Structural Representations of Music Performance

A primary goal of music cognition is to understand mental representations for musical knowledge that allow communication of thoughts and emotions. Theories of musical competence generally model mental representations in terms of structure given in the musical text, and do not model performers' preferential choices of structural content for emphasis.Such choices are an important component of musical interpretation. Two sources of converging evidence are described that support the role of phrases as structures in mental representations for music performance: evidence from expressive timing in skilled performance and from performance breakdowns (errors). The location and amount of expressive timing,and the likelihoods of different error types coincided with musicians' notated interpretations.Evidence from both ideal and non-ideal musical behavior implicate the same structures in representation of musical knowledge, and suggest that individual preferences can explain much variation in music performance

Women writers on art and perceptions of the female connoisseur, 1780-1860

It has been suggested that women were broadly excluded from the art world of the eighteenth century because of prevailing views on female taste, which considered them incapable of appreciating high art. Satirical representations of women spectators suggest a vulgar mode of art-viewing, associated with a preference for gaudy colour and excessive finish, and for portraiture over history painting, reversing the academic canon. A survey of periodicals reveals that such stereotypes persisted throughout the late eighteenth and nineteenth centuries. However, my investigation of women's writing on art between 1780 and 1860 indicates the extent of their involvement in the art world. Initially through travel-writing, and across an increasingly wide range of genres, women published a wealth of material on art, ranging from popular handbooks and painting manuals to scholarly treatises. This study is the first to focus on these largely neglected texts as a collective body of work, and to demonstrate women's sophisticated engagement with contemporary and historical art in this period. Through their social networks, travel, meticulous research and self-presentation as 'proper' women writers, individuals such as Maria Graham (Lady Calicott), Anna Jameson, Mary Philadelphia Merrifield and Elizabeth Rigby (Lady Eastlake) built up a public reputation, despite their unofficial status. Far from being merely industrious 'compilers', these women were in the vanguard of changes in taste, through their promotion of the Primitives and of German connoisseurship, and their iconographical studies. I investigate how these largely self-educated amateurs established their authority, and how their writing negotiated negative perceptions of the female viewer. I show that the strategies they employed were determined as much by their class, education and religion, as by their sex. Given the high praise these writers received from reviewers, artists and fellow connoisseurs, I argue that it was possible to perceive women's taste far more positively than the satirical stereotypes suggest. This thesis offers a substantial reassessment of the scale and nature of women's contribution to the evolving discipline of art history in the early Victorian period

Action-based effects on music perception

The classical, disembodied approach to music cognition conceptualizes action and perception as separate, peripheral processes. In contrast, embodied accounts of music cognition emphasize the central role of the close coupling of action and perception. It is a commonly established fact that perception spurs action tendencies. We present a theoretical framework that captures the ways in which the human motor system and its actions can reciprocally influence the perception of music. The cornerstone of this framework is the common coding theory, postulating a representational overlap in the brain between the planning, the execution, and the perception of movement. The integration of action and perception in so-called internal models is explained as a result of associative learning processes. Characteristic of internal models is that they allow intended or perceived sensory states to be transferred into corresponding motor commands (inverse modeling), and vice versa, to predict the sensory outcomes of planned actions (forward modeling). Embodied accounts typically refer to inverse modeling to explain action effects on music perception (Leman, 2007). We extend this account by pinpointing forward modeling as an alternative mechanism by which action can modulate perception. We provide an extensive overview of recent empirical evidence in support of this idea. Additionally, we demonstrate that motor dysfunctions can cause perceptual disabilities, supporting the main idea of the paper that the human motor system plays a functional role in auditory perception. The finding that music perception is shaped by the human motor system and its actions suggests that the musical mind is highly embodied. However, we advocate for a more radical approach to embodied (music) cognition in the sense that it needs to be considered as a dynamical process, in which aspects of action, perception, introspection, and social interaction are of crucial importance

The Role of Tapping in Improving Connected Speech Comprehension of a Non-Native Variety of English

No abstract available

Re-Thinking Minnesota\u27s Criminal Justice Response to Sexual Violence Using a Prevention Lens

Sexual violence is one of the most difficult issues we face in the human condition. Even with the many strides that have occurred in recent years to support a victim-centered response, survivors who seek help from the legal, medical and mental health systems, among others still “may face disbelief, blame, and refusals of help instead of assistance.” It is a problem that demands a response from all levels of society. And yet this response is lacking. The key question we as a society confront is what changes will satisfactorily balance justice for victims with offender accountability, attempts at rehabilitation through treatment, and high community expectations about public safety? This article offers background on what the discussion about prevention of sexual violence can look like, a theoretical analysis of the policy conundrum facing our lawmakers and some examples of how prevention and intervention strategies can be put into practice in Minnesota law as advanced through MNCASA’s legislative agenda with the hope that a new direction can be charted toward the best possible public policy response for the state