Several methods for teaching serial position sequences to monkeys

Three keys were available for monkeys to press. The objective was to teach the animals to press the keys in sequences up to 10 members in length. With fading procedures, a light that cued the correct key at a given serial member of the sequence faded out slightly each time the animal selected it, and became slightly brighter after the animal made an error at that sequence member. The correct keys were faded out, starting from the end of the sequence and proceeding toward the beginning. With control procedures, the cue lights were turned off suddenly, rather than being faded gradually. In almost every instance, the animals learned a longer series of unlighted key positions with the fading procedures than they did when each key-light was turned off suddenly. Also, requiring the animals to press a series of keys cued by lights before they could reach the sequence members they were to learn hampered them in learning the later serial members. By using several different sequences, it was possible to replicate these findings within the individual animal.     

Apparatus accurate delays for auditory feedback experiments

This note describes a way of modifying a tape recorder for producing accurately controllable delays for experiments with delayed auditory feedback. Any value of delay from 80 millisec. to 1.2 sec. can be obtained to the nearest millisec., and the range could be extended by some minor changes. The delay is continuously monitored on a digital electronic timer.     

Continuity effects with alternately sounding tones under dichotic presentation

An experiment is reported in which 10 Ss possessing normal hearing were required to make discriminations of continuity or interruption in a longer less intense signal (Tone A) which alternated in time with a shorter more intense signal (Tone B). The signals were presented dichotically with Tone A at the right ear. Three Tone B frequencies of 300, 1000, and 4000 cps and five Tone A frequencies somewhat near each of the Tone B frequencies were employed. The results demonstrated that as Tone A was nearer to Tone B in frequency, continuity thresholds in Tone A occurred at longer durations of Tone B. The results are discussed in terms of a central neural model.