Catherine J. Stevens

Severe tinnitus and its effect on selective and divided attention = Acufeno severo y sus efectos sobre la atención selectiva y dividida

The effect of chronic, severe tinnitus on two visual tasks was investigated. A general depletion of resources hypothesis states that overall performance would be impaired in a tinnitus group relative to a control group whereas a controlled processing hypothesis states that only tasks that are demanding, requiring strategic processes, are affected. Eleven participants who had experienced severe tinnitus for more than two years comprised the tinnitus group. A control group was matched for age and verbal IQ. Levels of anxiety, depression, and high frequency average hearing level were treated as covariates. Tasks consisted of the say-word (easy) and say-color (demanding) conditions of the Stroop task, a single (baseline) reaction time (RT) task, and dual tasks involving word reading or category naming while performing a concurrent RT task. Results supported the general depletion of resources hypothesis: RT of the tinnitus group was slower in both conditions of the Stroop task, and in the word reading and category naming conditions of the dual task. Differences were not attributable to high frequency average hearing level, anxiety, or depression.

Meaning from environmental sounds: Types of signal-referent relations and their effect on recognizing auditory icons

This article addresses the learnability of auditory icons, that is, environmental sounds that refer either directly or indirectly to meaningful events. Direct relations use the sound made by the target event whereas indirect relations substitute a surrogate for the target. Across 3 experiments, different indirect relations (ecological, in which target and surrogate coexist in the world; metaphorical, in which target and surrogate have similar appearance or function, and random) were compared with one another and with direct relations on measures including associative strength ratings, amount of exposure required for learning, and response times for recognizing icons. Findings suggest that performance is best with direct relations, worst with random relations, and that ecological and metaphorical relations involve distinct types of association but do not differ in learnability.

Music, movement and marimba: an investigation of the role of movement and gesture in communicating musical expression to an audience

The experiment reported in this article investigated the assumption that visual movement plays a role in musician-to-audience communication in marimba performance. Body movement is of particular relevance here as the expressive capabilities of the marimba are relatively restricted, and the movements required to play it are visible. Twenty-four musically trained and 24 musically untrained observers rated auditory-only and auditory-visual presentations of 20th-century solo marimba excerpts for perceived expressiveness and interest. Performances were given by a male and a female professional musician in projected (public performance expression) and deadpan (minimized expressive features) performance manners. As hypothesized, higher ratings were recorded in response to projected performances than to deadpan. The hypothesized interaction between modality and performance manner was observed. Musically trained participants recorded higher ratings than musically untrained observers, upholding the final hypothesis. Expressive body movement plays an important role in the communication between marimba performer and audience — a role relevant for both performers and educators.

Thinking in action : thought made visible in contemporary dance

Contemporary dance—movement deliberately and systematically cultivated for its own sake—is examined in the light of the procedural and declarative view of long-term knowledge. We begin with a description of two settings in which new works of contemporary dance are created and performed. Although non-verbal, contemporary dance can be a language declared through movement and stillness of the body. Ideas for new movement material come from objects, events or imaginings that are spoken, seen, heard, imagined, or felt. Declared through movement, the idea becomes visible. Communication in dance involves general psychological processes such as direct visual perception of motion and force, motor simulation via mirror neurons, and implicit learning of movement vocabularies and grammars. Creating and performing dance appear to involve both procedural and declarative knowledge. The latter includes the role of episodic memory in performance and occasional labelling of movement phrases and sections in rehearsal. Procedural knowledge in dance is augmented by expressive nuance, feeling and communicative intent that is not characteristic of other movement-based procedural tasks. Having delineated lexical and grammatical components in dance, neural mechanisms are identified based on Ullman’s (Ullman in Cognition 92:231–270, 2004) alignment of lexical knowledge with declarative memory and mental grammar with procedural memory. We conclude with suggestions for experiments to test these assumptions that concern thought in action in composition, performance and appreciation of contemporary dance.

Cognition and the temporal arts: Investigating audience response to dance using PDAs that record continuous data during live performance

If artists and art explore organization of the brain [Zeki, S., Lamb, M., 1994. The neurology of kinetic art. Brain 117, 607-636], then investigation of response to artistic performance holds promise as a window to perceptual and cognitive processes. A new instrument for recording real-time audience response - the portable Audience Response Facility (pARF) - is described. Twenty, hand-held, Personal Digital Assistants (PDAs) collect responses on customizable skin interfaces. The pARF server transmits the customizable options, synchronizes devices and collects data for export. We report two studies using the pARF that demonstrate respondent agreement of perceived emotion during particular sections of two dance works. Greater agreement was evident in continuous ratings of arousal than valence; arousal appears to be related to surface features of the dance work. Future applications of the pARF to studies of multi-modal perception and cognition are discussed.

Music Perception and Cognition: A Review of Recent Cross-Cultural Research

Experimental investigations of cross-cultural music perception and cognition reported during the past decade are described. As globalization and Western music homogenize the world musical environment, it is imperative that diverse music and musical contexts are documented. Processes of music perception include grouping and segmentation, statistical learning and sensitivity to tonal and temporal hierarchies, and the development of tonal and temporal expectations. The interplay of auditory, visual, and motor modalities is discussed in light of synchronization and the way music moves via emotional response. Further research is needed to test deep-rooted psychological assumptions about music cognition with diverse materials and groups in dynamic contexts. Although empirical musicology provides keystones to unlock musical structures and organization, the psychological reality of those theorized structures for listeners and performers, and the broader implications for theories of music perception and cognition, awaits investigation.

Auditory warnings, signal-referent relations, and natural indicators: re-thinking theory and application

In auditory warning design the idea of the strength of the association between sound and referent has been pivotal. Research has proceeded via constructing classification systems of signal-referent associations and then testing predictions about ease of learning of different levels of signal-referent relation strength across and within different types of auditory signal (viz., speech, abstract sounds, and auditory icons). However, progress is hampered by terminological confusions and by neglect of the cognitive contribution (viz., learning) of the person or user. Drawing upon semiotics and cognitive psychology, the authors highlight the indexical (as opposed to iconic) nature of so-called auditory icons, and the authors identify the cogniser as an indispensable element in the tripartite nature of signification. Classifications that neglect this third element, defining signal-referent relation strength only dyadically, yield results confounded by learning; classifications that correctly include the triadic relation yield research predictions that are redundant. These limitations of the standard method of constructing and testing classification systems suggest that auditory warning design must take the cognitive contribution of the user into account at an earlier stage in the design process.

Expert, intermediate and novice performance during simulated pre-flight decision-making

This study involved a comparison between the process of information acquisition employed by expert, intermediate and novice pilots during simulated pre-flight decision-making. Using a process-tracing approach, comparisons were made between the types of information accessed, the sequence in which this information was accessed, and the decisions formulated during three pre-flight scenarios. Time-constraints, ranging from seven minutes to two minutes, were manipulated to assess the impact on information acquisition. Consistent with the hypothesis, a qualitative difference emerged between the information acquisition strategies employed by novice and intermediate level pilots, and the strategies employed by expert pilots. The implications of these differences are discussed in terms of the initiatives necessary to facilitate the acquisition of expertise amongst less experienced pilots.

Synthesized speech intelligibility and persuasion: Speech rate and non-native listeners

This experiment assessed the effect of variation in speech rate on comprehension and persuasiveness of a message presented in text-to-speech (TTS) synthesis to native and non-native listeners. Eighty non-native speakers of English and 80 native speakers of Australian English were randomly assigned to listen to eight banking product descriptions under one of four conditions: normal rate (155 words per minute) with no background noise, normal rate with multi-talker background noise (+6dB SNR), fast-normal (178 words per minute) with no background noise, and fast-normal with multi-talker background noise. Participants completed comprehension tests and rated each products usefulness. A faster rate lowers comprehension for both native and non-native listeners but does not influence the persuasiveness of the message. The findings have implications for the selection of speech rates for persuasive messages delivered to native and non-native listeners using TTS.

Unspoken knowledge: Implicit learning of structured human dance movement.

The sequencing of dance movements may be thought of as a grammar. We investigate implicit learning of regularities that govern sequences of unfamiliar, discrete dance movements. It was hypothesized that observers without prior experience with contemporary dance would be able to learn regularities that underpin structured human movement. Thirty-one adults were assigned to either an exposure or a control group. Exposure consisted of 22 grammatical 3-, 4-, and 5-movement sequences presented twice in random order; sequence duration ranged from 9 to 19 s. In a test phase, exposure and control groups identified previously unseen sequences as grammatical or ungrammatical, and rated confidence of judgment. The exposure group selected significantly more new grammatical sequences in the test phase than the control group. In addition, for the exposure group, the zero correlation criterion, wherein no relation between confidence and accuracy indicates unconscious knowledge, was satisfied. Through exposure, novice observers can learn a grammar that governs the sequencing of dance movements. This has implications for implicit learning of long sequences, working memory, and the development of expectations through exposure to contemporary dance.