Crossmodal binding: evaluating the "unity assumption" using audiovisual speech stimuli

We investigated whether the "unity assumption," according to which an observer assumes that two different sensory signals refer to the same underlying multisensory event, influences the multisensory integration of audiovisual speech stimuli. Syllables (Experiments 1, 3, and 4) or words (Experiment 2) were presented to participants at a range of different stimulus onset asynchronies using the method of constant stimuli. Participants made unspeeded temporal order judgments regarding which stream (either auditory or visual) had been presented first. The auditory and visual speech stimuli in Experiments 1-3 were either gender matched (i.e., a female face presented together with a female voice) or else gender mismatched (i.e., a female face presented together with a male voice). In Experiment 4, different utterances from the same female speaker were used to generate the matched and mismatched speech video clips. Measuring in terms of the just noticeable difference the participants in all four experiments found it easier to judge which sensory modality had been presented first when evaluating mismatched stimuli than when evaluating the matched-speech stimuli. These results therefore provide the first empirical support for the "unity assumption" in the domain of the multisensory temporal integration of audiovisual speech stimuli.     

The role of spectral and dynamic cues in imagery for musical timbre.

The musical quality of timbre is based on both spectral and dynamic acoustic cues. Four 2-part experiments examined whether these properties are represented in the mental image of a musical timbre. Experiment 1 established that imagery occurs for timbre variations within a single musical instrument, using plucked and bowed tones from a cello. Experiments 2 and 3 used synthetic stimuli that varied in either spectral or dynamic properties only, to investigate imagery with strict acoustic control over the stimuli. Experiment 4 explored whether the dimension of loudness is stored in an auditory image. Spectral properties appear to play a much larger role than dynamic properties in imagery for musical timbre.     

The role of melodic and temporal cues in perceiving musical meter

A number of different cues allow listeners to perceive musical meter. Three experiments examined effects of melodic and temporal accents on perceived meter in excerpts from folk songs scored in 6/8 or 3/4 meter. Participants matched excerpts with 1 of 2 metrical drum accompaniments. Melodic accents included contour change, melodic leaps, registral extreme, melodic repetition, and harmonic rhythm. Two experiments with isochronous melodies showed that contour change and melodic repetition predicted judgments. For longer melodies in the 2nd experiment, variables predicted judgments best at the beginning of excerpts. The final experiment, with rhythmically varied melodies, showed that temporal accents, tempo, and contour change were the strongest predictors of meter. The authors' findings suggest that listeners combine multiple melodic and temporal features to perceive musical meter.     

The role of tone sensation and musical stimuli in early experimental psychology

In this article, the role of music in early experimental psychology is examined. Initially, the research of Wilhelm Wundt is considered, as tone sensation and musical elements appear as dominant factors in much of his work. It is hypothesized that this approach was motivated by an understanding of psychology that dates back to Christian Wolff 's focus on sensation in his empirical psychology of 1732. Wolff, however, had built his systematization of psychology on Gottfried Wilhelm von Leibniz, who combined perception with mathematics,and referred to music as the area in which sensation is united with numerical exactitude. Immanuel Kant refused to accept empirical psychology as a science, whereas Johann Friedrich Herbart reintroduced the scientific basis of empirical psychology by, among other things, referring to music.     

Change detection in multi-voice music: the role of musical structure, musical training, and task demands

This study evaluated the relationship between primitive and scheme-driven grouping (A. S. Bregman, 1990) by comparing the ability of different listeners to detect single note changes in 3-voice musical compositions. Primitive grouping was manipulated by the use of 2 distinctly different compositional styles (homophony and polyphony). The effects of scheme-driven processes were tested by comparing performance of 2 groups of listeners (musicians and nonmusicians) and by varying task demands (integrative and selective listening). Following previous studies, which had tested only musically trained participants, several variables were manipulated within each compositional style. The results indicated that, although musicians demonstrated a higher sensitivity to changes than did nonmusicians, the 2 groups exhibited similar patterns of sensitivity under a variety of conditions.     

Musical space synesthesia: Automatic,explicit and conceptual connections between musical stimuli and space

In musical–space synesthesia, musical pitches are perceived as having a spatially defined array. Previous studies showed that symbolic inducers (e.g., numbers, months) can modulate response according to the inducer’s relative position on the synesthetic spatial form. In the current study we tested two musical–space synesthetes and a group of matched controls on three different tasks: musical–space mapping, spatial cue detection and a spatial Stroop-like task. In the free mapping task, both synesthetes exhibited a diagonal organization of musical pitch tones rising from bottom left to the top right. This organization was found to be consistent over time. In the subsequent tasks, synesthetes were asked to ignore an auditory or visually presented musical pitch (irrelevant information) and respond to a visual target (i.e., an asterisk) on the screen (relevant information). Compatibility between musical pitch and the target’s spatial location was manipulated to be compatible or incompatible with the synesthetes’ spatial representations. In the spatial cue detection task participants had to press the space key immediately upon detecting the target. In the Stroop-like task, they had to reach the target by using a mouse cursor. In both tasks, synesthetes’ performance was modulated by the compatibility between irrelevant and relevant spatial information. Specifically, the target’s spatial location conflicted with the spatial information triggered by the irrelevant musical stimulus. These results reveal that for musical–space synesthetes, musical information automatically orients attention according to their specific spatial musical-forms. The present study demonstrates the genuineness of musical–space synesthesia by revealing its two hallmarks—automaticity and consistency. In addition, our results challenge previous findings regarding an implicit vertical representation for pitch tones in non-synesthete musicians.     

Hypermnesia: The role of multiple retrieval cues

We demonstrate that encoding multiple cues enhances hypermnesia. College students were presented with 36 (Experiment 1) or 60 (Experiments 2 and 3) sets of words and were asked to encode the sets under single- or multiple-cue conditions. In the single-cue conditions, each set consisted of a cue and a target. In the multiple-cue conditions, each set consisted of three cues and a target. Following the presentation of the word sets, the participants received either three cued recall tests (Experiments 1 and 2) or three free recall tests (Experiment 3). With this manipulation, we observed greater hypermnesia in the multiple-cue conditions than in the single-cue conditions. Furthermore, the greater hypermnesic recall resulted from increased reminiscence rather than reduced intertest forgetting. The present findings support the hypothesis that the availability of multiple retrieval cues plays an important role in hypermnesia.     

Improving visual spatial working memory in younger and older adults: effects of cross-modal cues

Spatially informative auditory and vibrotactile (cross-modal) cues can facilitate attention but little is known about how similar cues influence visual spatial working memory (WM) across the adult lifespan. We investigated the effects of cues (spatially informative or alerting pre-cues vs. no cues), cue modality (auditory vs. vibrotactile vs. visual), memory array size (four vs. six items), and maintenance delay (900 vs. 1800 ms) on visual spatial location WM recognition accuracy in younger adults (YA) and older adults (OA). We observed a significant interaction between spatially informative pre-cue type, array size, and delay. OA and YA benefitted equally from spatially informative pre-cues, suggesting that attentional orienting prior to WM encoding, regardless of cue modality, is preserved with age. Contrary to predictions, alerting pre-cues generally impaired performance in both age groups, suggesting that maintaining a vigilant state of arousal by facilitating the alerting attention system does not help visual spatial location WM.     

听觉线索与个体差异对音乐紧张感加工的影响

音乐无他, 张弛而已。音乐紧张感架起了客观音响与主观体验之间的桥梁, 是音乐情绪产生的前提和基础。音乐紧张感加工的影响因素主要来自客体与主体两方面。研究发现, 声学要素与调性结构是影响音乐紧张感诱发的声音线索, 而文化背景与音乐能力是影响听者对紧张感加工的个体因素。未来需要对时间结构与长时程调性结构诱发的紧张感及其机制进行深入探究, 这将有助于深化我们对音乐紧张感与情绪加工的认识。     

The role of fear-relevant stimuli in visual search: a comparison of phylogenetic and ontogenetic stimuli

It has been argued that phylogenetic fear-relevant stimuli elicit preattentive capture of attention. To distinguish between fear relevance and time of appearance in evolutionary history, the authors compare phylogenetic and ontogenetic fear-relevant and fear-irrelevant stimuli in a visual search task. The authors found no evidence for a special role of phylogenetic fear-relevant stimuli; it seems that fear relevance in general is more important than is the evolutionary age. The pattern of results indicates that attention toward threatening stimuli is mainly affected by a late component that prolongs the disengagement of attention.     

The processing of affectively valenced stimuli: The role of surprise

Two experiments tested the hypothesis that the surprise mechanism activates a threat detection system that prioritises the processing of threat-related stimuli. In Experiment 1, participants responded to a dot that appeared during the presentation of two words. In the critical trial, one of the two words was either pleasant or unpleasant. In Experiment 2, depending on the condition, the participants had to decide whether at least one of two simultaneously presented pictures depicted either a pleasant or an unpleasant stimulus. In the critical trial, both a pleasant and an unpleasant picture appeared. In both experiments, the stimuli in the critical trial were presented either during routine behaviour or in the context of a surprising event. The results showed that during routine behaviour unpleasant stimuli received more attentive resources than pleasant stimuli only if the affective valence of the stimuli was action-relevant (Experiment 2). In contrast, in the context of surprise, unpleasant words engaged more attentive resources than pleasant words although they were action-irrelevant (Experiment 1). In addition, in the context of surprise, the decision time increase was more pronounced in the pleasant than in the unpleasant experimental group. This finding was interpreted as evidence that the threat detection system of the surprise mechanism initially searches for a threat-related stimulus.     

The role of knowledge-based expectations in music perception: evidence from musical restoration

The perceptual restoration of musical sounds was investigated in 5 experiments with Samuel's (1981a) discrimination methodology. Restoration in familiar melodies was compared to phonemic restoration in Experiment 1. In the remaining experiments, we examined the effect of expectations (generated by familiarity, predictability, and musical schemata) on musical restoration. We investigated restoration in melodies by comparing familiar and unfamiliar melodies (Experiment 2), as well as unfamiliar melodies varying in tonal and rhythmic predictability (Experiment 3). Expectations based on both familiarity and predictability were found to reduce restoration at the melodic level. Restoration at the submelodic level was investigated with scales and chords in Experiments 4 and 5. At this level, key-based expectations were found to increase restoration. Implications for music perception, as well as similarities between restoration in music and speech, are discussed.     

Information transmission for one-dimensional stimuli: The role of strategies

Important evidence about the information flow between perceptual and motor processes has been obtained from the lateralized readiness potential (LRP) recorded in two-choice go/nogo tasks. Here, we investigated the effect of time pressure on information transmission for one-dimensional stimuli (four squares differing in size). In between- and within-subject designs, respectively, Experiments 1 and 2 showed that under time pressure partial information initiates hand decision and response preparation before complete size information is available. These findings appear to be at odds with the asynchronous discrete coding model. Experiment 3 assessed the mechanisms behind these effects by manipulating the relative difficulty of extracting hand- and go/nogo-specific information from the size of the stimuli. Consistent with asynchronous coding, our results suggest that serial-consecutive processes in extracting partial and full size information may occur also for one-dimensional stimuli. Our data are inconclusive as to the question of discreteness or continuity of information transmission. On a more general level, our data support the notion of flexibility in the coding of perceptual dimensions to adapt performance to environmental conditions.     

Dynamic melody recognition: Distinctiveness and the role of musical expertise

The hypothesis that melodies are recognized at moments when they exhibit a distinctive musical pattern was tested. In a melody recognition experiment, point-of-recognition (POR) data were gathered from 32 listeners (16 musicians and 16 nonmusicians) judging 120 melodies. A series of models of melody recognition were developed, resulting from a stepwise multiple regression of two classes of information relating to melodic familiarity and melodic distinctiveness. Melodic distinctiveness measures were assembled through statistical analyses of over 15,000 Western themes and melodies. A significant model, explaining 85% of the variance, entered measures primarily of timing distinctiveness and pitch distinctiveness, but excluding familiarity, as predictors of POR. Differences between nonmusician and musician models suggest a processing shift from momentary to accumulated information with increased exposure to music. Supplemental materials for this article may be downloaded from http://mc.psychonomic-journals.org/content/supplemental.     

The language used in describing autobiographical memories prompted by life period visually presented verbal cues,event-specific visually presented verbal cues and short musical clips of popular music

Here, we examined linguistic differences in the reports of memories produced by three cueing methods. Two groups of young adults were cued visually either by words representing events or popular cultural phenomena that took place when they were 5, 10, or 16 years of age, or by words referencing a general lifetime period word cue directing them to that period in their life. A third group heard 30-second long musical clips of songs popular during the same three time periods. In each condition, participants typed a specific event memory evoked by the cue and these typed memories were subjected to analysis by the Linguistic Inquiry and Word Count (LIWC) program. Differences in the reports produced indicated that listening to music evoked memories embodied in motor-perceptual systems more so than memories evoked by our word-cueing conditions. Additionally, relative to music cues, lifetime period word cues produced memories with reliably more uses of personal pronouns, past tense terms, and negative emotions. The findings provide evidence for the embodiment of autobiographical memories, and how those differ when the cues emphasise different aspects of the encoded events.     

Behavioral cues to others’ motivation and goal pursuits: The perception of effort facilitates goal inference and contagion

Recent research demonstrates that people spontaneously, i.e., without conscious intent, infer and pursue the goals perceived in others’ behavior, a phenomenon termed goal contagion [Aarts, H., Gollwitzer, P., & Hassin, R. R. (2004). Goal contagion: perceiving is for pursuing. Journal of Personality and Social Psychology, 87, 23-27]. Three experiments extend this work by studying the basic role of perceived behavioral effort in goal inference and pursuit. In an adaptation of the Animated Film Technique, participants were exposed to a movie featuring movements of a ball that implied the goal of helping. The amount of effort in pursuing the implied goal was experimentally varied. Results showed that an increase in perceived effort led to stronger inferences of the implied goal, as was established by enhanced accessibility of the goal representation in a word completion and lexical decision task. Furthermore, as a result of these inferences, participants more strongly pursued the inferred goal of helping. Implications for research on goal inferences and pursuit are briefly discussed.     

Facing fear-provoking stimuli: The role of courage and influence of task-importance

ABSTRACT

Courage research is emerging, although there is little empirical literature on task-importance, and morality or nobility within courage. This experimental study assessed courage, persistence despite fear, in the relationship between anxiety, behavioral approach and task-importance. Twenty-eight participants with elevated spider fear were randomly assigned to high or low importance conditions. Participants undertook a behavioral approach test where they moved their hand alongside a ruler to as close as they felt comfortable to a non-living spider display. In partial support of the first hypothesis, courage scores predicted behavioral approach distance above-and-beyond spider fear when task-importance was not experimentally augmented. Supporting the second hypothesis, experimentally induced task-importance significantly moderated the relationship between courage and behavioral approach distance such that high importance participants moved closer to the spiders at all levels of courage. This study provides foundational evidence that 1) self-report measures can predict behavioral courage above-and-beyond fear 2) perceived task-importance influences behaviour.     

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.     

Perceiving self-motion in depth: The role of stereoscopic motion and changing-size cues

During self-motions, different patterns of optic flow are presented to the left and right eyes. Previous research has, however, focused mainly on the self-motion information contained in a single pattern of optic flow. The present experiments investigated the role that binocular disparity plays in the visual perception of self-motion, showing that the addition of stereoscopic cues to optic flow significantly improves forward linear vection in central vision. Improvements were also achieved by adding changingsize cues to sparse (but not dense) flow patterns. These findings showed that assumptions in the heading literature that stereoscopic cues facilitate self-motion only when the optic flow has ambiguous depth ordering do not apply to vection. Rather, it was concluded that both stereoscopic and changingsize cues provide additional motion-in-depth information that is used in perceiving self-motion.     

Looking at threat-relevant stimuli: The role of anxiety and coping style

Abstract Results of numerous studies demonstrate that anxious subjects selectively attend to threat-related rather than to neutral stimuli. It has been argued that, as a result of this, anxious individuals more easily perceive and misattribute threatening stimuli in their environment, thereby creating a vicious circle of attention and anxiety. The evidence for this anxiety-linked attentional bias, however, is largely based on studies using subliminal or dichotic presentation of verbal stimuli. The present study sought to replicate these results by examining the relationship between anxiety and visual attention during prolonged exposure to threat-relevant (pictures of situations in a dental practice) and neutral (pictures of situations at a hairdresser salon) material with 45 women. No significant relationship emerged between dental trait anxiety and duration subjects directed gaze to the threat-relevant pictures. Neither self-reported state anxiety nor habitual coping style appeared to be significantly related to duration of visual attention for the threat-relevant pictures. Hence, no evidence was found supporting the hypothesis that high anxiety leads to a bias in attention towards emotionally threatening information. It is suggested that hypervigilance occurs in the early stages of the appraisal process.