Accommodation,prediction and replication: model selection in scale construction

In psychology, measurement instruments are constructed from scales, which are obtained on the grounds of exploratory and confirmatory factor analysis. Looking at the literature, one can find various recommendations regarding how these techniques should be used during the scale construction process. Some authors suggest to use exploratory factor analysis on the entire data set while others advice to perform an internal cross-validation by randomly splitting the data set in two and then either perform exploratory factor analysis on both parts or exploratory factor analysis on the first part and confirmatory factor analysis on the other. In spite of all these divergent recommendations, there is no consensus on which method yields the best result. In this paper, we analyze this issue in light of the prediction versus accommodation debate and argue that the answer to this question depends on one’s conception of the criteria that should be used to achieve the goals of the scientific enterprise.

     

A bidimensional model of pitch in the recognition of melodies

Pitch can be conceptualized as a bidimensional quantity, reflecting both the overall pitch level of a tone (tone height) and its position in the octave (tone chroma). Though such a conceptualization has been well supported for perception of a single tone, it has been argued that the dimension of tone chroma is irrelevant in melodic perception. In the current study, melodies were subjected to structural transformations designed to evaluate the effects of interval magnitude, contour, tone height, and tone chroma. In two transformations, the component tones of a melody were displaced by octave intervals, either preserving or violating the pattern of changes in pitch direction (melodic contour). Replicating previous work, when contour was violated perception of the melody was severely disrupted. In contrast, when contour was preserved the melodies were identified as accurately as the untransformed melodies. In other transformations, a variety of forms of contour information were preserved, while eliminating information for absolute pitch and interval magnitude. The level of performance on all such transformations fell between the levels observed in the other two conditions. These results suggest that the bidimensional model of pitch is applicable to recognition of melodies as well as single tones. Moreover, the results argue that contour, as well as interval magnitude, is providing essential information for melodic perception.     

Incremental validity of the frame-of-reference effect in personality scale scores: a replication and extension

Context-specific personality items provide respondents with a common frame of reference unlike more traditional, noncontextual personality items. The common frame of reference standardizes item interpretation and has been shown to reduce measurement error while increasing validity in comparison to noncontextual items (M. J. Schmit, A. M. Ryan. S. L. Stierwalt. & S. L. Powell, 1995). Although the frame-of-reference effect on personality scales scores has been well investigated (e.g., M. J. Schmit et al., 1995), the ability of this innovation to obtain incremental validity above and beyond the well-established, noncontextual personality scale scores has yet to be examined. The current study replicates and extends work by M. J. Schmit et al. (1995) to determine the incremental validity of the frame-of-reference effect. The results indicate that context-specific personality items do indeed obtain incremental validity above and beyond both noncontextual items and cognitive ability, and in spite of socially desirable responding induced by applicant instructions. The implications of these findings for personnel selection are discussed.     

A developmental study of latent absolute pitch memory

The ability to recall the absolute pitch level of familiar music (latent absolute pitch memory) is widespread in adults, in contrast to the rare ability to label single pitches without a reference tone (overt absolute pitch memory). The present research investigated the developmental profile of latent absolute pitch (AP) memory and explored individual differences related to this ability. In two experiments, 288 children from 4 to12 years of age performed significantly above chance at recognizing the absolute pitch level of familiar melodies. No age-related improvement or decline, nor effects of musical training, gender, or familiarity with the stimuli were found in regard to latent AP task performance. These findings suggest that latent AP memory is a stable ability that is developed from as early as age 4 and persists into adulthood.     

Musical scales and evaluations of happiness and awkwardness: effects of pitch, direction, and scale mode

Participants rated the perceived happiness, brightness, awkwardness, pitch velocity, and tempo change of ascending and descending musical scales in four modes (natural, melodic, and harmonic minor modes and the major mode). Only minor differences between ratings of natural, harmonic, or melodic minor scales or between ratings of parallel and relative major scales were found. Ascending scales were rated as happier, brighter, and more accelerating than were descending scales; ascending minor scales were rated as faster and more awkward than were descending minor scales. Musical keys in each mode were compared, and significant differences were found. Musical keys that started on a higher pitch were rated as happier, brighter, and faster and as speeding up more than were keys that started on a lower pitch. The data were consistent with previous findings and suggest that pitch and direction (contour), rather than mode or key, influence listeners' judgments of musical stimuli.     

Training the absolute identification of pitch

Two methods for training the absolute judgment of pitch, reference training and series training, were studied. Reference training concentrated during training on the identification of three reference tones in a set of nine pure tones, while series training gave equal weight during training to the identification of all nine tones. Results of pre- and posttraining tests, scored for the number of correct judgments, showed that reference training was more effective than series training for listeners with musical experience. In addition, discriminability (d′) scaling of pre- and posttest performance indicated that reference training was particularly effective for training listeners with musical experience when the nine tones of a set were grouped into three pitch classes—high, medium, and low pitch. Listeners without musical experience benefited from both training methods, but their overall improvement was less than that for musical listeners.     

A computer assisted system for the extraction and visual display of pitch

The fundamental frequency of the vocal output is obtained from an accelerometer output by an adaptive filtering technique. This is converted to a voltage analogue of frequency via software on a standard PDP-8/E computer. Pitch values are either output directly or stored for subsequent display. Software is available for permanent storage and access of recorded data from backing store.     

A revised version of the psychoticism scale

In view of certain psychometric deficiencies of the original Psychoticism scale, an attempt was made to improve the scale by adding new items. It was attempted to increase the internal reliability of the scale, improve the shape of the distribution and increase the mean and variance score. Two different studies are discussed. Reliabilities are now somewhat improved, distributions are closer to normal and mean scores are higher than on the old scale. Four new short 12-item scales for the measurement of P, E, N and L are also given.     

The interdependence of pitch and temporal judgments by absolute pitch possessors

The auditory tau and the kappa effects show that there is time-pitch interdependence in our perception. Our judgments of pitch separation between two tones depend on the temporal interval between them (the auditory tau effect), and our judgments of the tones’ temporal interval depend on their pitch separation (the kappa effect). The mechanisms underlying this interdependence were investigated by studying the auditory tau and the kappa effect in three experiments. Comparisons were made between results obtained from subjects with absolute pitch and those who did not have absolute pitch, and two frequency ranges of pure tones (octave and whole-tone conditions) were selected. The procedures had been used in previous experiments (Shigeno, 1986), in which the auditory tau and the kappa effects were compared in speech and nonspeech stimuli. The present results demonstrate that the auditory tau effect does not occur when possessors of absolute pitch judge the closeness of stimuli in pitch, except when the stimulus continuum consists of tones that do not correspond to musical notes in the whole-tone condition. The kappa effect was obtained in the judgment of possessors of absolute pitch in both the octave and the whole-tone conditions. These findings suggest that the interaction between temporal interval and pitch judgment might be explained in terms of the two different memory modes for retaining the pitch of tones, and that these effects occur at the precategorical level.     

A unique asymmetrical stroop effect in absolute pitch possessors

The Stroop task has been employed to study automaticity or failures of selective attention for many years. The effect is known to be asymmetrical, with words affecting color naming but not vice versa. In the current work two auditory-visual Stroop-like tasks were devised in order to study the automaticity of pitch processing in both absolute pitch (AP) possessors and musically trained controls without AP (nAP). In the tone naming task, participants were asked to name the auditory tone while ignoring a visual note name. In the note naming task, participants were asked to read a note name while ignoring the auditory tone. The nAP group showed a significant congruency effect only in the tone naming task, whereas AP possessors showed the reverse pattern, with a significant congruency effect only in the note reading task. Thus, AP possessors were unable to ignore the auditory tone when asked to read the note, but were unaffected by the verbal note name when asked to label the auditory tone. The results suggest that pitch identification in participants endowed with AP ability is automatic and impossible to suppress.     

Anchor effects on the discrimination of pitch

Two experiments considered the effects of introducing an extreme stimulus (anchor) upon the differential perception of tonal stimuli. In the first experiment, in which Ss rated series stimuli from 1,000 to 2,000 Hz or from 2,000 to 3,000 Hz, the presence of a 750-Hz anchor apparently disrupted discrimination. A second experiment involved testing for a difference threshold (method of limits) in which the standard was a tone of 1,500 Hz. The uncertainty interval (Iu) was larger when the interval between paired stimulus presentations was filled with a 750-Hz tone, again suggesting that discrimination is impaired by the introduction of a low-frequency anchor. Results are discussed in terms of theories relating range extent and discriminability.     

Memory for the pitch of a tone

Observers attempted to detect the presence of a pitch difference between two successive tones. The percentage of correct judgments was equivalent for tones separated by .95, 4.5, and 8.9 sec. There was a general increase in reports of a pitch difference with increased intertone interval, which is interpreted as arising from hypothesized shifts in the neural locus of the first stimulus during the intertone interval.     

Memory processes in the identification of pitch

A study in pitch identification with three interstimulus intervals is reported. Ss received a pretest, three drills, and a posttest. Results include: (a) superior performance on stimuli requiring only a simple discrimination judgment, (b) inferior performance at longer interstimulus intervals, (c) a greater tendency to repeat correct rather than incorrect responses to adjacent tones at the same pitch level, and (d) a modest, but reliable, improvement in pitch identification accuracy from the pre- to the posttest. Relevance of the results for an interpretation of pitch identification as dependent on memory processes is discussed.     

Memory for the pitch of a tone

Observers attempted to detect the presence of a pitch dirference between two successive tones. The percentage of correct judgments was equivalent for tones separated by 95, 4.5, and 8.9 sec. There was a general increase in reports of a pitch difference with increased intertone interval, which is interpreted as arising from hypothesized shifts in the neural locus of the first stimulus during the intertone interval.