Staying Together: A Bidirectional Delay–Coupled Approach to Joint Action

To understand how individuals adapt to and anticipate each other in joint tasks, we employ a bidirectional delay–coupled dynamical system that allows for mutual adaptation and anticipation. In delay–coupled systems, anticipation is achieved when one system compares its own time‐delayed behavior, which implicitly includes past information about the other system’s behavior, with the other system’s instantaneous behavior. Applied to joint music performance, the model allows each system to adapt its behavior to the dynamics of the other. Model predictions of asynchrony between two simultaneously produced musical voices were compared with duet pianists’ behavior; each partner performed one voice while auditory feedback perturbations occurred at unpredictable times during live performance. As the model predicted, when auditory feedback from one musical voice was removed, the asynchrony changed: The pianist’s voice that was removed anticipated (preceded) the actions of their partner. When the auditory feedback returned and both musicians could hear each other, they rapidly returned to baseline levels of asynchrony. To understand how the pianists anticipated each other, their performances were fitted by the model to examine change in model parameters (coupling strength, time‐delay). When auditory feedback for one or both voices was removed, the fits showed the expected decrease in coupling strength and time‐delay between the systems. When feedback about the voice(s) returned, the coupling strength and time‐delay returned to baseline. These findings support the idea that when people perform actions together, they do so as a coupled bidirectional anticipatory system.     

Children's perception of certain musical properties: scale and contour

Children's perception of scale and contour in melodies was investigated in five studies. Experimental tasks included judging transposed renditions of melodies (Studies 1 and 3), discriminating between transposed renditions of a melody (Study 2), judging contour-preserving transformations of melodies (Study 4), and judging similarity to a familiar target melody of transformations preserving rhythm or rhythm and contour (Study 5). The first and second studies showed that young children detect key transposition changes even in familiar melodies and they perceive similarity over key transpositions even in unfamiliar melodies. Young children also are sensitive to melodic contour over transformations that preserve it (Study 5), yet they distinguish spontaneously between melodies with the same contour and different intervals (Study 4). The key distance effect reported in the literature did not occur in the tasks of this investigation (Studies 1 and 3), and it may be apparent only for melodies shorter or more impoverished than those used here.     

Parallel discrimination of subjective contours defined by offset gratings

Recent physiological studies (von der Heydt & Peterhans, 1989) suggest that the orientation of subjective contours is encoded very early in the visual system (V2 in monkey). This result is seemingly at odds with existing psychophysical data which suggest that the detection of subjective contours involves selective attention. It is argued that certain subjective contours are registered in a reflexive (bottom-up) manner by the visual system but that selective attention may be needed to gain access to this representation. To assess this suggestion, a visual-search task was used in which subjects were to detect the presence of a horizontal (vertical) subjective contour (defined by offset gratings) in a variable number of vertical (horizontal) subjective contours (also defined by offset gratings). When there were no competing organizations within the display, detection was indeed independent of the number of nontarget distractors, that is, selective attention was unnecessary. In a second experiment, we found that a curved form (a crescent defined by subjective contours) was easier to detect in a background of vertical bars (also defined by subjective contours) than vice versa, namely, a search asymmetry paralleling those found by Treisman and Gormican (1988). A final experiment showed that when the horizontal and vertical bars of the first experiment formed textured regions, they could be discriminated at very brief display durations (30–120 msec), However, when the line terminations aligned along the subjective contour were tapered rather than abrupt, discrimination dropped off with the degree of tapering. The latter result is consistent with the assumption that the registration of subjective contours in V2 involves the integration of responses from aligned, end-stopped cells found in VI (von der Heydt & Peterhans, 1989).     

Separability and integrality of global and local levels of hierarchical patterns

We used a constrained classification task to examine the perceptual relations between global and local levels in hierarchical patterns composed of many, relatively small elements and those composed of few, relatively large elements. In Experiments 1 and 3 subjects were asked to make classifications based on "form" or "texture." In Experiments 2 and 4 they were asked to classify according to the "shape" of the configuration or the elements. The results indicate that configural and elemental levels are perceptually separable for many-element patterns when processed as form and texture: Subjects could attend to either level without being affected by variation along the irrelevant dimension. However, when the same many-element patterns were processed for global and local shape, subjects could not selectively attend to either level. For few-element patterns, global configuration and local elements appeared to be perceptually integral dimensions. These results are relevant to two issues: the global precedence hypothesis and the explanations of integral and separable dimensions.