The role of retrieval structures in memorizing music

This article explores the use of structure in the encoding and retrieval of music and its relation to level of skill. Twenty-two pianists, classified into four levels of skill, were asked to learn and memorize an assigned composition by J. S. Bach (different for each level). All practice was recorded on cassette tape. At the end of the learning process, the pianists performed their assigned composition in a recital setting. The performances were subsequently evaluated by three experienced pianists according to a standardized grading system. From the cassette tapes, values for the frequency with which pianists started and stopped their practice on "structural," "difficult," and "other" bars were obtained. Starts and stops on each bar type were compared across three stages of the learning process. The analyses reveal that all pianists, regardless of level, started and stopped their practice increasingly on structural bars and decreasingly on difficult bars across the learning process. Moreover, the data indicate that starts and stops increased on structural bars and decreased on difficult bars systematically with increases in level of skill. These findings are interpreted and discussed so as to elucidate characteristics of the retrieval structures adopted by musicians in their practice and performance and how the formation and use of retrieval structures develop as a function of expertise. Finally, the elicited values for starts on structural, difficult, and other bars are examined and discussed according to how they relate to the pianists' scores on performance quality.     

Temporal factors in the discrimination of coherent motion

When observers view the relative movements of a pair of bars defined by the difference of spatial Gaussian functions (DOGs), they can accurately discriminate coherent movements over a range of temporal frequencies and temporal asynchronies. Of particular interest is the fact that performance accuracy is maintained even when the two bars differ in spatial-frequency content and contrast. On each trial, observers viewed two brief presentation intervals in which a pair of vertically oriented DOGs moved randomly back and forth within a restricted range. During one observation interval, both elements moved in the same direction and by the same magnitude (correlated), and in the other interval, the movements were independent (uncorrelated). Temporal asynchronies were introduced by delaying the displacement of the right bar relative to that of the left bar in each interval. Observers were able to discriminate correlated versus uncorrelated movements up to a 45–60-msec temporal delay between the two elements’ relative displacements. If motion processing is accomplished by mechanisms operating over multiple spatial and temporal scales, the visual system’s tolerance of temporal delays among correlated signals may facilitate their space-time integration, thereby capitalizing on the perceptual utility of coherent-motion information for image segmentation and interpolating surface structure from the movements of spatially separated features.     

Temporal factors in the discrimination of coherent motion.

When observers view the relative movements of a pair of bars defined by the difference of spatial Gaussian functions (DOGs), they can accurately discriminate coherent movements over a range of temporal frequencies and temporal asynchronies. Of particular interest is the fact that performance accuracy is maintained even when the two bars differ in spatial-frequency content and contrast. On each trial, observers viewed two brief presentation intervals in which a pair of vertically oriented DOGs moved randomly back and forth within a restricted range. During one observation interval, both elements moved in the same direction and by the same magnitude (correlated), and in the other interval, the movements were independent (uncorrelated). Temporal asynchronies were introduced by delaying the displacement of the right bar relative to that of the left bar in each interval. Observers were able to discriminate correlated versus uncorrelated movements up to a 45-60-msec temporal delay between the two elements' relative displacements. If motion processing is accomplished by mechanisms operating over multiple spatial and temporal scales, the visual system's tolerance of temporal delays among correlated signals may facilitate their space-time integration, thereby capitalizing on the perceptual utility of coherent-motion information for image segmentation and interpolating surface structure from the movements of spatially separated features.     

A simple device for the preparation of exactly aligned dichotic tapes

A system is described involving three tape recorders and a control device whereby dichotic tapes can be prepared with onset alignment accurate to a few milliseconds, or to a measured asynchrony if required. No modifications of any sort are necessary for the three tape recorders. The two channels are separately recorded in the speaker’s own time, the only requirement being that the separate words be spoken with an interword interval of 350 msec or more, to provide sufficient time for starting and stopping the system. A tone burst is placed directly on tape on another channel ahead of each word, the latter being delayed by recording in tandem through two tape recorders. The first recorder is set to the delay (echo, NAB) facility, while the tone is recorded directly on the second. Subsequently, when this is done for each item on the two speech channels, the device, described below. utilizes the tone bursts to align the two input recorders. It then rerecords each pair of words on to the third (output or dichotic) machine, to the desired synchrony/asynchrony, and interitem interval. The system can be left to align the two channels automatically. A maximum repetition rate of two dichotic pairs every 1.3 sec can be achieved with Revox A77 tape recorders.     

Off the beaten track: Freud,sound and music.Statement of a problem and some historico‐critical notes1

The authors note that the element of sound and music has no place in the model of mental functioning bequeathed to us by Freud, which is dominated by the visual and the representational. They consider the reasons for this exclusion and its consequences, and ask whether the simple biographical explanation offered by Freud himself is acceptable. This contribution reconstructs the historical and cultural background to that exclusion, cites some relevant emblematic passages, and discusses Freud’s position on music and on the aesthetic experience in general. Particular attention is devoted to the relationship between Freud and Lipps, which is important both for the originality of Lipps’s thinking in the turn‐of‐the‐century debate and for his ideas on the musical aspects of the foundations of psychic life, at which Freud ‘stopped’, as he himself wrote. Moreover, the shade of Lipps accompanied Freud throughout his scientific career from 1898 to 1938. Like all foundations, that of psychoanalysis was shaped by a system of inclusions and exclusions. The exclusion of the element of sound and music is understandable in view of the cultural background to the development of the concepts of the representational unconscious and infantile sexuality. While the consequences have been far reaching, the knowledge accumulated since that exclusion enables us to resume, albeit on a different basis, the composition of the ‘unfinished symphony’ of the relationship between psychoanalysis and music.     

Sound level of background music and alcohol consumption: an empirical evaluation

The effect of background music on alcohol consumption has been widely researched in the literature, but few studies have tested the effect of sound level on drinking behavior. An experiment was carried out in two bars to test patrons' response to music's loudness. Using random assignment, patrons were exposed to a sound level which was higher than that usually employed in the bars in which the study took place. Analysis showed that a higher sound level than usual was associated with consuming more drinks. An "arousal" hypothesis is used to explain the findings.     

The effects of advance stop lines and sign prompts on pedestrian safety in a crosswalk on a multilane highway

The effects of specific signs and stop line bars designed to influence motorists to stop further back from the crosswalk when yielding right of way to pedestrians were evaluated using a reversal design. The introduction of the prompt and stop line reduced motor vehicle—pedestrian conflicts (near collisions) by almost 80%. This finding was replicated in a second experiment the following year on two streets using a multiple baseline design. The use of the advance stop line is now being incorporated by the Provincial Department of Transportation for marking crosswalks on multilane streets.     

THE BIAS OF “MUSIC‐INFECTED CONSCIOUSNESS”: THE AESTHETICS OF LISTENING IN THE LABORATORY AND ON THE CITY STREETS OF FIN‐DE‐SIÈCLE BERLIN AND VIENNA

Shifts in the psychophysical study of sound sensation reinforced the changing status of musical expertise in the nineteenth century. The Carl Stumpf‐Wilhelm Wundt debate about tone‐differentiation experimentation narrowed the conception of hearing. For Stumpf, “music consciousness” ( M usikbewusstsein) granted the experimental subjects exceptional insight into sound sensation. This belief reflected a cultural reevaluation of listening, exemplified in music critic Eduard Hanslick decrying the scourge of the city: the piano playing of the neighbors. Stumpf and Hanslick's defenses of subjective musical expertise both inside the laboratory and on the city streets reveal the increasingly divergent conceptions of hearing and listening.     

Above and below the streets: A musical geography of anti-nuclear protest in Tokyo

Affects such as anger, fear and love have compelled Tokyoites to take to the streets in protest in the wake of the Fukushima nuclear disaster of March 2011. One of the characteristic forms these protests have taken has been the anti-nuclear “sound demonstrations” in which bands, DJs and rappers perform from the backs of trucks that lead demonstrators through the streets. Projecting their emotive music through urban space with the aid of powerful sound systems, these demonstrations disrupt the everyday noises of the neoliberal city and create a public space for the vocalisation of dissent. After the demonstrations, these same artists and demonstrators move to the underground live houses and social centres that constitute a subterranean backbone to the visible demonstrations in the street. Expressing emotions through musical protest is a powerful motor for what Stevphen Shukatitis has called affective composition, the process via which collective political subjectivities are formed through the expression of shared emotions. This paper outlines the emotional geography of anti-nuclear music in post-Fukushima Tokyo. It examines the dynamic interplay between aboveground political protest and the city's subterranean network of musical performance spaces.     

Detection and discrimination of coherent motion

When viewing a pair of bars defined by the difference of spatial Gaussian functions (DOGs), human observers can discriminate accurately the relative movements of the bars, even when they differ in spatial frequency. On each trial, observers viewed two brief presentation intervals in which a pair of vertically oriented DOGs moved randomly back and forth within a restricted range. During one interval, both bars moved in the same horizontal direction and by the same magnitude (correlated movements); in the other interval, their movements were uncorrelated. When discrimination accuracy is related to the simultaneous detection of two independent movements, it was found that, if observers can detect the movements of spatially separated bars, they can tell whether their relative movements are correlated. Performance remained remarkably accurate even when the two bars differed in spatial frequency by more than two octaves or were presented separately to the two eyes. Apparently, the accurate discrimination of coherent motion involves an efficient spatial integration of optical motion information over multiple spatial locations and multiple spatial scales.     

Editing silent hesitation from speech recordings

A simple method of increasing speech rate by shortening or removing silent hesitation from speech recordings is described. Two tape recorders and a voice key are used. The transmitting tape recorder is modified to have two playback heads in line. The onset and offset of speech signals fed from the first head, via a voice key, control the tape transport of the receiving tape recorder. The speech signals from the second playback head are fed directly to the line input of the receiving tape recorder. Time delays can be arranged so that the tape transport of the receiving machine is only in motion for the duration of the speech signals. The logic circuit of a suitable voice key with independently variable onset and offset delay times is also described.     

Tonality and perception: Musical scales primed by excerpts fromThe Well-Tempered Clavier of J. S. Bach

Summary The psychological relevance of the musicians' concept of tonality was tested in the context of the music of J. S. Bach. Musically trained listeners were instructed to sing the musical scale that first came to mind immediately after hearing short excerpts from Preludes of J. S. Bach'sThe Well-Tempered Clavier. For each Prelude, the tonic (first note) and the mode (major or minor) of the scale produced were compared to the tonic and mode designated by Bach. Results indicated that listeners (1) often established the designated tonic and mode within the first four notes of the piece; (2) within the first four bars, often established tonalities different from that of the designated key, a tendency that increased by the eighth bar; and (3) reestablished the tonic in the last four bars. These observations validate, in general, music-theoretic assumptions about the listener's hearing of tonality, and raise issues regarding the salient relations that engage the cognitive structures underlying tonality perception.     

An historical commentary on the physiological effects of music: Tomatis, Mozart and neuropsychology

This article provides an overview of the theoretical underpinnings of the Tomatis Method, along with a commentary on other forms of sound/music training and the need for research. A public debate was sparked over the “Mozart Effect.” This debate has turned out to be unfortunate because the real story is being missed. The real story starts with Alfred Tomatis, M.D., scientist and innovator. Dr. Tomatis was the first to develop a technique using modified music to stimulate the rich interconnections between the ear and the nervous system to integrate aspects of human development and behavior. The originating theories behind the Tomatis Method are reviewed to describe the ear’s clear connection to the brain and the nervous system. The “neuropsychology of sound training” describes how and what the Tomatis Method effects. Since Dr. Tomatis opened this field in the mid 20th century, no fewer than a dozen offshoot and related systems of training have been developed. Though each new system of treatment makes clains of effectiveness, no research exists to substantiate their claims. Rather, each simplified system bases its “right to exist and advertise” on the claimed relationship to Tomatis and his complex Method. Research is desperately needed in this area. The 50 years of clinical experience and anecdotal evidence amassed by Tomatis show that sound stimulation can provide a valuable remediation and developmental training tool for people of all ages. Offshoot systems have watered down the Tomatis Method without research to guide the decisions of simplifying the techniques and equipment.     

The representation of auditory source characteristics: Simple geometric form

Two experiments examined listeners’ ability to discriminate the geometric shape of simple resonating bodies on the basis of their corresponding auditory attributes. In cross-modal matching tasks, subjects listened to recordings of pairs of metal bars (Experiment 1) or wooden bars (Experiment 2) struck in sequence and then selected a visual depiction of the bar cross sections that correctly represented their relative widths and heights from two opposing pairs presented on a computer screen. Multidimensional scaling solutions derived from matching scores for metal and wooden bars indicated that subjects’ performance varied directly with increasing differences in the width/height (WIH) ratios of both sets of bars. Subsequent acoustic analyses revealed that the frequency components from torsional vibrational modes and the ratios of frequencies of transverse bending modes in the bars correlated strongly with both the bars’ WIH ratios and bar coordinates in the multidimensional configurations. The results suggest that listeners can encode the auditory properties of sound sources by extracting certain invariant physical characteristics of their gross geometric properties from their acoustic behavior.     

An Elder Sitting by the Fire: My Path to Jung

The author describes the importance of his mentors, his heritage, and early life in Johannesburg, South Africa and the effect that those formative years in a mining community (fueled by migrant labor) had on his embryonic psyche. Attending an Anglican school, he discovered the power of Christianity as a 10-year-old, holding vigil at night “over the body of Christ.” However, his first objective relationship with the psyche, the unconscious, occurred during the Second World War in the desert of Egypt before embarkation for Italy, with a second event occurring shortly after his return to South Africa, where he had been forced by circumstance to seek employment back on the mines. He explores how, despite the vicious and cruel apartheid policy above ground, all men were genuine brothers at the rock face; how the migrant labor rejoiced on reaching the surface after a shift with ritualistic thanks. He relocated to Natal where his relationship with the natural world developed, leading eventually to the founding of both the Dusi canoe marathon and the Wilderness Leadership School. On being employed by the Natal Parks Board he moved to Zululand, a true wilderness, in the early 1950s, where he was exposed to the rituals and beliefs of local tribes. He was impressed by their reliance on and their respect for the spiritual. A series of what he later understood were synchronistic events led him to both his mentors: a Jungian analyst and eventually to Jung himself.     

Nonretinotopic processing is related to postdictive size modulation in apparent motion

The present study briefly examined how the perceived size of a leading flash would be modulated by trailing motion signals. Observers were presented with two vertical green bars that were followed by white bars with different lengths, which were presented at different locations from the green bars. The task of observers was to discriminate which of the green bars was shorter than the other (Experiment 1) or whether the lengths of the green bars were equal or not (Experiments 2 and 3). One green bar producing apparent motion with the following shorter white bar was reported to be shorter than the other green bar producing apparent motion with the following longer white bar, not only when motion correspondence was determined on the basis of retinal proximity (Experiments 1 and 2),but also when motion correspondence was determined on the basis of nonretinotopic information-that is, a relative location within each perceptual group of bars (Experiment 3). These results indicate that motion processing involving object updating or motion deblurring in the nonretinotopic frame of reference is related to postdictive size modulation.     

The mobile frontiers of Piaget’s psychology. From academic tourism to interdisciplinary collaboration / Las fronteras móviles de la psicología de Piaget. Del turismo académico a la colaboración interdisciplinaria

Jean Piaget’s (1896–1980) interdisciplinarity was related to his psychology in several ways. First, he was a simple tourist of other fields: an interested outsider. But as he became increasingly involved in the professionalization of the discipline, he moved through different contexts that constrained the possibilities for successful action in new and different ways. To make these clear, we adopt a little-known aspect of his later epistemological framework: the open hierarchy of levels. This then affords new perspectives of his life, his work, his theory and his location in the history of both Swiss psychology and French psychology. It also outlines his reasoning regarding the necessity of a disciplined approach to interdisciplinary collaboration, institutionalized in the founding of his International Centre for Genetic Epistemology. We therefore come not only to a fuller understanding of how Piaget thought scientific knowledge develops, but also of how the boundaries of scientific disciplines are pushed back.     

Getting Home: A Discussion of “Accompaniment in Jazz and Psychoanalysis”

Situating his current paper (this issue) within the developing dialogue between psychoanalysis and music, as well as within the evolution of Markman’s own definitive contributions to that dialogue, this discussion identifies Markman’s inspired, embodied musicality as the primary force animating Markman’s writing and clinical work. Markman’s remarkable taxonomy of rhythmic styles of psychoanalytic accompaniment, formed entirely by his clinical experience, is highlighted and elaborated. The value of music as a source of metaphor is contrasted with an understanding of the actuality of music as a dimension of psychical life that is cultivated and healed through psychoanalytic accompaniment. Using “process notes” from a music documentary, the power of actual music is located in the fabric of culture, conducted through musical sound and forms of movement, including the rhythmic practice of the psychoanalytic frame and the antiphonic discourse of psychoanalytic process.     

Ouvrir le dialogue pour comprendre l’activité. Un exemple de méthode en psychologie du travail

The investigations in occupational psychology are conditioned by the way events are observed and interpreted. When we approach subjectivity, it is necessary to understand what is hidden. And the angle from which we look at determines the analysis. This is to highlight the significance of the action. Those who work interpret situations, so they cannot be reduced to their action. But how can we reach the sense of a behaviour? The problem of interpretation arises. Understanding the activity, is trying to share the contents with the subject investigated. Therefore, the direct observation of a behaviour is not synonymous with objectivity. Through two examples of the preparatory phase of our inquiries, we present persons who explain us their professional activity. In these exchanges, what is said depends on the mode of entry. The objective is to engage the subject to explain his work to understand and transform. For this, the methodology can only be indirect. The resulting methods enable the subject to talk about what he does and come back on his activity to develop.     

La musica contemporanea statunitense e i suoi elementi fenomenologici

This article seek to highlight the aspects — explicit or implicit — that indicate the close attention paid by much American musicology of this century to the phenomenological level of musical events or, more generally, of the sound event. Starting from general considerations on American music and some of its protagonists, the article focuses on Elliott Carter, on his poetics, and on his theories expressed in his writings.Carter's compositional choices and his consciousness of the intrinsic complexity they assume theoretically provide a starting point for a phenomenological study of many aspects of compositional experience: from consideration of instrumental language with its structural phenomenological (and historical) implications, to more global evaluation of the centrality of temporal and rhythmic subjects.Carter's music corresponds to the theories of many American phenomenologists of music. This also proves the community of interests evident in United States both in music and phenomenological theories.