Three experiments explored online recognition in a nonspeech domain, using a novel experimental paradigm. Adults learned to associate abstract shapes with particular melodies, and at test they identified a played melody’s associated shape. To implicitly measure recognition, visual fixations to the associated shape versus a distractor shape were measured as the melody played. Degree of similarity between associated melodies was varied to assess what types of pitch information adults use in recognition. Fixation and error data suggest that adults naturally (...) recognize music, like language, incrementally, computing matches to representations before melody offset, despite the fact that music, unlike language, provides no pressure to execute recognition rapidly. Further, adults use both absolute and relative pitch information in recognition. The implicit nature of the dependent measure should permit use with a range of populations to evaluate postulated developmental and evolutionary changes in pitch encoding. (shrink)

This paper examines the representationalist view of experiences in the light of the phenomena of perfect and relative pitch. Two main kinds of representationalism are identified - environment-based and cognitive role-based. It is argued that to explain the relationship between the two theories a distinction should be drawn between various types of implicit and explicit content. When investigated, this distinction sheds some light on the difference between the phenomenology of perfect and relative pitch experiences and may (...) be usefully applied to describe the nature of experiences in the other sense modalities. (shrink)

Vocal music and spoken language both have important roles in human communication, but it is unclear why these two different modes of vocal communication exist. Although similar, speech and song differ in certain design features. One interesting difference is in the pitch intonation contour, which consists of discrete tones in song, vs. gliding intonation contours in speech. Here, we investigated whether vocal phrases consisting of discrete pitches (song-like) or gliding pitches (speech-like) are remembered better, conducting three studies implementing auditory (...) same-different tasks at three levels of difficulty. We tested two hypotheses: that discrete pitch contours aid auditory memory, independent of musical experience (“song memory advantage hypothesis”), or that the higher everyday experience perceiving and producing speech make speech intonation easier to remember (“experience advantage hypothesis”). We used closely matched stimuli, controlling for rhythm and timbre, and we included a stimulus intermediate between song-like and speech-like pitch contours (with partially gliding and partially discrete pitches). We also assessed participants' musicality to evaluate experience-dependent effects. We found that song-like vocal phrases are remembered better than speech-like vocal phrases, and that intermediate vocal phrases evoked a similar advantage to song-like vocal phrases. Participants with more musical experience were better in remembering all three types of vocal phrases. The precise roles of absolute and relative pitch perception and the influence of top-down vs. bottom-up processing should be clarified in future studies. However, our results suggest that one potential reason for the emergence of discrete pitch–a feature that characterises music across cultures–might be that it enhances auditory memory. (shrink)

Audio features such as inharmonicity, noisiness, and spectral roll-off have been identified as correlates of “noisy” sounds. However, such features are likely involved in the experience of multiple semantic timbre categories of varied meaning and valence. This paper examines the relationships of stimulus properties and audio features with the semantic timbre categories raspy/grainy/rough, harsh/noisy, and airy/breathy. Participants rated a random subset of 52 stimuli from a set of 156 approximately 2-s orchestral instrument sounds representing varied instrument families, registers, and both (...) traditional and extended playing techniques. Stimuli were rated on the three semantic categories of interest, as well as on perceived playing exertion and emotional valence. Correlational analyses demonstrated a strong negative relationship between positive valence and perceived physical exertion. Exploratory linear mixed models revealed significant effects of extended technique and pitch register on valence, the perception of physical exertion, raspy/grainy/rough, and harsh/noisy. Instrument family was significantly related to ratings of airy/breathy. With an updated version of the Timbre Toolbox, we used 44 summary audio features, extracted from the stimuli using spectral and harmonic representations, as input for various models built to predict mean semantic ratings for each sound on the three semantic categories, on perceived exertion, and on valence. Random Forest models predicting semantic ratings from audio features outperformed Partial Least-Squares Regression models, consistent with previous results suggesting that non-linear methods are advantageous in timbre semantic predictions using audio features. Relative Variable Importance measures from the models among the three semantic categories demonstrate that although these related semantic categories are associated in part with overlapping features, they can be differentiated through individual patterns of audio feature relationships. (shrink)

Speech comprehension across languages depends on encoding the pitch variations in frequency-modulated sweeps at different timescales and frequency ranges. While timescale and spectral contour of FM sweeps play important roles in differentiating acoustic speech units, relatively little work has been done to understand the interaction between the two acoustic dimensions at early cortical processing. An auditory oddball paradigm was employed to examine the interaction of timescale and pitch contour at pre-attentive processing of FM sweeps. Event-related potentials to frequency (...) sweeps that vary in linguistically relevant pitch contour and timescale in Mandarin Chinese were recorded. Mismatch negativities were elicited by all types of sweep deviants. For local timescale, FM sweeps with F0 contours yielded larger MMN amplitudes than F1 contours. A reversed MMN amplitude pattern was obtained with respect to F0/F1 contours for global timescale stimuli. An interhemispheric asymmetry of MMN topography was observed corresponding to local and global-timescale contours. Falling but not rising frequency difference waveforms sweep contours elicited right hemispheric dominance. Results showed that timescale and pitch contour interacts with each other in pre-attentive auditory processing of FM sweeps. Findings suggest that FM sweeps, a type of non-speech signal, is processed at an early stage with reference to its linguistic function. That the dynamic interaction between timescale and spectral pattern is processed during early cortical processing of non-speech frequency sweep signal may be critical to facilitate speech encoding at a later stage. (shrink)

Este artículo pretende constituir una breve reflexión crítica sobre los usos políticos de la violencia masculina sobre las mujeres, y de cómo, por tanto, una cuestión indudablemente fundamental, enfatizada por los movimientos de las mujeres y tratada por mucha literatura de inclinación feminista, puede ser utilizada dentro de un marco de referencia que se presta a legitimar políticas de seguridad, más que a facilitar el hallazgo de una respuesta adecuada al problema. Me ayudaré de ejemplos extraídos de lo que ocurre (...) en Italia, aunque es sabido que esta instrumentalización es común en muchos otros contextos culturales y políticos, y que es coherente con una modalidad de gobierno hoy hegemónica, el neoliberalismo. Mi tesis def iende que este uso ha sido facilitado por el colapso, tanto lingüístico como cultural, de toda la temática que tiene que ver con la relación asimétrica entre los sexos en el ámbito de la “violencia”. Este colapso, a su vez, puede interpretarse, desde mi punto de vista, como uno de los productos del avance de la hegemonía de la racionalidad política neoliberal durante los últimos treinta años. (shrink)

This author reviews some of the issues on which legal feminism has worked as well as the current status of the discussion, especially in Italian feminism. This is the case of family relationships, procreation and abortion, violence against women and security policies, prostitution, work in the labour market, the limits to citizenship and the confluence of feminism and the claims of cultural identities. With the assumption that legal feminism does not mean only “studies on women” but involves a crucial perspective (...) to discuss any subject, the author also reviews the relationship between feminism, law and gender. (shrink)

To later generations, much of the moral philosophy of the twentieth century will look like a struggle to escape from utilitarianism. We seem to succeed in disproving one utilitarian doctrine, only to find ourselves caught in the grip of another. I believe that this is because a basic feature of the consequentialist outlook still pervades and distorts our thinking: the view that the business of morality is to bring something about . Too often, the rest of us have pitched our (...) protests as if we were merely objecting to the utilitarian account of what the moral agent ought to bring about or how he ought to do it. Deontological considerations have been characterized as “side constraints,” as if they were essentially restrictions on ways to realize ends. More importantly, moral philosophers have persistently assumed that the primal scene of morality is a scene in which someone does something to or for someone else. This is the same mistake that children make about another primal scene. The primal scene of morality, I will argue, is not one in which I do something to you or you do something to me, but one in which we do something together. The subject matter of morality is not what we should bring about, but how we should relate to one another. If only Rawls has succeeded in escaping utilitarianism, it is because only Rawls has fully grasped this point. His primal scene, the original position, is one in which a group of people must make a decision together. Their task is to find the reasons they can share. (shrink)

Patients fit with cochlear implants commonly indicate at the time of device fitting and for some time after, that the speech signal sounds abnormal. A high pitch or timbre is one component of the abnormal percept. In this project, our aim was to determine whether a number of years of CI use reduced perceived upshifts in frequency spectrum and/or voice fundamental frequency. The participants were five individuals who were deaf in one ear and who had normal hearing in the (...) other ear. The deafened ears had been implanted with a 18.5 mm electrode array which resulted in signal input frequencies being directed to locations in the spiral ganglion that were between one and two octaves higher than the input frequencies. The patients judged the similarity of a clean signal presented to their implanted ear and candidate, implant-like, signals presented to their normal-hearing ear. Matches to implant sound quality were obtained, on average, at 8 months after device activation and at 35 months after activation. At Time 1, the matches to CI sound quality were characterized, most generally, by upshifts in the frequency spectrum and in voice pitch. At Time 2, for four of the five patients, frequency spectrum values remained elevated. For all five patients F0 values remained elevated. Overall, the data offer little support for the proposition that, for patients fit with shorter electrode arrays, cortical plasticity nudges the cortical representation of the CI voice toward more normal, or less upshifted, frequency values between 8 and 35 months after device activation. Cortical plasticity may be limited when there are large differences between frequencies in the input signal and the locations in the SG stimulated by those frequencies. (shrink)

What was the role of music in the evolutionary history of human beings? We address this question from the point of view that musicality can be defined as a cognitive trait. Although it has been argued that we will never know how cognitive traits evolved (Lewontin, 1998), we argue that we may know the evolution of music by investigating the fundamental cognitive mechanisms of musicality, for example, relative pitch, tonal encoding of pitch, and beat induction. In addition, (...) we show that a nomological network of evidence (Schmitt & Pilcher, 2004) can be built around the hypothesis that musicality is a cognitive adaptation. Within this network, different modes of evidence are gathered to support a specific evolutionary hypothesis. We show that the combination of psychological, medical, physiological, genetic, phylogenetic, hunter–gatherer, and cross-cultural evidence indicates that musicality is a cognitive adaptation. (shrink)