Thematic fame and melodic originality in classical music: A multivariate computer-content analysis1

In order to understand the foundation of eminence in cultural activities, an attempt was made at learning why some works creators produce are more famous than others. This paper specifically investigates the differential fame of 5,046 themes by 10 eminent composers of classical music. Hypotheses derived from past research in creativity and esthetics were tested using a computerized content analysis. The results show that (a) the fame of a musical theme is a positive linear function of melodic originality (rather then a curvilinear inverted-U function), and (b) melodic originality is a positive function of biographical stress and of historical time, and an inverted backwards-J function of age.     

Reaching Wuthering Heights with Brave New Words: The Influence of Originality of Words on the Success of Outstanding Best‐Sellers

The judgment and ultimately the success of creative products should be determined by their properties. However, it has not been considered so far whether the same applies to books. Earlier research has found an inverted‐U relationship between originality of stimuli and their success. Linguistic originality as a text feature could influence the success of books as creative products in a natural experiment. The present historiometric study investigated whether originality predicts the popularity in a significant sample, the most best‐selling English books from 200 years. Originality was calculated based on word frequency using a commercial service. Popularity was assessed with a composite measure including indicators like number of sold copies. Regression analysis indicated originality had a direct linear effect on popularity, partially moderated by the time of first publishing. That is, while originality was generally beneficial for the success of a best‐seller, the same originality was more appreciated at a later point in time. This is the first quantitative study supporting the long‐held assumption that the evaluation of creative narratives is influenced by temporal context. The fact that some works like The Great Gatsby got more appreciation when they were rediscovered may reflect a general principle rather than mere exceptions.     

Infant vocal development during the first 6 months: speech quality and melodic complexity

The early development of infant non‐distress vocalizations was investigated in this study. Thirteen infants, from 4 to 24 weeks of age, and their mothers were observed weekly in a face‐to‐face interaction situation. The speech quality (syllabic versus vocalic) and melodic complexity (simple versus complex) of infant vocalizations were coded independently. Based on speech quality and melodic complexity, four types of infant non‐distress vocalizations were categorized: simple and complex syllabic (speech‐like) vocalizations as well as simple and complex vocalic (non‐speech‐like) vocalizations. Results showed that complex syllabic sounds were of longer duration and complex vocalic sounds were less frequent than the other types of vocalizations. Curvilinear developmental trends were found in the rate of simple vocalic sounds and in the mean duration of complex syllabic sounds. Furthermore, before 4 months of age, vocalic sounds were more likely to be associated with simple melodic contours, after which syllabic sounds were more likely to be associated with complex melodic contours. A dynamic systems perspective on the early development of infant vocalization is discussed. Copyright © 2000 John Wiley & Sons, Ltd.     

Kant on Informed Pure Judgments of Taste

Two dominant interpretations of Kant's notion of adherent beauty, the conjunctive view and the incorporation view, provide an account of how to form informed aesthetic assessments concerning artworks. According to both accounts, judgments of perfection play a crucial role in making informed, although impure, judgments of taste. These accounts only examine aesthetic responses to objects that meet or fail to meet the expectations we have regarding what they ought to be. I demonstrate that Kant's works of genius do not fall within either of these categories. The distinguishing features of these works, namely, originality and exemplarity, become unrecognizable on these interpretations because originality and exemplarity lie in the work's ability to exceed one's expectations concerning its form and content. They contribute to artistic beauty through alternative transformation methods distinct from that of abstraction, namely, concept expansion and repudiation. These additional accounts of transformation lead to a rather surprising outcome: works of genius turn out to be paradigm cases where one can and indeed ought to form informed pure judgments of taste.     

Does rule recursion make melodies easier to reproduce? If not, what does?

Two experiments examined the effects of variations in melodic rule structure and rhythm upon the ability of musically sophisticated listeners to reproduce auditory patterns. These experiments were designed to evaluate different theoretical perspectives on auditory pattern perception and the role of rule structure in perceiving and remembering. Predictions of a coding model, which emphasizes the impact of rule recursion, were contrasted with those of an accent model, which emphasizes the relative timing of melodic and temporal accents. Effects of recursive (hierarchical) and nonrecursive (linear) rule arrangements were studied in contexts where pattern contour differences were controlled for. Rhythm was also varied. Measured pauses were inserted between certain tones to make a rhythm compatible or incompatible with melodic rule phrases. Experiment 1 showed that pattern simplicity was determined not by rule recursive codes, but by the number and timing of contour changes and melodic rule breaks. Experiment 2 examined additional effects of rhythm on listeners' response to rule recursion and melodic phrasing in melodies of equivalent contour. Although modest effects of rule recursion appeared, these effects were again outweighed by large performance differences due to the relative timing of changes in contour and melodic rule structure. Implications of the accent model for dynamic attending are discussed in the context of a new proposal involving temporal phasing of accents.     

Presidential greatness and performance: Can we predict leadership in the White House?1

Two related questions regarding presidential leadership are addressed. First, what are the principal determinants of the rated greatness of American presidents? Second, can presidential performance be predicted using preelection biographical variables? Reliable measures of greatness and performance were operationalized for the 38 presidents of the United States, along with numerous potential predictors suggested by past literature on leadership, achieved eminence, and presidential popularity and greatness. About 75% of the variance in presidential greatness can be predicted using administration duration, number of war years, unsuccessful assassination attempts, scandals, and prepresidential publication record. Family background, personal characteristics, education, occupation, and political experiences provided few if any viable predictors of presidential performance, although succession to office through the vice-presidency exerted a rather general negative impact.     

Infants’ auditory enumeration: Evidence for analog magnitudes in the small number range

Vigorous debate surrounds the issue of whether infants use different representational mechanisms to discriminate small and large numbers. We report evidence for ratio-dependent performance in infants’ discrimination of small numbers of auditory events, suggesting that infants can use analog magnitudes to represent small values, at least in the auditory domain. Seven-month-old infants in the present study reliably discriminated two from four tones (a 1:2 ratio) in Experiment 1, when melodic and continuous temporal properties of the sequences were controlled, but failed to discriminate two from three tones (a 2:3 ratio) under the same conditions in Experiment 2. A third experiment ruled out the possibility that infants in Experiment 1 were responding to greater melodic variety in the four-tone sequences. The discrimination function obtained here is the same as that found for infants’ discrimination of large numbers of visual and auditory items at a similar age, as well as for that obtained for similar-aged infants’ duration discriminations, and thus adds to a growing body of evidence suggesting that human infants may share with adults and nonhuman animals a mechanism for representing quantities as “noisy” mental magnitudes.     

Finger Pairings in Two-Choice Reaction Time Taskscolon: Does the Between-Hands Advantage Reflect Response Preparation?

Two fractionated RT experiments tested whether the response-preparation or response-implementation hypothesis better accounts for the observation that two-choice reaction time (RT) usually takes longer when the responses are performed by the fingers of the same hand (within-hand repertoire) than by the fingers of the two hands (between-hands repertoire). In Experiment I (n equals 8), the effect of repertoire on the premotor time and the motor time were studied. RT was divided into the two periods with respect to the onset of change in electromyographic (EMG) activity of the flexor digitorum profundus. Type of repertoire affected both time periods. In Experiment 2 (n = 16), the effects of repertoire and foreperiod duration on the premotor and motor times of the flexor digitorum profundus and flexor digitorum sublimis were studied. The results of Experiment I were confirmed, and the effects of repertoire and foreperiod duration were found to be additive on premotor time but interactive on motor time. These findings led to rejection of the response-preparation hypothesis and instead supported the view that the central command for the flexion of the right middle finger differs according to the type of repertoire. The command appears to specify a lower rate of recruitment of the prime movers in the within-hand repertoire than in the between-hands repertoire. The execution of the central commands may depend on the state of excitability of the spinal neurons. Analysis of the EMG signals revealed that speed of contraction of the prime movers depends on repertoire when the foreperiod is long but not when it is short. The additivity of the effects of repertoire and of foreperiod duration on premotor time support the view that regardless of the state of preparation of the subject the pattern of EMG activity required for flexion of the right middle finger in each repertoire is specified during the premotor time.     

Divided attention between lyrics and tunes of operatic songs: Evidence for independent processing

Excerpts from French operatic songs were used to evaluate the extent to which language and music compete for processing resources. Do these two dimensions conflict? Are they integrated into a single percept? Or are they independent? The final word of each excerpt was either semantically congruous or incongruous relative to the prior linguistic context and was sung either in or out of key. Participants were asked to detect either the semantic or the melodic incongruity (single task) or both (dual task). We predicted a dual-task deficit if these tasks conflicted and no deficit if they were either independent or integrated. In order to distinguish between these last two outcomes, trial-by-trial contingency analyses were also computed, predicting no correlation if the tasks were conflicting or independent, a positive correlation under the assumption of integration and a negative correlation if dividing attention is impossible. Our results show similar levels of performance in single and dual tasks and no correlation between dual-task judgments, thus suggesting that semantic and melodic aspects of language are processed by independent systems. In addition, a comparison between musicians and nonmusicians shows that these conclusions are independent of musical expertise.     

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.     

Divided attention between lyrics and tunes of operatic songs: evidence for independent processing.

Excerpts from French operatic songs were used to evaluate the extent to which language and music compete for processing resources. Do these two dimensions conflict? Are they integrated into a single percept? Or are they independent? The final word of each excerpt was either semantically congruous or incongruous relative to the prior linguistic context and was sung either in or out of key. Participants were asked to detect either the semantic or the melodic incongruity (single task) or both (dual task). We predicted a dual-task deficit if these tasks conflicted and no deficit if they were either independent or integrated. In order to distinguish between these last two outcomes, trial-by-trial contingency analyses were also computed, predicting no correlation if the tasks were conflicting or independent, a positive correlation under the assumption of integration and a negative correlation if dividing attention is impossible. Our results show similar levels of performance in single and dual tasks and no correlation between dual-task judgments, thus suggesting that semantic and melodic aspects of language are processed by independent systems. In addition, a comparison between musicians and nonmusicians shows that these conclusions are independent of musical expertise.     

Recognition of music in long-term memory: Are melodic and temporal patterns equal partners?

The notion that the melody (i.e., pitch structure) of familiar music is more recognizable than its accompanying rhythm (i.e., temporal structure) was examined with the same set of nameable musical excerpts in three experiments. In Experiment 1, the excerpts were modified so as to keep either their original pitch variations, whereas durations were set to isochrony (melodic condition) or their original temporal pattern while played on a single constant pitch (rhythmic condition). The subjects, who were selected without regard to musical training, were found to name more tunes and to rate their feeling of knowing the musical excerpts far higher in the melodic condition than in the rhythmic condition. These results were replicated in Experiment 2, wherein the melodic and rhythmic patterns of the musical excerpts were interchanged to create chimeric mismatched tunes. The difference in saliency of the melodic pattern and the rhythmic pattern also emerged with a music-title-verification task in Experiment 3, hence discarding response selection as the main source of the discrepancy. The lesser effectiveness of rhythmic structure appears to be related to its lesser encoding distinctiveness relative to melodic structure. In general, rhythm was found to be a poor cue for the musical representations that are stored in long-term memory. Nevertheless, in all three experiments, the most effective cue for music identification involved the proper combination of pitches and durations. Therefore, the optimal code of access to long-term memory for music resides in a combination of rhythm and melody, of which the latter would be the most informative.     

Comparative study of verbal originality in deaf and hearing children.

Verbal originality scores were obtained from Onomatopoeia and Images, Form 1B, given to 181 deaf and 236 hearing Ss aged 10 to 19 yr. The hearing Ss scored significantly higher than the deaf Ss. Significant main effects for age were found but not for sex. The only significant interaction was found for hearing status and age. Deaf Ss became more productive as age increased, while performance of hearing Ss relative to age fluctuated.     

Identification of microtonal melodies: Effects of scale-step size,serial order,and training

The perception of microtonal scales was investigated in a melodic identification task. In each trial, eight pure tones, equally-spaced in log frequency in the vicinity of 700 Hz, were presented in one of nine different serial orders. There were two experiments, each with 108 trials (six scales [tone sets] × nine serial orders × two repetitions). In each experiment, 30 subjects, half of whom were musically trained, were asked to match each melody to one of 9 visual representations (frequency-time grids). In Experiment 1, the six scales were spaced at intervals of 25, 33, 50, 67, 100, and 133 cents (100 cents=1 semitone ≈6% of frequency). Performance was worse for scale steps of 25 and 33 cents than it was for wider scale steps. There were no significant effects at other intervals, including the interval of 100 cents, implying that melodic pattern identification is unaffected by long-term experience of music in 12-tone equally tempered tuning (e.g., piano music). In Experiment 2, the six scales were spaced at smaller intervals, of 10, 20, 30, 40, 50, and 60 cents. Performance for the three narrower scale steps was worse than that for the three wider scale steps. For some orders, performance for the narrowest scale step (10 cents) did not exceed chance. The smallest practical scale step for short microtonal melodies in a pattern-identification task was estimated as being 10–20 cents for chance performance, and 30–40 cents for asymptotic performance.     

People and objects affect the quality of vocalizations in infants with down syndrome

The vocalizations of eight infants with Down syndrome were recorded longitudinally in relation to different social and non-social contexts. The infants were observed biweekly from 8 to 24 weeks and monthly up to 40 weeks. At each visit the infants were presented with their mother, a female stranger, and a rattle puppet, each alternately active and passive. Each condition lasted 60 sec. The results showed that by 4 months of age, the infants produced different types of vocal sounds in relation to environmental contexts. They produced significantly more melodic (speechlike) sounds, vocalic (non-speechlike) sounds, and emotional (crying, laughing and fussing) sounds when facing people than objects. By 6 months of age, these utterances began to be distinguished between mother and female stranger and active and passive adults. However, within the communicative context the overall amount of vocalic (non-speechlike) sounds produced was larger than the amount of melodic (speechlike) sounds. It is suggested that this low output of melodic sounds in the overall vocal production of these infants may adversely affect the development of more appropriate vocal behaviour.     

Perceptual fluency effects in judgments of creativity and beauty: creative objects are perceived fluently yet they are visually complex

ABSTRACT

Perceptual fluency typically has a positive influence on aesthetic evaluations of beauty, but few studies have examined its influence on creativity evaluations. Creativity has two facets, originality and quality. If creativity judgments involve estimating product originality, such judgments may be associated with perceptual disfluency, while product quality may be associated with perceptual fluency. We examined the relationship between perceptual fluency and judgments of creativity and beauty across seven experiments. Creativity judgments were affected by most perceptual fluencysources. We observed a highly-fluent-is-beautiful-and-creative relation when testing repeated exposure and figure-ground contrast. Prototypicality displayed a high-fluency–is-beautiful relation, with creativity judgments unaffected. Visual complexity displayed a consistent disfluent-is-creative effect, with mixed results for beauty. For creativity (but not beauty) evaluations, increased saliency of visual complexity led to discounting fluent-is-creative effects, supporting the hypothesis that there are at least two fluency pathways to creativity judgments that take both originality and quality into account.     

Personality consistency: Eminent architects 25 years later

One hundred and twenty‐four American male architects representing three levels of eminence and creativity were studied by Donald W. MacKinnon and his collaborators in 1958–1960. The present report is based on a follow‐up of 70 of the 83 (78%) surviving architects (mean age 71 years, with a range of 62–88). The architects were individually interviewed at their place of residence between 1983–1984 and received several of the same tests they had received 25 years before, including the Adjective Check List (ACL) and the California Psychological Inventory (CPI). The present study offered the architects a chance to look back at lifelong careers, and it allowed the researchers to establish that the distinct personality characteristics of the three groups of architects remained remarkably stable, and were at least partially responsible for moderating longevity and achievement. Opportunities for full‐time practice were radically different for the three groups after age 65. The interview data suggested that factors that are responsible for successful productivity in old age include: (a) commitment and drive; (b) overlearned skills; (c) aesthetic sensitivity; (d) ability to be a good salesman; and (e) ability to delegate responsibility. The continuing impressive creativity of the architects can be best explained by Simonton's (1984) constant probability of success model.     

A further study of melodic channeling

Subjects listened to repetitive presentations of C major scale patterns and simple two-part contrapuntal specimens, both dichotically and in a stereophonic free sound field. All scalar and melodic patterns were presented so that successive tones alternated from ear to ear: when a component of one scale or melody was routed through one speaker or headphone, the concurrent member of the other scale or melodic pattern was routed through the other speaker or headphone, and vice versa. The stimulus parameters of spectral contour and envelope characteristics, duration, melodic pattern, and loudness were varied, and a testing procedure was designed to minimize any bias in responses which might be produced by learning, immediate memory, or vocal Limitations of subjects. Virtually all responses (95.2% to scalar stimuli, 99.1% to melodic stimuli) indicated that the subjects channeled stimuli by pitch range, and not by ear of input. When spectral contours routed through the separate headphones or speakers were noticeably dissimilar, no subject perceived that this timbral inequality switched from ear to ear: all subjects heard an overall change in tone quality which pervaded both scalar or melodic sequences, and which apparently emanated from both headphones or speakers.     

Effects of Explicit Instructions,Metacognition, and Motivation on Creative Performance

Effects of explicit instructions, metacognition, and intrinsic motivation on creative homework performance were examined in 303 Chinese 10th-grade students. Models that represent hypothesized relations among these constructs and trait covariates were tested using structural equation modelling. Explicit instructions geared to originality were positively related to originality of homework, but not to fluency/flexibility of homework. Participants with high intrinsic motivation for creative work scored higher on originality as well as fluency/flexibility of homework, whereas intrinsic motivation for challenging work had an inverse effect on creative homework. Theoretical claims on the relation between explicit instructions and metacognitive activities and between the latter and creative performance were not supported by this study. The degree of explicitness of instructions and the nature of the tasks were discussed in relation to the findings on the effect of explicit instructions. Further, the difference of creative process involved in the production of original versus fluent/flexible creative performance and the difference in the two types of intrinsic motivation and their effects on creative performance were discussed based on various studies including brain activities. Implications of the findings for the Chinese education system were discussed.     

The time course of recognition of novel melodies

Seven experiments explored the time course of recognition of brief novel melodies. In a continuous-running-memory task, subjects recognized melodic transpositions following delays up to 2.0 min. The delays were either empty or filled with other melodies. Test items included exact transpositions (T), same-contour lures (SC) with altered pitch intervals, and different-contour lures (DC). DCs differed from Ts in the pattern of ups and downs of pitch. With this design, we assessed subjects’ discrimination of detailed changes in pitch intervals (T/SC discrimination) as well as their discrimination of contour changes (T/DC). We used both artificial and “real” melodies. Artificial melodies differed in conformity to a musical key, being tonal or atonal. After empty delays, T/DC discrimination was superior to T/SC discrimination. Surprisingly, after filled delays, T/SC discrimination was superior to T/DC. When only filled delays were tested, T/SC discrimination did not decline over the longest delays. T/DC performance declined more than did T/SC performance across both empty and filled delays. Tonality was an important factor only for T/SC discrimination after filled delays. T/DC performance was better with rhythmically intact folk melodies than with artificial isochronous melodies. Although T/SC performance improved over filled delays, it did not overtake T/DC performance. These results suggest that (1) contour and pitch-interval information make different contributions to recognition, with contour dominating performance after brief empty delays and pitch intervals dominating after longer filled delays; (2) a coherent tonality facilitates the encoding of pitch-interval patterns of melodies; and (3) the rich melodic—rhythmic contours of real melodies facilitate T/DC discrimination. These results are discussed in terms of automatic and controlled processing of melodic information.