Musical systems develop associations over time between aspects of musical form and concepts from outside of the music. Experienced listeners internalize these connotations, such that the formal elements bring to mind their extra-musical meanings. An example of musical form-meaning mapping is the association that Western listeners have between the major and minor modes and happiness and sadness, respectively. We revisit the emotional semantics of musical mode in a study of 44 American participants (musicians and non-musicians) who each evaluated the relatedness (...) of 96 melody-word pairs. Among the tonal melodies, we manipulated mode (major and minor) and timbre (clarinet and flute) while systematically controlling for other musical factors including pitch register and melodic contour. Similarly, among the English words, we manipulated word affect (happy and sad) while systematically controlling for other lexical factors including frequency and word length. Results demonstrated that participants provided a higher proportion of related responses for major melodies paired with happy words and minor melodies paired with sad words than for the reverse pairings. This interaction between mode and word affect was highly significant for both musicians and non-musicians, albeit with a larger effect for the former group. Further interactions with timbre suggested that while both clarinet and flute conveyed happiness when in the major mode, the clarinet was somewhat more successful than the flute at conveying sadness in the minor mode. Debriefing questionnaires suggested that the majority of the participants, including all of the non-musicians, had no awareness of the major-minor manipulation, and instead directed their attention to register and contour. We argue that the affective character of the major and minor modes is but one example of form-meaning mapping in music, and suggest further exploration of the roles of timbre, register, and contour in conveying musical emotions. (shrink)

Evolutionary psychology often does not sufficiently document the innate constraint and domain specificity required for strong adaptationist argument. We develop these criteria within the domain of music. First, we advocate combining computational, developmental, cross-cultural, and neuroscience research to address the ways in which a domain is innately constrained. Candidate constraints in music include the importance of the octave and other simple pitch ratios, the categorization of the octave into tones, the importance of melodic contour, tonal hierarchies, and principles of grouping (...) and meter. Second, we advocate combining psychological, neuroscience, and genetic research across cognitive domains to address the domain specificity of such constraints. Currently available evidence suggests that the innate constraints in music are not specific to that domain, making it unclear which domain(s) provided the relevant selection pressures. (shrink)

Three experiments investigated the modularity of harmonic expectations that are based on cultural schemata despite the availability of more predictive veridical information. Participants were presented with prime–target chord pairs and made an intonation judgment about each target. Schematic expectation was manipulated by the combination of prime and target, with some transitions being schematically more probable than others. Veridical information in the form of prime–target previews, local transition probabilities, or valid versus invalid previews was also provided. Processing was facilitated when a (...) schematically probable target chord followed the prime. Furthermore, this effect was independent of all manipulations of veridical expectation. A solution to L. B. Meyer's (1967b) query "On Rehearing Music" is suggested, in which schematic knowledge contributes to harmonic expectation in a modular manner regardless of whether any veridical knowledge exists. (shrink)

Two priming experiments demonstrated exogenous attentional persistence to the fundamental auditory dimensions of frequency (Experiment 1) and time (Experiment 2). In a divided-attention task, participants responded to an independent dimension, the identification of three-tone sequence patterns, for both prime and probe stimuli. The stimuli were specifically designed to parallel the local–global hierarchical letter stimuli of [Navon D. (1977). Forest before trees: The precedence of global features in visual perception. Cognitive Psychology, 9, 353–383] and the task was designed to parallel subsequent (...) work in visual attention using Navon stimuli [Robertson, L. C. (1996). Attentional persistence for features of hierarchical patterns. Journal of Experimental Psychology: General, 125, 227–249; Ward, L. M. (1982). Determinants of attention to local and global features of visual forms. Journal of Experimental Psychology: Human Perception and Performance, 8, 562–581]. The results are discussed in terms of previous work in auditory attention and previous approaches to auditory local–global processing. (shrink)

Western music is characterized primarily by simple meters, but a number of other musical cultures, including Turkish, have both simple and complex meters. In Experiment 1, Turkish and American adults with and without musical training were asked to detect metrical changes in Turkish music with simple and complex meter. Musicians performed significantly better than nonmusicians, and performance was significantly better on simple meter than on complex meter, but Turkish listeners performed no differently than American listeners. In Experiment 2, members of (...) Turkish classical and folk music clubs who were tested on the same materials exhibited comparable sensitivity to simple and complex meters, unlike the American and Turkish listeners in Experiment 1. Together, the findings reveal important effects of musical training and culture on meter perception: trained musicians are generally more sensitive than nonmusicians, regardless of metrical complexity, but sensitivity to complex meter requires sufficient exposure to musical genres featuring such meters. (shrink)

In the classical view of emotion, the basic emotions (anger, disgust, fear, joy, sadness, and surprise) are assumed to be natural kinds that are perceiver-independent. Correspondingly, each is thought to possess a distinct neural and physiological signature, accompanied by an expression that is universally recognized despite differences in culture, era, and language. An alternative, the theory of constructed emotion, emphasizes that, while the underlying interoceptive sensations are biological, emotional concepts are learned, socially constructed categories, characterized by many-to-many relationships among diverse (...) brain states, physiological signs, facial movements, and their emotional meanings. This biocultural view permits a greater degree of cultural-historical specificity when interpreting the emotions of others. In this article, I consider the implications of the theory of constructed emotion for cognitive film theory, especially regarding the interpretation of depicted facial expressions of emotion as one aspect of cinematic expression. Particular attention is given to recent work revisiting the Kuleshov effect, in which the meaning of a character’s facial expression is thought to change in the context of a montage. (shrink)

This chapter reviews the field of music perception and cognition, which is the area of cognitive psychology devoted to determining the mental mechanisms underlying our appreciation of music. The chapter begins with the study of pitch, including the constructive nature of pitch perception and the cognitive structures reflecting its simultaneous and sequential organization in Western tonal‐harmonic music. This is followed by reviews of temporal organization in music, and of musical performance and ability. Next, literature concerning the cognitive neuroscience of music (...) is examined, including studies of neuropsychology, neuroimaging, and event‐related potentials. The chapter concludes with a discussion of developmental music cognition, cross‐cultural music cognition, and the evolutionary psychology of music. (shrink)

In this article, I first address the question of how musical forms come to represent meaning—that is, the semantics of music—and illustrate an important conceptual distinction articulated by Leonard Meyer in Emotion and Meaning in Music between absolute or intramusical meaning and referential or extramusical meaning through a critical analysis of two recent films. Second, building examples of scholarship around a single piece of music frequently used in film—Samuel Barber's Adagio for Strings—I follow the example set by Murray Smith in (...) Film, Art, and the Third Culture and discuss the complementary approaches of the humanities, the behavioral sciences, and the natural sciences to understanding music and its use in film. (shrink)

The current work investigated whether differences in phonological overlap between the past- and present-tense forms of regular and irregular verbs can account for the graded neurophysiological effects of verb regularity observed in past-tense priming designs. Event-related potentials were recorded from 16 healthy participants who performed a lexical-decision task in which past-tense primes immediately preceded present-tense targets. To minimize intra-modal phonological priming effects, cross-modal presentation between auditory primes and visual targets was employed, and results were compared to a companion intra-modal auditory (...) study (Justus, T., Larsen, J., de Mornay Davies, P., Swick, D. (2008). Interpreting dissociations between regular and irregular past-tense morphology: evidence from event-related potentials. Cognitive, Affective, Behavioral Neuroscience, 8, 178–194.). For both regular and irregular verbs, faster response times and reduced N400 components were observed for present-tense forms when primed by the corresponding past-tense forms. Although behavioral facilitation was observed with a pseudopast phonological control condition, neither this condition nor an orthographic-phonological control produced significant N400 priming effects. Instead, these two types of priming were associated with a post-lexical anterior negativity (PLAN). Results are discussed with regard to dual- and single-system theories of inflectional morphology, as well as intra- and cross-modal prelexical priming. (shrink)

Neuropsychological dissociations between regular and irregular English past-tense morphology have been reported using a lexical decision task in which past-tense primes immediately precede present-tense targets. We present N400 event-related potential data from healthy participants using the same design. Both regular and irregular past-tense forms primed corresponding present-tense forms, but with a longer duration for irregular verbs. Phonological control conditions suggested that differences in formal overlap between prime and target contribute to, but do not account for, this difference, suggesting a link (...) between irregular morphology and semantics. Further analysis dividing the irregular verbs into two categories (weak irregular and strong) revealed that priming for strong verbs was reliably stronger than that for weak irregular and regular verbs, which were statistically indistinguishable from one another. We argue that, although we observe a regular-irregular dissociation, the nature of this dissociation is more consistent with single- than with dual-system models of inflectional morphology. (shrink)

In this essay, Timothy Justus reviews the book Brain and Music (2012) by Stefan Koelsch, first providing a sketch of the book’s contents, including examples of Koelsch’s empirical work from four core areas (1) musical syntax, (2) musical semantics, (3) music and action, and (4) music and emotion. Justus then proceeds to discuss the continuous nature of cognitive domains and the continuous nature of mental activity.

Beyond the major-minor tonality that characterizes classical and contemporary Western musical genres, Turkish classical and folk music offer experimental psychologists a rich modal system in which cognition, development, and enculturation can be studied. Here, we present a cross-cultural experiment concerning implicit knowledge of musical scales. Five groups of participants—American musicians and nonmusicians, Turkish musicians and nonmusicians, and Turkish classical and folk music listeners—were asked to listen to brief melodies composed using the member tones of either the major scale or the (...) rast makam, a microtonal mode found within Turkish classical and folk genres with no equivalent in Western music. Following each melody, participants were asked to identify whether a probe tone had been presented in the melody, providing confidence ratings on a six-point scale. In general, participants’ short-term memory was influenced by implicit knowledge of musical scales, with the major scale eclipsing the rast makam even in listeners experienced with Turkish genres. Prior work and future directions in cross-cultural music cognition research are discussed. (shrink)

Priming is a useful tool for ascertaining the circumstances under which previous experiences influence behavior. Previously, using hierarchical stimuli, we demonstrated (Justus & List, 2005) that selectively attending to one temporal scale of an auditory stimulus improved subsequent attention to a repeated (vs. changed) temporal scale; that is, we demonstrated intertrial auditory temporal level priming. Here, we have extended those results to address whether level priming relied on absolute or relative temporal information. Both relative and absolute temporal information are important (...) in auditory perception: Speech and music can be recognized over various temporal scales but become uninterpretable to a listener when presented too quickly or slowly. We first confirmed that temporal level priming generalized over new temporal scales. Second, in the context of multiple temporal scales, we found that temporal level priming operates predominantly on the basis of relative, rather than absolute, temporal information. These findings are discussed in the context of expectancies and relational invariance in audition. (shrink)

Ten cerebellar patients were compared to 10 control subjects on a verbal working memory task in which the phonological similarity of the words to be remembered and their modality of presentation were manipulated. Cerebellar patients demonstrated a reduction of the phonological similarity effect relative to controls. Further, this reduction did not depend systematically upon the presentation modality. These results first document that qualitative differences in verbal working memory may be observed following cerebellar damage, indicating altered cognitive processing, even though behavioral (...) output as measured by the digit span may be within normal limits. However, the results also present problems for the hypothesis that the cerebellar role is specifically associated with articulatory rehearsal as conceptualized in the Baddeley–Hitch model of working memory. (shrink)

Three neuropsychological experiments on a group of 16 cerebellar patients and 16 age- and education-matched controls investigated the effects of damage to the cerebellum on English grammatical morphology across production, comprehension, and grammaticality judgment tasks. In Experiment 1, participants described a series of pictures previously used in studies of cortical aphasic patients. The cerebellar patients did not differ significantly from the controls in the total number of words produced or in the proportion of closed-class words. They did differ to a (...) marginally significant extent in the production of required articles. In Experiment 2, participants identified the agent in a series of aurally presented sentences in which three agency cues (subject–verb agreement, word order, and noun animacy) were manipulated. The cerebellar patients were less affected than the controls were by the manipulation of subject–verb agreement to a marginally significant extent. In Experiment 3, participants performed a grammaticality judgment task on a series of aurally presented sentences. The cerebellar patients were significantly less able to discriminate grammatical and ungrammatical sentences than the controls were, particularly when the error was of subject–verb agreement as opposed to word order. The results suggest that damage to the cerebellum can result in subtle impairments in the use of grammatical morphology, and are discussed in light of hypothesized roles for the cerebellum in language. (shrink)

We review evidence from neuropsychological studies of patients with damage to the cerebellum that suggests cerebellar involvement in four general categories of cognition: (1) speech and language; (2) temporal processing; (3) implicit learning and memory; (4) visuospatial processing and attention. A relatively strong case can be made for cerebellar contributions to language (including speech perception, lexical retrieval, and working memory) and to temporal processing. However, the evidence concerning cerebellar involvement in non-motor implicit learning and visuospatial processing is more equivocal. We (...) argue that cerebellar contributions to cognition are computationally plausible, given its reciprocal connectivity with the cerebral cortex, and suggest that this function of the cerebellum may be an example of an evolutionary process by which mechanisms originally evolved for one function (in this case, motor control) are adapted to other functions (cognition). (shrink)

It has been suggested that damage to anterior regions of the left hemisphere results in a dissociation in the perception and lexical activation of past-tense forms. Specifically, in a lexical-decision task in which past-tense primes immediately precede present-tense targets, such patients demonstrate significant priming for irregular verbs (spoke–speak), but, unlike control participants, fail to do so for regular verbs (looked–look). Here, this behavioral dissociation was first confirmed in a group of eleven patients with damage to the pars opercularis (BA 44) (...) and pars triangularis (BA 45) of the left inferior frontal gyrus (i.e., Broca's area). Two conditions containing word-onset orthographic–phonological overlap (bead–bee, barge–bar) demonstrated that the disrupted regular-verb priming was accompanied by, and covaried with, disrupted ortho-phonological priming, regardless of whether prime stimuli contained the regular inflectional rhyme pattern. Further, the dissociation between impaired regular-verb and preserved irregular-verb priming was shown to be continuous rather than categorical; priming for weak-irregular verbs (spent–spend) was intermediate in size between that of regular verbs and strong verbs. Such continuous dissociations grounded in ortho-phonological relationships between present- and past-tense forms are predicted by single-system, connectionist approaches to inflectional morphology and not predicted by current dual-system, rule-based models. Event-related potential data demonstrated that N400 priming effects were intact for both regular and irregular verbs, suggesting that the absence of significant regular-verb priming in the response time data did not result from a disruption of lexical access, and may have stemmed instead from post-lexical events such as covert articulation, segmentation strategies, and/or cognitive control. (shrink)

Asymmetric distribution of function between the cerebral hemispheres has been widely investigated in the auditory modality. The current approach borrows heavily from visual local–global research in an attempt to determine whether, as in vision, local–global auditory processing is lateralised. In vision, lateralised local–global processing likely relies on spatial frequency information. Drawing analogies between visual spatial frequency and auditory dimensions, two sets of auditory stimuli were developed. In the high–low stimulus set we manipulate frequency information, and in the fast–slow stimulus set (...) we manipulate temporal information. The fast–slow stimuli additionally mimic visual hierarchical stimulus structure, in which the arrangement of local patterns determines the global pattern. Unlike previous auditory stimuli, the current stimulus sets contain the experimental flexibility of visual local–global hierarchical stimuli allowing independent manipulation of structural levels. Previous findings of frequency and temporal range priming were replicated. Additionally, by presenting stimuli monaurally, we found that priming of frequency ranges (but not temporal ranges) was found to vary by ear, supporting the contention that the hemispheres asymmetrically retain traces of prior frequency processing. These results contribute to the extensive literature revealing cerebral asymmetries for the processing of frequency information, and extend those results to the realm of priming. (shrink)

In this book review essay, Justus discusses The Birth of the Mind: How a Tiny Number of Genes Creates the Complexities of Human Thought (2004) by Gary Marcus. The review opens by contrasting the common architectural-blueprint metaphor for the genome with an alternative: the if-then statements of a computer program. The former leads to a seeming “gene shortage” problem while the latter are better suited to representing the cascades of genetic expression that give rise to exponential genotype-phenotype relationships. The essay (...) then develops three conceptual issues of interest to cognitive scientists in light of this small, data-compressed genome: (1) distinguishing dissociations in the developmental process from the domain-specificity of the resulting mental representations, (2) the observation that no gene is specific to a mental representation, a cortical region, or even the nervous system, and (3) the complications that a small number of genes present to the adaptationist programme in evolutionary psychology. The review concludes by questioning the utility of the Swiss Army knife as a metaphor for cognitive development and evolution. (shrink)

In this book review essay, Justus discusses Human Language and Our Reptilian Brain: The Subcortical Bases of Speech, Syntax, and Thought (2000) by Philip Lieberman. While the review agrees that a variety of cortical and subcortical regions (such as the basal ganglia) contribute to language, it also suggests that the book has confounded questions of brain localization with developmental constraint, domain specificity, and evolutionary adaptation, drawing upon works by Chomsky (1975), Fodor (1983), Pinker (1994), Bloom (2000), and Calvin and Bickerton (...) (2000). (shrink)

In this book review essay, Justus discusses Virtual Music: Computer Synthesis of Musical Style (2001) by David Cope. The review begins by drawing a parallel between the Turing Test and evaluating the compositions of Cope’s Experiments in Musical Intelligence (EMI) before providing an overview of how this computer programme works and the commentaries included in the book (by Douglas Hofstadter, Eleanor Selfridge-Field, Bernard Greenberg, Steve Larson, Jonathan Berger, and Daniel Dennett). The essay then raises questions of absolute music versus music (...) with referential meaning, asking whether EMI’s compositions represent a sort of “musical Jabberwocky” (in reference to Lewis Carroll’s 1871 poem) in which syntax and semantics have become dissociated. (shrink)