gave a three-dimensional conical structure around which the tones were ordered according to pitch height. The major triad components formed a closely related cluster near the vertex of the cone; the remaining diatonic scale tones formed a less closely related subset farther from the vertex; and, the nondiatonic tones, still farther from the vertex, were widely dispersed. The results also suggest that, in the psychological representation, tones less closely related to the tonality are less stable than tones closely related to the tonality, and that the representation incorporates the tendency for unstable tones to move toward the more stable tones in time, reflecting the dynamic character of musical tones. In the similarity ratings of the scaling study, tones less related to the tonality were judged more similar to tones more related to the tonality than the reverse temporal order. Furthermore, in a delayed recognition task memory performance for nondiatonic tones was less accurate than for diatonic tones, and nondiatonic tones were more often confused with diatonic tones than diatonic tones were confused with nondiatonic tones. These results indicate the tonality-specific nature of the psychological representation and argue that the perception of music depends not only on psychoacoustic properties of the tones, but also on processes that relate the tones to one another through contact with a well-defined and complex psychological representation of musical pitch.     

Visual processing of music notation: a study of event-related potentials

In reading music, the acquisition of pitch information depends mostly on the spatial position of notes, hence more spatial processing, whereas the acquisition of temporal information depends mostly on the visual features of notes and object recognition. This study used both electrophysiological and behavioral methods to compare the processing of pitch and duration in reading single musical notes. It was observed that in the early stage of note reading, identification of pitch could elicit greater N1 and N2 amplitude than identification of duration at the parietal lobe electrodes. In the later stages of note reading, identifying pitch elicited a greater negative slow wave at parietal electrodes than did identifying note duration. The sustained contribution of parietal processes for pitch suggests that the dorsal pathway is essential for pitch processing. However, the duration task did not elicit greater amplitude of any early ERP components than the pitch task at temporal electrodes. Accordingly, a double dissociation, suggesting involvement of the dorsal visual stream, was not observed in spatial pitch processing and ventral visual stream in processing of note durations.