Pitch memory and exposure effects.

Recent studies indicate that the ability to represent absolute pitch values in long-term memory (LTM), long believed to be the possession of a small minority of trained musicians endowed with "absolute pitch" (AP), is in fact shared to some extent by a considerable proportion of the population. The current study examined whether this newly-discovered ability affects aspects of music and auditory cognition, particularly pitch learning and evaluation. Our starting points are two well established premises: (1) frequency of occurrence has an influence on the way we process stimuli; (2) in Western music, some pitches and musical keys are much more frequent than others. Based on these premises, we hypothesize that if absolute pitch values are indeed represented in LTM, pitch frequency of occurrence in music would significantly affect cognitive processes, in particular pitch learning and evaluation. Two experiments were designed to test this hypothesis in participants with no AP, most with little or no musical training. Experiment 1 demonstrated a faster response and a learning advantage for frequent pitches over infrequent pitches in an identification task. In Experiment 2 participants evaluated infrequent pitches as more pleasing than frequent pitches when presented in isolation. These results suggest that absolute pitch representation in memory may play a substantial, hitherto unacknowledged role in auditory (and specifically musical) cognition

Accurate Visuomotor Control below the Perceptual Threshold of Size Discrimination

Background: Human resolution for object size is typically determined by psychophysical methods that are based on conscious perception. In contrast, grasping of the same objects might be less conscious. It is suggested that grasping is mediated by mechanisms other than those mediating conscious perception. In this study, we compared the visual resolution for object size of the visuomotor and the perceptual system. Methodology/Principal Findings: In Experiment 1, participants discriminated the size of pairs of objects once through perceptual judgments and once by grasping movements toward the objects. Notably, the actual size differences were set below the Just Noticeable Difference (JND). We found that grasping trajectories reflected the actual size differences between the objects regardless of the JND. This pattern was observed even in trials in which the perceptual judgments were erroneous. The results of an additional control experiment showed that these findings were not confounded by task demands. Participants were not aware, therefore, that their size discrimination via grasp was veridical. Conclusions/Significance: We conclude that human resolution is not fully tapped by perceptually determined thresholds

PITCH MEMORY AND EXPOSURE EFFECTS: Statistical learning and the effects of implicit "absolute pitch" on the perception and evaluation of music

Recent studies indicate that the ability to represent absolute pitch values in long-term memory (LTM), long believed to be the possession of a small minority of trained musicians endowed with "absolute pitch" (AP), is in fact shared to some extent by a considerable proportion of the population. The current study examined whether this newly discovered ability affects aspects of music and auditory cognition, particularly pitch learning and evaluation. Our starting points are two well established premises: (1) frequency of occurrence has an influence on the way we process stimuli; (2) in Western music, some pitches and musical keys are much more frequent than others. Based on these premises, we hypothesize that if absolute pitch values are indeed represented in LTM, pitch frequency of occurrence in music would significantly affect cognitive processes, in particular pitch learning and evaluation. Two experiments were designed to test this hypothesis in participants with no AP, most with little or no musical training. Experiment 1 demonstrated a faster response and a learning advantage for frequent pitches over infrequent pitches in an identification task. In Experiment 2 participants evaluated infrequent pitches as more pleasing than frequent pitches when presented in isolation. These results suggest that absolute pitch representation in memory may play a substantial, hitherto unacknowledged role in auditory (and specifically musical) cognition

PITCH MEMORY AND EXPOSURE EFFECTS: Statistical learning and the effects of implicit "absolute pitch" on the perception and evaluation of music

Recent studies indicate that the ability to represent absolute pitch values in long-term memory (LTM), long believed to be the possession of a small minority of trained musicians endowed with "absolute pitch" (AP), is in fact shared to some extent by a considerable proportion of the population. The current study examined whether this newly discovered ability affects aspects of music and auditory cognition, particularly pitch learning and evaluation. Our starting points are two well established premises: (1) frequency of occurrence has an influence on the way we process stimuli; (2) in Western music, some pitches and musical keys are much more frequent than others. Based on these premises, we hypothesize that if absolute pitch values are indeed represented in LTM, pitch frequency of occurrence in music would significantly affect cognitive processes, in particular pitch learning and evaluation. Two experiments were designed to test this hypothesis in participants with no AP, most with little or no musical training. Experiment 1 demonstrated a faster response and a learning advantage for frequent pitches over infrequent pitches in an identification task. In Experiment 2 participants evaluated infrequent pitches as more pleasing than frequent pitches when presented in isolation. These results suggest that absolute pitch representation in memory may play a substantial, hitherto unacknowledged role in auditory (and specifically musical) cognition

Do You Name Speedy Objects Faster Than Slow Objects: SPEEDED NAMING OR NAMING SPEED? THE AUTOMATIC EFFECT OF OBJECT SPEED ON PERFORMANCE

we test the hypothesis that naming an object depicted in a picture, and reading aloud an object’s name, are affected by the object’s speed. We contend that the mental representations of everyday objects and situations include their speed, and that the latter influences behavior in instantaneous and systematic ways. An important corollary is that high-speed objects are named faster than low-speed objects despite the fact that object speed is irrelevant to the naming task at hand. The results of a series of 7 studies with pictures and words support these predictions

Do You Name Speedy Objects Faster Than Slow Objects: SPEEDED NAMING OR NAMING SPEED? THE AUTOMATIC EFFECT OF OBJECT SPEED ON PERFORMANCE

we test the hypothesis that naming an object depicted in a picture, and reading aloud an object’s name, are affected by the object’s speed. We contend that the mental representations of everyday objects and situations include their speed, and that the latter influences behavior in instantaneous and systematic ways. An important corollary is that high-speed objects are named faster than low-speed objects despite the fact that object speed is irrelevant to the naming task at hand. The results of a series of 7 studies with pictures and words support these predictions

Speeded naming or naming speed? The automatic effect of object speed on performance.

In this paper we test the hypothesis that naming an object depicted in a picture, and reading aloud an object's name, are affected by the object's speed. We contend that the mental representations of everyday objects and situations include their speed, and that the latter influences behavior in instantaneous and systematic ways. An important corollary is that high-speed objects are named faster than low-speed objects despite the fact that object speed is irrelevant to the naming task at hand. The results of a series of 7 studies with pictures and words support these predictions

Average difference in aperture between the larger and the smaller object in different segments of the movement.

<p>The opening between fingers was tuned to the actual size difference between the objects (dashed line) during most of the movement trajectory. Insert figure shows the average grip aperture data throughout the movement. Error bars denote confidence intervals of the main effect of object size for repeated measures designs <a href="http://www.plosone.org/article/info:doi/10.1371/journal.pone.0036253#pone.0036253-Hollands1" target="_blank">[29]</a>.</p