The swan-song phenomenon: last-works effects for 172 classical composers

Creative individuals approaching their final years of life may undergo a transformation in outlook that is reflected in their last works. This hypothesized effect was quantitatively assessed for an extensive sample of 1,919 works by 172 classical composers. The works were independently gauged on seven aesthetic attributes (melodic originality, melodic variation, repertoire popularity, aesthetic significance, listener accessibility, performance duration, and thematic size), and potential last-works effects were operationally defined two separate ways (linearly and exponentially). Statistical controls were introduced for both longitudinal changes (linear, quadratic, and cubic age functions) and individual differences (eminence and lifetime productivity). Hierarchical regression analyses indicated that composers' swan songs tend to score lower in melodic originality and performance duration but higher in repertoire popularity and aesthetic significance. These last-works effects survive control for total compositional output, eminence, and most significantly, the composer's age when the last works were created.     

Implicit theories of a desire for fame

The aim of the present studies was to generate implicit theories of a desire for fame among the general population. In Study 1, we were able to develop a nine‐factor analytic model of conceptions of the desire to be famous that initially comprised nine separate factors; ambition, meaning derived through comparison with others, psychologically vulnerable, attention seeking, conceitedness, social access, altruistic, positive affect, and glamour. Analysis that sought to examine replicability among these factors suggested that three factors (altruistic, positive affect, and glamour) neither display factor congruence nor display adequate internal reliability. A second study examined the validity of these factors in predicting profiles of individuals who may desire fame. The findings from this study suggested that two of the nine factors (positive affect and altruism) could not be considered strong factors within the model. Overall, the findings suggest that implicit theories of a desire for fame comprise six factors. The discussion focuses on how an implicit model of a desire for fame might progress into formal theories of a desire for fame.     

Person-oriented profiles of originality and fluency in divergent thinking responses

Researchers often use divergent thinking tasks to assess creative potential and find a positive inter-individual relation between fluency and originality. But are there different within-person patterns of originality and fluency? Study 1: undergraduates completed an alternate uses task and the NEO-FFI. Three profiles emerged: (1) low originality and fluency; (2) above average originality, moderate fluency; and (3) average originality, high fluency. Study 2: high school students completed a divergent thinking task and 10 facets of the IPIP NEO-PI. Four profiles emerged: (1) average originality, moderate fluency; (2) above average originality, high fluency; (3) low originality and fluency; and (4) high originality, low fluency. Profile differences in personality and maximum originality, and implications of these findings are discussed.     

旋律语调疗法及其对失语症的临床应用

失语症是当今人类面临的一个重要的健康问题。旋律语调疗法被认为是治疗失语症的有效手段之一。传统旋律语调疗法强调严格的程序和材料,改编版本则依据患者情况进行调整,二者均能提高失语症者的自发言语产生、言语复述以及命名等能力。研究还表明,旋律语调疗法不仅能提高失语症者相关脑区的激活水平,而且也能通过影响失语症者的相关神经结构改善其言语功能。未来研究需要进一步确定该疗法的干预机制及其对汉语失语症的适用性。     

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.     

The influence of melodic context on pitch recognition judgment

Subjects made delayed pitch comparisons between tones that were each preceded by tones of lower pitch. The pitches of these preceding tones were so chosen that in some conditions the melodic intervals formed by the standard (S) and comparison (C) combinations were identical, and in others they differed. A strong effect of melodic relational context was demonstrated. When the S and C combinations formed identical melodic intervals, there was an increased tendency for the S and C tones to be judged as identical. And when the S and C combinations formed different melodic intervals, there was an increased tendency for the S and C tones to be judged as different. These effects occurred both when the S and C tones were identical in pitch and also when these differed, and they occurred despite instructions to attend only to the S and C tones.     

The dual pathway to creativity model: Creative ideation as a function of flexibility and persistence

The dual pathway to creativity model argues that creativity—the generation of original and appropriate ideas—is a function of cognitive flexibility and cognitive persistence, and that dispositional or situational variables may influence creativity either through their effects on flexibility, on persistence, or both. This model is tested in a number of studies in which participants performed creative ideation tasks. We review work showing that cognitive flexibility, operationalised as the number of content categories surveyed, directly relates to idea originality, but that originality can also be achieved by exploring a few content categories in great depth (i.e., persistence). We also show that a global processing mode is associated with cognitive flexibility, but only leads to high originality in tasks that capitalise on cognitive flexibility. We finally show that activating positive mood states enhance creativity because they stimulate flexibility, while activating negative mood states can enhance creativity because they stimulate persistence. Implications for theory and practice are discussed.     

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.     

On the bounded rationality of gender stereotyping in fame judgments

The false‐fame effect is the phenomenon that familiar names are falsely judged famous more often than unfamiliar names. M.R. Banaji and A.G. Greenwald ( 1995 ) demonstrated a gender bias in the false‐fame effect: In line with existing gender stereotypes, the false‐fame effect was larger for male than for female names. A more general explanation for gender biasing in fame judgments is based on cognitive availability. Name gender could be used as an ecologically valid cue when making fame judgments. If the relevant universe of famous names contained more male than female names, a gender bias in fame judgments should be observed, if it contained more female names, the gender bias should be reversed. Indeed, this pattern could be demonstrated experimentally, and we argue that it is not compatible with an account that draws on gender stereotyping but with one based on cognitive availability. Copyright © 2004 John Wiley & Sons, Ltd.     

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.     

Music-to-language transfer effect: may melodic ability improve learning of tonal languages by native nontonal speakers?

In tonal languages, as Mandarin Chinese and Thai, word meaning is partially determined by lexical tones. Previous studies suggest that lexical tones are processed by native listeners as linguistic information and not as pure tonal information. This study aims at verifying if, in nontonal languages speakers, the discrimination of lexical Mandarin tones varies in function of the melodic ability. Forty-six students with no previous experience of Mandarin or any other tonal language were presented with two short lists of spoken monosyllabic Mandarin words and invited to perform a same–different task trying to identify whether the variation were phonological or tonal. Main results show that subjects perform significantly better in identifying phonological variations rather than tonal ones and interestingly, the group with a high melodic ability (assessed by Wing subtest 3) shows a better performance exclusively in detecting tonal variations.     

Expectancies generated by melodic intervals: Perceptual judgments of melodic continuity

The present study tested quantified predictors based on the bottom-up principles of Narmour’s (1990) implication-realization model of melodic expectancy against continuity ratings collected for a tone that followed a two-tone melodic beginning. Twenty-four subjects (12 musically trained, 12 untrained) were presented with each of eight melodic intervals—two successive tones which they were asked to consider as the beginning of a melody. On each trial, a melodic interval was followed by a third tone, one of the 25 chromatic notes within the range one octave below to one octave above the second tone of the interval. The subjects were asked to rate how well the third tone continued the melody. A series of regression analyses was performed on the continuation ratings, and a final model to account for the variance in the ratings is proposed. Support was found for three of Narmour’s principles and a modified version of a fourth. Support was also found for predictor variables based on the pitch organization of tonal harmonic music. No significant differences between the levels of musical training were encountered.     

Controlled attending as a function of melodic and temporal context

Melodic and rhythmic context were systematically varied in a pattern recognition task involving pairs (standard-comparison) of nine-tone auditory sequences. The experiment was designed to test the hypothesis that rhythmic context can direct attention toward or away from tones which instantiate higher order melodic rules. Three levels of melodic structure (one, two, no higher order rules) were crossed with four levels of rhythm [isochronous, dactyl (A U U), anapest (U U A), irregular]. Rhythms were designed to shift accent locations on three centrally embedded tones. Listeners were more accurate in detecting violations of higher order melodic rules when the rhythmic context induced accents on tones which instantiated these rules. Effects are discussed in terms of attentional rhythmicity.     

Pattern specificity in the effect of prior Δƒ on auditory stream segregation

During repeating sequences of low (A) and high (B) tones, perception of two separate streams ("streaming") increases with greater frequency separation (Δ?) between the A and B tones; in contrast, a prior context with large Δ? results in less streaming during a subsequent test pattern. The purpose of the present study was to investigate what aspects of the context pattern are necessary for this context effect to occur. Simply changing the B-tone frequency without an alternating A tone present was not sufficient to cause the effect of prior Δ?, but rather a melodic change between A and B tones was necessary. We further investigated the extent to which the context and test patterns needed to have similar rhythms (xxx-xxx-) and melodies (up-down-flat-up-down), and found that a maximal prior-Δ? effect occurred when the rhythmic patterns of the context and test were similar, regardless of the melodic structure. Thus, the effect of prior Δ? on streaming depended on the presence of (1) at least one melodic change in the context, and (2) similar rhythmic patterns in the context and test.     

Hedonic tone and activation level in the mood-creativity link: toward a dual pathway to creativity model

To understand when and why mood states influence creativity, the authors developed and tested a dual pathway to creativity model; creative fluency (number of ideas or insights) and originality (novelty) are functions of cognitive flexibility, persistence, or some combination thereof. Invoking work on arousal, psychophysiological processes, and working memory capacity, the authors argue that activating moods (e.g., angry, fearful, happy, elated) lead to more creative fluency and originality than do deactivating moods (e.g., sad, depressed, relaxed, serene). Furthermore, activating moods influence creative fluency and originality because of enhanced cognitive flexibility when tone is positive and because of enhanced persistence when tone is negative. Four studies with different mood manipulations and operationalizations of creativity (e.g., brainstorming, category inclusion tasks, gestalt completion tests) support the model.     

MELODY: IMPORTANCE IN LEARNING ORAL AND BOOK LANGUAGE

This paper reviews the concept that the melodic features of language play a major role in the child's acquisition of both oral and book language. The first linguistic features learned by children when acquiring oral language are the melodic or rhythmic structures (stress, intonation and juncture) and these features are learned before the phonemic. Therefore, it is feasible to claim that the melodic features of book language are learned before awareness of print. Exposure to text language read aloud and instructional methods, such as, repeated readings may supply the necessary experiential background needed to learn the rhythmic rule system of the text.     

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.     

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.     

Unconventionality and Originality: Does Self-Assessed Unconventionality Increase Original Achievement?

Creativity is negatively associated with certain personality traits (e.g., conformity) and social influences (e.g., group pressure). In this study, creativity was examined in relation to unconventionality, which was expected to correlate positively with creativity, especially originality. This hypothesis was based on the theory that unconventional people hold uncommon views and attitudes and develop more diverging concepts and associations, which build the foundation for creative thinking. To examine the hypothesis, an online study with N = 90 participants was conducted. Unconventionality was measured with a new self-rating questionnaire, and creativity was measured with unusual uses, consequences, and explanations measures, which assessed both originality (rarity and uniqueness) and flexibility (diversity). The association of unconventionality with originality, after controlling for flexibility, was compared to other constructs (openness, conservatism, education). Path analysis revealed strong effects of unconventionality on originality (latent β = .58, r = .64). Unconventionality continued to predict originality after controlling for openness, which was weakly related to originality (β = .08, r = .49). Unconventionality weakly predicted flexibility (β = .09, r = .26). Supplemental analyses indicated that the effects of unconventionality on originality were not attributable to confounds (e.g., conservatism or education). The results indicate that the effects of unconventionality are positive, specific, substantial, and independent of related constructs (e.g., openness).     

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.