Auditory feedback perturbation studies have indicated a link between feedback and feedforward mechanisms in speech production when participants compensate for applied shifts. In spectral perturbation studies, speakers with a higher perceptual auditory acuity typically compensate more than individuals with lower acuity. However, the reaction to feedback perturbation is unlikely to be merely a matter of perceptual acuity but also affected by the prediction and production of precise motor action. This interplay between prediction, perception, and motor execution seems to be crucial (...) for the timing of speech and non-speech motor actions. In this study, to examine the relationship between the responses to temporally perturbed auditory feedback and rhythmic abilities, we tested 45 adult speakers on the one hand with a temporal auditory feedback perturbation paradigm, and on the other hand with rhythm perception and production tasks. The perturbation tasks temporally stretched and compressed segments (onset + vowel or vowel + coda) in fluent speech in real-time. This technique sheds light on the temporal representation and the production flexibility of timing mechanisms in fluent speech with respect to the structure of the syllable. The perception tasks contained staircase paradigms capturing duration discrimination abilities and beat-alignment judgments. The rhythm production tasks consisted of finger tapping tasks taken from the BAASTA tapping battery and additional speech tapping tasks. We found that both auditory acuity and motor stability in finger tapping affected responses to temporal auditory feedback perturbation. In general, speakers with higher auditory acuity and higher motor variability compensated more. However, we observed a different weighting of auditory acuity and motor stability dependent on the prosodic structure of the perturbed sequence and the nature of the response as purely online or adaptive. These findings shed light on the interplay of phonological structure with feedback and feedforward integration for timing mechanisms in speech. (shrink)

Previous research suggests that mastering languages with distinct rather than similar rhythmic properties enhances musical rhythmic perception. This study investigates whether learning a second language (L2) enhances the perception of musical rhythmic variation in general, regardless of first and second languages’ rhythmic properties. Additionally, we investigated whether this perceptual enhancement could be alternatively explained by exposure to musical rhythmic complexity, such as the use of compound meter in Turkish music. Finally, it investigates if an enhancement (...) of musical rhythmic perception could be observed among L2 learners whose first language relies heavily on pitch information, as is the case with tonal languages. Therefore, we tested Turkish, Dutch and Mandarin L2 learners of English and Turkish monolinguals on their ability to perceive musical rhythmic variation. Participants’ phonological and working memory capacities, melodic aptitude, years of formal musical training and daily exposure to music were assessed to account for cultural and individual differences which could impact their rhythmic ability. Our results suggest that mastering a second language rather than exposure to musical rhythmic complexity could explain individuals’ enhanced perception of musical rhythmic variation. An even stronger enhancement of musical rhythmic perception was observed for L2 learners whose first and second languages differ regarding their rhythmic properties, as enhanced performance of Mandarin and Turkish in comparison with Dutch L2 learners of English seem to suggest. Our findings provide further support for a cognitive transfer between the language and music domain, which may find its grounds on a common evolutionary basis. (shrink)

When infants and toddlers are confronted with sequences of sounds, they are required to segment the sounds into meaningful units to achieve sufficient understanding. Rhythm has been regarded as a crucial cue for segmentation of speech sounds. Although previous intermodal methods indicated that infants and toddlers could detect differences in speech sounds based on stress-timed and syllable-timed units, these methods could not clearly indicate how infants and toddlers perform sound segmentation. Thus, the present study examined whether Japanese infants and toddlers (...) could segment word speech sounds comprising basic morae, on the basis of concurrent basic mora units within syllable units, using the new intermodal matching procedure. The results indicated that, regardless of their ages and linguistic abilities, Japanese infants and toddlers aged 6–25 months tended to segment Japanese words comprising basic morae sounds on the basis of concurrent basic mora units within syllable units. This implies that infants' and toddlers' use of syllable units for segmentation of speech sounds at an early age could be evident among many infants and toddlers learning various languages. Although this finding should be interpreted carefully, the present study demonstrated the utility of the new intermodal matching procedure for examining segmentation of speech sounds and word sounds by infants and toddlers, on the basis of specific rhythm units. (shrink)

Humans have a flexible and accurate ability to coordinate their movement in time with external rhythms. However, it remains unclear when and how, during their development, human children acquire the ability to adjust tempo and control the timing of their movement toward others. A previous study suggested that such self-regulation of coordination develops at around 18 and 30 months after birth. In this study, we investigated the performance of 24-month-old children and compared their data with those of 18- and 30-month-olds (...) provided in our previous study. In the joint-drumming task, each child was enticed to drum under four conditions [partner: mother or robot; speed: 400 or 600 ms inter-stimulus-interval ]. The most pivotal test condition was the 600 ms ISI speed condition. We found that from the age of 24 months, children try to slow down their drumming tempo toward the 600 ms ISI speed condition, regardless of the drumming partner. On the other hand, significant timing control toward the onset of the 600 ms ISI condition was observed from the age of 30 months. This implies that both motor and cognitive mechanisms are required for flexible tempo adjustment and accurate synchronization and that these develop gradually among 18-, 24-, and 30-month-olds. (shrink)

While influential works since the 1970s have widely assumed that imitation is an innate skill in both human and non-human primate neonates, recent empirical studies and meta-analyses have challenged this view, indicating other forms of reward-based learning as relevant factors in the development of social behavior. The visual input translation into matching motor output that underlies imitation abilities instead seems to develop along with social interactions and sensorimotor experience during infancy and childhood. Recently, a new visual stream has been (...) identified in both human and non-human primate brains, updating the dual visual stream model. This third pathway is thought to be specialized for dynamics aspects of social perceptions such as eye-gaze, facial expression and crucially for audio-visual integration of speech. Here, we review empirical studies addressing an understudied but crucial aspect of speech and communication, namely the processing of visual orofacial cues and its integration with vocal auditory cues. Along this review, we offer new insights from our understanding of speech as the product of evolution and development of a rhythmic and multimodal organization of sensorimotor brain networks, supporting volitional motor control of the upper vocal tract and audio-visual voices-faces integration. (shrink)

Rhythm and meter are central elements of music. From the very beginning, children are responsive to rhythms and acquire increasingly complex rhythmic skills over the course of development. Previous research has shown that the processing of musical rhythm is not only related to children’s music-specific responses but also to their cognitive abilities outside the domain of music. However, despite a lot of research on that topic, the connections and underlying mechanisms involved in such relation are still unclear in (...) some respects. In this article, we aim at analyzing the relation between rhythmic and cognitive-motor abilities during childhood and at providing a new hypothesis about this relation. We consider whether predictive processing may be involved in the relation between rhythmic and various cognitive abilities and hypothesize that prediction as a cross-domain process is a central mechanism building a bridge between rhythm processing and cognitive-motor abilities. Further empirical studies focusing on rhythm processing and cognitive-motor abilities are needed to precisely investigate the links between rhythmic, predictive, and cognitive processes. (shrink)

Temporal expectation is the ability to focus attention at a particular moment in time to optimize performance, which has been shown to be driven by regular rhythms. However, whether the rhythm-based temporal expectations rely upon automatic processing or require the involvement of controlled processing has not been clearly established. Furthermore, whether the mechanism is affected by tempo remains unknown. To investigate this research question, the present study used a dual-task procedure. In a single task, the participants were instructed to respond (...) to a visual target preceded by a regular or an irregular visual rhythm under a fast or slow tempo. The dual-task simultaneously combined a working memory task. The results showed temporal expectation effects in which the participants responded faster to the regular than to the irregular conditions in a single task. Moreover, this effect persisted under dual-task interference in the fast tempo condition but was impaired in the slow tempo condition. These results revealed that rhythmic temporal expectation induced by fast tempo was dependent on automatic processing. However, compared with the faster tempo, temporal expectation driven by a slower tempo might involve more controlled processing. (shrink)

Music comprises a diverse category of cognitive phenomena that likely represent both the effects of psychological adaptations that are specific to music (e.g., rhythmic entrainment) and the effects of adaptations for non-musical functions (e.g., auditory scene analysis). How did music evolve? Here, we show that prevailing views on the evolution of music – that music is a byproduct of other evolved faculties, evolved for social bonding, or evolved to signal mate quality – are incomplete or wrong. We argue instead (...) that music evolved as a credible signal in at least two contexts: coalitional interactions and infant care. Specifically, we propose that (1) the production and reception of coordinated, entrained rhythmic displays is a co-evolved system for credibly signaling coalition strength, size, and coordination ability; and (2) the production and reception of infant-directed song is a co-evolved system for credibly signaling parental attention to secondarily altricial infants. These proposals, supported by interdisciplinary evidence, suggest that basic features of music, such as melody and rhythm, result from adaptations in the proper domain of human music. The adaptations provide a foundation for the cultural evolution of music in its actual domain, yielding the diversity of musical forms and musical behaviors found worldwide. (shrink)

Humans possess the ability to extract highly organized perceptual structures from sequences of temporal stimuli. For instance, we can organize specific rhythmical patterns into hierarchical, or metrical, systems. Despite the evidence of a fundamental influence of the motor system in achieving this skill, few studies have attempted to investigate the organization of our motor representation of rhythm. To this aim, we studied—in musicians and non-musicians—the ability to perceive and reproduce different rhythms. In a first experiment participants performed a temporal order-judgment (...) task, for rhythmical sequences presented via auditory or tactile modality. In a second experiment, they were asked to reproduce the same rhythmic sequences, while their tapping force and timing were recorded. We demonstrate that tapping force encodes the metrical aspect of the rhythm, and the strength of the coding correlates with the individual’s perceptual accuracy. We suggest that the similarity between perception and tapping-force organization indicates a common representation of rhythm, shared between the perceptual and motor systems. (shrink)

Musical rhythm abilities—the perception of and coordinated action to the rhythmic structure of music—undergo remarkable change over human development. In the current paper, we introduce a theoretical framework for modeling the development of musical rhythm. The framework, based on Neural Resonance Theory, explains rhythm development in terms of resonance and attunement, which are formalized using a general theory that includes non-linear resonance and Hebbian plasticity. First, we review the developmental literature on musical rhythm, highlighting several developmental processes related (...) to rhythm perception and action. Next, we offer an exposition of Neural Resonance Theory and argue that elements of the theory are consistent with dynamical, radically embodied and ecological approaches to cognition and development. We then discuss how dynamical models, implemented as self-organizing networks of neural oscillations with Hebbian plasticity, predict key features of music development. We conclude by illustrating how the notions of dynamical embodiment, resonance, and attunement provide a conceptual language for characterizing musical rhythm development, and, when formalized in physiologically informed dynamical models, provide a theoretical framework for generating testable empirical predictions about musical rhythm development, such as the kinds of native and non-native rhythmic structures infants and children can learn, steady-state evoked potentials to native and non-native musical rhythms, and the effects of short-term, long-term, and very-long term learning on music perception-action. (shrink)

Human agents draw a variety of inferences effortlessly, spontaneously, and with remarkable efficiency – as though these inferences were a reflexive response of their cognitive apparatus. Furthermore, these inferences are drawn with reference to a large body of background knowledge. This remarkable human ability seems paradoxical given the complexity of reasoning reported by researchers in artificial intelligence. It also poses a challenge for cognitive science and computational neuroscience: How can a system of simple and slow neuronlike elements represent a large (...) body of systemic knowledge and perform a range of inferences with such speed? We describe a computational model that takes a step toward addressing the cognitive science challenge and resolving the artificial intelligence paradox. We show how a connectionist network can encode millions of facts and rules involving n-ary predicates and variables and perform a class of inferences in a few hundred milliseconds. Efficient reasoning requires the rapid representation and propagation of dynamic bindings. Our model (which we refer to as SHRUTI) achieves this by representing (1) dynamic bindings as the synchronous firing of appropriate nodes, (2) rules as interconnection patterns that direct the propagation of rhythmic activity, and (3) long-term facts as temporal pattern-matching subnetworks. The model is consistent with recent neurophysiological evidence that synchronous activity occurs in the brain and may play a representational role in neural information processing. The model also makes specific psychologically significant predictions about the nature of reflexive reasoning. It identifies constraints on the form of rules that may participate in such reasoning and relates the capacity of the working memory underlying reflexive reasoning to biological parameters such as the lowest frequency at which nodes can sustain synchronous oscillations and the coarseness of synchronization. (shrink)

Enhancing synchronization among people when synchronization is lacking is believed to improve their social skills, learning processes, and proficiency in musical rhythmic development. Greater synchronization among people can be induced to improve the rhythmic interaction of a system with multiple dancing robots that dance to a drum beat. A series of experiments were conducted to examine the human–human synchrony between persons that participated in musical sessions with robots. In this study, we evaluated: (a) the effect of the number (...) of robots on a subject’s ability to synchronize with an experimenter; (b) the effect of the type of robot synchrony, namely, whether the robots did or did not represent the subject’s rhythm; (c) the effect of an in-sync and out-of-sync robot on a subject’s behavior. We found that: (a) three robots increased the level of synchronization between the subject and experimenter and their enjoyment level; (b) robots may induce greater synchronization between the subject and experimenter by reproducing the rhythms of not only the experimenter but also of the subject compared to when only the experimenter’s rhythms had been reproduced; (c) the robots in-sync had greater influence on the natural rhythm of the subject. (shrink)

Timing adjustment is an important ability for living organisms. Wild animals need to act at the right moment to catch prey or escape a predator. Land plants, although limited in their movement, need to decide the right time to grow and bloom. Humans also need to decide the right moment for social actions. Although scientists can pinpoint the timing of such behaviors by observation, we know extremely little about how living organisms as actors or players decide when to act – (...) such as the exact moment to dash or pounce. The time measurements of an outsider-observer and the insider-participants are utterly different. We explain how such essential operations of timing adjustment and temporal spanning, both of which constitute a single regulated set, can be carried out among organisms. For this purpose, we have to reexamine the ordinary conception of time. Our specific explanatory tools include the natural movement known as the upbeat (anacrusis) in music, a rhythmic push for the downbeat that follows, which predicts future moves as an anticipatory lead-in. The scheme is situated in and is the extension of our formulation of E-series time, i.e., timing co-adjusted through interaction, which is derived from the semiotic/communicative perspectives. We thereby demonstrate that a prediction-based timing system is not mechanical but communicative and entails meanings for future anticipation. (shrink)

The acoel worm Symsagittifera roscoffensis, an early offshoot of the Bilateria and the only well‐studied marine acoel that lives in a photosymbiotic relationship, exhibits a centralized nervous system, brain regeneration, and a wide repertoire of complex behaviors such as circatidal rhythmicity, photo/geotaxis, and social interactions. While this animal can be collected by the thousands and is studied historically, significant progress is made over the last decade to develop it as an emerging marine model. The authors here present the feasibility of (...) culturing it in the laboratory and describe the progress made on different areas, including genomic and tissue architectures, highlighting the associated challenges. In light of these developments, and on the ability to access abundant synchronized embryos, the authors put forward S. roscoffensis as a marine system to revisit questions in the areas of photosymbiosis, regeneration, chronobiology, and the study of complex behaviors from a molecular and evolutionary perspective. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Somaesthetics, Education, and the Art of DancePeter J. Arnold (bio)This essay has two related purposes. The first is to explicate what dance as an art form should minimally comprise if it is to be taught as a distinctive aspect of education in the school curriculum. The second and main purpose is to argue that dance, if taught in accordance with what is outlined, is not only an efficacious means (...) in the development, understanding and promotion of somaesthetics, a new term in aesthetic theory, but an example of itsvery embodiment. Put differently it will be upheld that the practice of danceis not only an excellent vehicle in the promotion of somaesthetics but a paradigm case of what it is.But what is somaesthetics? Briefly put, in common with the thinking of some noted philosophers in the past, it can be said that somaesthetics is as much concerned with the idea of being a person and living well as with the development of rational thought and the development of the intellect. It emphasizes, in particular, that the soma in the form of its physical skills, senses and pleasures plays no less a part in the living of a full life than conceptual understanding and the imaginative use of language.1 Richard Shusterman, upholding these sentiments, refers to somaesthetics asthe critical and meliorating study of the experience and use of one's body as a locus of sensory aesthetic appreciation and creative self-fashioning. It is....devoted to the knowledge, discourses, practices, and bodily disciplines that structure such somatic care or can improve it.2Although such values and concerns are known to many educationists, they are rarely acted upon or taught in a deliberate or systematic way. Even within the realms of dance and sport more could be done than is done somaesthetically to educate in the interests of what it is to be a whole person. [End Page 48]Before embarking on the task of exemplifying dance as a form of somaesthetics, it will be helpful first to say a little about education and the idea of dance as a valued human practice; and second, to say something about the aesthetic in relation to art.Education and the Art of Dance as a Valued Human PracticeWhat is clear about the idea of dance as an art form is that it is more than the human body making rhythmical and patterned movements in space. It can be more accurately described as a coherent and complex range of actions in which intentions are physically expressed in terms of a meaningful performance that is artistic in nature and not merely aesthetic in appeal.It is my view that these elements of what constitutes dance best come together and are most readily grasped when it is seen as a valued form of human practice. Following Alistair MacIntyre, I take the term "practice" to meanany coherent and complex form of socially established co-operative human activity through which goods internal to that activity are realized in the course of trying to achieve those standards of excellence which are appropriate to, and partially definitive of, that form of activity, with the result that human powers to achieve excellence and human conceptions of the ends and goods involved are systematically extended.3The idea of the arts as forms of practice is helpful in at least two important ways. First, it draws attention to the fact that an art, like medicine, the law, or sport, is a distinctive form of life with its own standards, values, and procedures. Second, it recognizes, in keeping with the idea of education, thatthe internal goods of an activity, like the art of dance, will enlighten and enlarge the powers of the participant. MacIntyre undoubtedly recognizes the connection between the idea of a practice and the concept of education when he observes the proper end of education isto help to discover activities whose ends are not outside themselves — The critical ability which ought to be the fruit of education serves nothing directly except itself, no one except those who exercise it — above all the task of education is to teach the value of activity for its own... (shrink)

What constitutes our human capacity to engage and be in the same frame of mind as another human? How do we come to share a sense of what ‘looks good’ and what ‘makes sense’? How do we handle differences and come to coexist with them? How do we come to feel that we understand what someone else is experiencing? How are we able to walk in silence with someone familiar and be sharing a peaceful space? All of these aspects are (...) part of human ‘interaction’. In designing interactive technologies designers have endeavoured to explicate, analyse and simulate, our capacity for social adaptation. Their motivations are mixed and include the desires to improve efficiency, improve consumption, to connect people, to make it easier for people to work together, to improve education and learning. In these endeavours to explicate, analyse and simulate, there is a fundamental human capacity that is beyond technology and that facilitates these aspects of being, feeling and thinking with others. That capacity, we suggest, is human entrainment. This is our ability to coordinate the timing of our behaviours and rhythmically synchronise our attentional resources. Expressed within the movements of our bodies and voices, it has a quality that is akin to music. In this paper, disparate domains of research such as pragmatics, social psychology, behaviourism, cognitive science, computational linguistics, gesture, are brought together, and considered in light of the developments in interactive technology, in order to shape a conceptual framework for understanding entrainment in everyday human interaction. (shrink)

Sensorimotor synchronization, the coordination of physical actions in time with a rhythmic sequence, is a skill that is necessary not only for keeping the beat when making music, but in a wide variety of interpersonal contexts. Being able to attend to temporal regularities in the environment is a prerequisite for event prediction, which lies at the heart of many cognitive and social operations. It is therefore of value to assess and potentially stimulate SMS abilities, particularly in aging and (...) neurocognitive disorders, to understand intra-individual communication in the later stages of life, and to devise effective music-based interventions. While a bulk of research exists about SMS and movement-based interventions in Parkinson’s disease, a lot less is known about other types of neurodegenerative disorders, such as Alzheimer’s disease, vascular dementia, or frontotemporal dementia. In this review, we outline the brain and cognitive mechanisms involved in SMS with auditory stimuli, and how they might be subject to change in healthy and pathological aging. Globally, SMS with isochronous sounds is a relatively well-preserved skill in old adulthood and in patients with NCDs. At the same time, natural tapping speed decreases with age. Furthermore, especially when synchronizing to sequences at slow tempi, regularity and precision might be lower in older adults, and even more so in people with NCDs, presumably due to the fact that this process relies on attention and working memory resources that depend on the prefrontal cortex and parietal areas. Finally, we point out that the effect of the severity and etiology of NCDs on sensorimotor abilities is still unclear: More research is needed with moderate and severe NCD, comparing different etiologies, and using complex auditory signals, such as music. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 25.2 (2001) 197-214 [Access article in PDF] The Origin of Stories:Horton Hears a Who Brian Boyd Works of art die without attention, and we should expect that any critical theory that cannot explain why we attend to art ought itself to be moribund. Yet the currently dominant approach to criticism, which I will dub Cultural Critique, 1 explains art in terms of the limited and suspect (...) perspectives of the culture (society, group, era) that produced it, or as the site of contestation or locus of imbrication of the ideological discourses of its time. Why anyone would want to attend to art, defined thus, becomes a mystery, unless audiences always do indeed crave ideological nourishment or indigestion. Surely we can do better.I would like to offer the outline of an alternative: an evolutionary explanation first for art, then for narrative, then for fiction. Then, since ontogeny recapitulates phylogeny, or at least sometimes helps us retrieve it, and since we have no printouts of Pleistocene potboilers, I will color in the outline by way of Dr. Seuss's children's classic, Horton Hears a Who, contrasting a sample evolutionary analysis of a single work of fiction with the kind of response typical of Cultural Critique.In art we do or make things simply in order to engage our attention, for the sake of attention, and we are not the only species to do so. Intelligence began to evolve because the world is full of potential information that can suggest advantageous courses of behavior. Curiosity evolved on top of intelligence--especially in the species that Konrad Lorenz liked to call "specialists in non-specialization," such as rats among rodents, corvids among songbirds, and humans among primates 2 --because it extends the range of information creatures can attend to and act on. As a result rats can prefer cognitive stimulation to food and sex. 3 As the most intelligent and versatile of species, we humans particularly like directing our attention to what repays our curiosity. [End Page 197]And like other particularly intelligent species, we like to do things that provide cognitive stimulation, whether they have any immediate survival value or not. Corvids (together with psittacines, the most intelligent of birds) enjoy a kind of aerial acrobatics that Lorenz unashamedly labels art. 4 Dolphins in a Hawaiian marine park have developed, without any human prompting, what has been called "air art," a kind of rhythmic gymnastics in which they deploy air bubbles from their blowholes like gymnasts' ribbons or hoops, or, to stress the affinity to art, a kind of aquatic analogue of light sculpture. 5 Chimpanzees appear to engage both in solitary imaginative play, like Kakama with the stick he famously and repeatedly handled as if it were a toy baby, 6 and in group activity, like rhythmic dances, 7 for the sheer pleasure they produce. In art as in so much else we had thought uniquely human, like tool-using or tool-making, like counting or culture, we are finding there are precursors elsewhere in nature. 8Because we are such a highly social species, we crave the attention of others. Human infants are distressed at adults who do not respond to them; 9 infants and children across cultures punish others by withdrawing attention. 10 At any age we like to command attention in ways we choose, for the ability to compete successfully for attention is closely correlated with status, 11 which raises rates of survival and reproduction. 12 And we can recognize something artistic in such forms of competitive animal attention-getting as the dances of lekking birds, the songs of songbirds or whales, or the extravagant architecture of bowerbirds. Not only do we like to command attention, we also enjoy simply sharing it with others, because this cements our place in a social group whose support we need. 13 Again, there are precursors in other species: the elaborate song of duetting songbirds, 14 or the communal dances of chimpanzees.Curiosity directed at what we can do that gives us cognitive pleasure, whether by engaging our own attention or... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 13.2 (2005) 142-145 [Access article in PDF] The Doing of Philosophy in the Music Class: Some Practical Considerations. Response to Bennett Reimer Mary J. Reichling University of Louisiana at Lafayette How I respond to Bennett Reimer's challenge depends in part on how we define philosophy in this context. We might think of philosophy as a subject of study, that is, philosophy in itself such (...) as epistemology, metaphysics, and so on. Or we may conceive it as philosophy of music, better designated as aesthetics. Or we may consider philosophy as a verb in the sense of "doing" philosophy where our goal is to assist students in developing their thinking skills. It seems that Reimer is placing focus on the last, the doing of philosophy, not that these other views of philosophy are mutually exclusive; they are not.Yet even this distinction is not sufficient for discussion. I am reminded of a little book edited by Eunice Boardman, titled Dimensions of Musical Thinking and published by MENC in 1989. It is a real gem with many fine ideas. In particular it stresses the relationship of content-area knowledge to thinking, and that is what I want to do. Developing thinking skills does not take place in a vacuum: "Now I am going to think." It occurs with respect to a subject area. We have philosophy of science, philosophy of history, philosophy of art, and so on, and philosophy of music.Further, our thinking about music occurs in at least two different ways. I suggest that music possesses both instrumental and intrinsic value with respect to philosophical analysis, as well as instances where the two values are combined. In pondering these values we bring together several so-called philosophical 'methodologies': the search for meaning or understanding, analysis, criticism, [End Page 142] and synthesis. In the process we build arguments that are consistent, coherent, and correspond with the musical evidence.1And further, in our field, students, whether it be through course content itself or through performance classes, have the advantage of gaining both propositional knowledge, learning that, for example, the rhythmic value of eighth notes, and procedural knowledge or learning how, for example, performing eighth notes vocally or instrumentally.2Both of which challenge the students' thinking skills.It is also important to articulate several assumptions if we aspire to "doing" philosophy within the teaching of music. These include a belief that it is worthwhile to develop such thinking skills as I have outlined; that we are willing to take the time for dialogue within the music class or rehearsal hour; and that we as teachers are willing to be facilitators of questions rather than experts with answers.I shall attempt with a few examples to show how these thinking processes might be integrated into the music curriculum following Jerome Brunner's view that children can be taught anything if done so at their level of understanding.The first example relates to the instrumental value of music as it supports text or programmatic conceptions. Let us consider the text of a particular song such as "Blowing in the Wind" or the "Kookaburra" song, the subject of an opera such as Berg's Wozzeck, or the topic of war as exemplified in Britten's War Requiem or some of the protest songs. We ask students how the extra musical subjects are established musically, how the music communicates the ideas, why one musical setting is preferred or better than another, and so forth. In dialoging about these examples, students must first of all be perceptive listeners or participants, then analyze at their level of ability. For an elementary child such analysis might be as simple as pointing out the tempo, mood, rhythms, dynamics, or other expressive elements. Advanced students will have a more extensive musical background to draw upon. Through the analysis students come to a synthesis of these factors that leads to greater understanding of the meaning of the music as they approach questions of value and beauty. If the teacher... (shrink)

To model the organization of levels' of cortical dynamics, at least some general scheme for hierarchy, functional diversity, and proper intrinsic control must be provided. Rhythmic control forces the system to iterate its state by short trajectories, which makes it much more stable and predictable without discarding the desirable ability of chaotic systems to make rapid phase transitions. Rhythmic control provides a fundamentally different systems dynamics, one not provided by models that allow the emergence of continuous trajectories in (...) the systems state space. (shrink)

Perceptual grouping is fundamental to many auditory processes. The Iambic–Trochaic Law (ITL) is a default grouping strategy, where rhythmic alternations of duration are perceived iambically (weak‐strong), while alternations of intensity are perceived trochaically (strong‐weak). Some argue that the ITL is experience dependent. For instance, French speakers follow the ITL, but not as consistently as German speakers. We hypothesized that learning about prosodic patterns, like word stress, modulates this rhythmic grouping. We tested this idea by training French adults on (...) a German‐like stress contrast. Individuals who showed better phonological learning had more ITL‐like grouping, particularly over duration cues. In a non‐phonological condition, French adults were trained using identical stimuli, but they learned to attend to acoustic variation that was not linguistic. Here, no learning effects were observed. Results thus suggest that phonological learning can modulate low‐level auditory grouping phenomena, but it is constrained by the ability of individuals to learn from short‐term training. (shrink)

To formalize the human judgment of rhythm complexity, we used five measures from information theory and algorithmic complexity to measure the complexity of 48 artificially generated rhythmic sequences. We compared these measurements to human prediction accuracy and easiness judgments obtained from a listening experiment, in which 32 participants guessed the last beat of each sequence. We also investigated the modulating effects of musical expertise and general pattern identification ability. Entropy rate and Kolmogorov complexity were correlated with prediction accuracy, and (...) highly correlated with easiness judgments. A logistic regression showed main effects of musical training, entropy rate, and Kolmogorov complexity, and an interaction between musical training and both entropy rate and Kolmogorov complexity. These results indicate that information-theoretic concepts capture some salient features of the human judgment of rhythm complexity, and they confirm the influence of musical expertise on complexity judgments. (shrink)

Glossolalia (“speaking in tongues”) is a rhythmic utterance of word‐like strings of sounds, regularly occurring in religious mass gatherings or various forms of private religious practices (e.g., prayer and meditation). Although specific verbal learning capacities may characterize glossolalists, empirical evidence is lacking. We administered three statistical learning tasks (artificial grammar, phoneme sequence, and visual‐response sequence) to 30 glossolalists and 30 matched control volunteers. In artificial grammar, participants decide whether pseudowords and sentences follow previously acquired implicit rules or not. In (...) sequence learning, they gradually draw out rules from repeating regularities in sequences of speech sounds or motor responses. Results revealed enhanced artificial grammar and phoneme sequence learning performances in glossolalists compared to control volunteers. There were significant positive correlations between daily glossolalia activity and artificial grammar learning. These results indicate that glossolalists exhibit enhanced abilities to extract the statistical regularities of verbal information, which may be related to their unusual language abilities. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 25.2 (2001) 335-346 [Access article in PDF] Aesthetic Incunabula Ellen Dissanayake Incunabula n. pl. (f. L swaddling clothes, cradle): Early stages of development of a thing.Over the past thirty years, developmental psychologists have discovered remarkable cognitive abilities in young infants. Before these investigations, common pediatric wisdom accepted that apart from a few innate "reflexes"--for crying, suckling, clinging, startling--babies were pretty much tabulae rasae for their (...) elders to inscribe as they (and their cultures) decreed. Today, however, it is well established that newborns come into the world with decided preferences and motivations, so that one can speak intelligently of "neonatal" (or even "fetal") psychology. 1The demonstrable existence of inherent psychological capacities in newborns and infants has important implications for twenty-first-century literary theory, which--also over the past thirty years--has operated under the theoretical assumption that all knowledge and experience are mediated by culture and that there is therefore no "natural" psychological or emotional experience. Yet if, as infant psychology confirms, babies in every culture show the same or similar cognitive abilities and preferences and the same or similar motivations and emotional responses, it is necessary to modify the dogmatic assertion that all experience, including literary response, is socially constructed. Rather, adult psychology and experience grow from and build upon inborn motives and preferences. Literary theorists can no longer ignore contemporary knowledge in psychobiology, ethology, and evolutionary psychology that directly pertains to conceptualizing their subject.The innate capacities of newborns predispose them specifically for social and emotional interaction with others, not simply for soliciting [End Page 335] their physical care. For example, newborns prefer human faces to any other sight (high-contrast colors, cartoon characters, cute stuffed animals) and human voices to any other sound (soft music, tinkling bells, The Chipmunks). 2 They can imitate face, mouth, and hand movements and respond appropriately to another person's emotional expressions of sadness, fear, and surprise. 3 At birth, infants can estimate and anticipate intervals of time and temporal sequences and remember these temporal patterns, categorizing them both in time and space and in terms of affect and arousal. 4 By six weeks of age, these perceptual and cognitive abilities of normal infants permit them to engage with adult partners in complex communicative interchanges--the playful behavior that is commonly or colloquially called "babytalk."Babytalk is not the trival or inane pastime that it might superficially seem but, rather, a cradle in which nascent psychosocial capacities can emerge and be developed. Interestingly for literary theory, babytalk achieves these effects through fundamentally aesthetic means. Adult-infant engagements are noteworthy for their use of stylization (formalization or simplification), repetition, exaggeration, and elaboration in visual, vocal, and gestural modalities. I call these "aesthetic incunabula"--that is, sources (or early developmental stages) of the operations used by artists in all media to attract attention and to provoke and manipulate emotional response. The existence of sensitivities to such features in the first months of life suggests that humans are born with natural (innate, universal) predispositions for aesthetic engagement from which cultures and individuals can go on to create their myriad elaborated forms of artistic expression.Although babytalk varies in minor details among individuals and cultures, it can be described in all instances as a multimedia performance. That is, it contains not only "talk" (or the characteristic high-pitched, undulant, breathy, patterned, repetitive vocalizations with pauses called "motherese," "parentese," or "infant-directed speech"). Along with the utterances are peculiarly stereotyped, repetitive, and exaggerated facial expressions (such as widened eyes, uplifted eyebrows, sustained open mouth, and smiles), head movements (e.g., distinct bobs backwards, slow rhythmic nods, movement toward and away from the baby), and gestures (such as touching, stroking, and rhythmic pats) to which infants respond with their own vocal sounds and face and body movements and, in many societies, sustained mutual gaze.Babytalk is not only a performance, but a duet that incorporates both synchrony of behavior and alternation (or turn-taking)--activities that [End Page 336] are made possible by the infant's remarkable inborn sensitivity to temporal sequence and pattern. Microanalyses of videotaped interactions (at 24... (shrink)

Rudolf Bode’s text Rhythm and its Importance for Education (published by Eugen Diederich, Jena, 1920) has both a theoretical and a practical aim: to clarify the nature of the rhythm phenomenon in order to lay down the foundations of ‘Rhythmic Gymnastics’. Bode engages with the work of his contemporaries, such as Emile Jaques-Dalcroze, Karl Buecher and Ludwig Klages, and comes to identify rhythm with a continuum devoid of rationality. The text is unique in its ability to meaningfully connect such (...) diverse fields as philosophy, gymnastics, anthropology and politics and shows, in this way, the potential of ‘rhythmanalysis’. (shrink)

Schooling fish, swarms of starlings, plodding wildebeest, and musicians all display impressive synchronization. To what extent do they use acoustic cues to achieve these feats? Could the acoustic cues used in movement synchronization be relevant to the treatment of movement disorders such as Parkinson's disease in humans? In this article, we build on the emerging view in evolutionary biology that the ability to synchronize movement evolved long before language, in part due to acoustic advantages. We use this insight to explore (...) potential mechanisms that explain why music therapy has beneficial effects for PD patients. We hypothesize that rhythmic auditory cues, particularly music, can stimulate neuronal and behavioral processes that ease the symptoms and potentially the causes of PD because the neural circuits used in auditory entrainment at individual and group levels are associated with dopamine production. We summarize current treatment of PD and outline how new insights from an evolutionary perspective could improve understanding and eventual treatment of movement disorders in humans. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 13.2 (2005) 142-145 [Access article in PDF] The Doing of Philosophy in the Music Class: Some Practical Considerations. Response to Bennett Reimer Mary J. Reichling University of Louisiana at Lafayette How I respond to Bennett Reimer's challenge depends in part on how we define philosophy in this context. We might think of philosophy as a subject of study, that is, philosophy in itself such (...) as epistemology, metaphysics, and so on. Or we may conceive it as philosophy of music, better designated as aesthetics. Or we may consider philosophy as a verb in the sense of "doing" philosophy where our goal is to assist students in developing their thinking skills. It seems that Reimer is placing focus on the last, the doing of philosophy, not that these other views of philosophy are mutually exclusive; they are not.Yet even this distinction is not sufficient for discussion. I am reminded of a little book edited by Eunice Boardman, titled Dimensions of Musical Thinking and published by MENC in 1989. It is a real gem with many fine ideas. In particular it stresses the relationship of content-area knowledge to thinking, and that is what I want to do. Developing thinking skills does not take place in a vacuum: "Now I am going to think." It occurs with respect to a subject area. We have philosophy of science, philosophy of history, philosophy of art, and so on, and philosophy of music.Further, our thinking about music occurs in at least two different ways. I suggest that music possesses both instrumental and intrinsic value with respect to philosophical analysis, as well as instances where the two values are combined. In pondering these values we bring together several so-called philosophical 'methodologies': the search for meaning or understanding, analysis, criticism, [End Page 142] and synthesis. In the process we build arguments that are consistent, coherent, and correspond with the musical evidence.1And further, in our field, students, whether it be through course content itself or through performance classes, have the advantage of gaining both propositional knowledge, learning that, for example, the rhythmic value of eighth notes, and procedural knowledge or learning how, for example, performing eighth notes vocally or instrumentally.2Both of which challenge the students' thinking skills.It is also important to articulate several assumptions if we aspire to "doing" philosophy within the teaching of music. These include a belief that it is worthwhile to develop such thinking skills as I have outlined; that we are willing to take the time for dialogue within the music class or rehearsal hour; and that we as teachers are willing to be facilitators of questions rather than experts with answers.I shall attempt with a few examples to show how these thinking processes might be integrated into the music curriculum following Jerome Brunner's view that children can be taught anything if done so at their level of understanding.The first example relates to the instrumental value of music as it supports text or programmatic conceptions. Let us consider the text of a particular song such as "Blowing in the Wind" or the "Kookaburra" song, the subject of an opera such as Berg's Wozzeck, or the topic of war as exemplified in Britten's War Requiem or some of the protest songs. We ask students how the extra musical subjects are established musically, how the music communicates the ideas, why one musical setting is preferred or better than another, and so forth. In dialoging about these examples, students must first of all be perceptive listeners or participants, then analyze at their level of ability. For an elementary child such analysis might be as simple as pointing out the tempo, mood, rhythms, dynamics, or other expressive elements. Advanced students will have a more extensive musical background to draw upon. Through the analysis students come to a synthesis of these factors that leads to greater understanding of the meaning of the music as they approach questions of value and beauty. If the teacher... (shrink)

We review evidence that, from birth, infants have purposeful consciousness of rhythmic whole‐body movement, with multi‐modal perception of objects outside their body, and self‐related emotional appraisal of experiences. Newborns also exhibit a special human awareness of the vitality of company in actions and feelings, and a capacity to use imitation of action signs for dialogic exchange of intentions. These abilities are prepared by specific systems of body and brain that develop before birth. Through the first two years, a (...) baby shows age‐related advances with growth of motor powers in use of intersubjective play and object awareness. These developments are adapted for life‐time learning how to identify and share meaningful conventions of a culture, and the description of experiences in words of a living language. Teaching is stimulated and assimilated by the affections, playful humor, and imaginative curiosity of the child in the company of people they know well. (shrink)

Developmental dyslexia is considered to be most effectively addressed with preventive phonics-based interventions, including grapheme-phoneme coupling and blending exercises. These intervention types require intact speech perception abilities, given their large focus on exercises with auditorily presented phonemes. Yet some children with dyslexia experience problems in this domain due to a poorer sensitivity to rise times, i.e., rhythmic acoustic cues present in the speech envelope. As a result, the often subtle speech perception problems could potentially constrain an optimal response (...) to phonics-based interventions in at-risk children. The current study therefore aimed to extend existing research by examining the presence of potential speech perception deficits in pre-readers at cognitive risk for dyslexia when compared to typically developing peers and to explore the added value of a preventive auditory intervention for at-risk pre-readers, targeting rise time sensitivity, on speech perception and other reading-related skills. To obtain the first research objective, we longitudinally compared speech-in-noise perception between 28 5-year-old pre-readers with and 30 peers without a cognitive risk for dyslexia during the second half of the third year of kindergarten. The second research objective was addressed by exploring growth in speech perception and other reading-related skills in an independent sample of 62 at-risk 5-year-old pre-readers who all combined a 12-week preventive phonics-based intervention with an auditory story listening intervention. In half of the sample, story recordings contained artificially enhanced rise times, while in the other half, stories remained unprocessed. Results revealed a slower speech-in-noise perception growth in the at-risk compared to the non-at-risk group, due to an emerged deficit at the end of kindergarten. Concerning the auditory intervention effects, both intervention groups showed equal growth in speech-in-noise perception and other reading-related skills, suggesting no boost of envelope-enhanced story listening on top of the effect of combining GraphoGame-Flemish with listening to unprocessed stories. These findings thus provide evidence for a link between speech perception problems and dyslexia, yet do not support the potential of the auditory intervention in its current form. (shrink)

The first major advances in the understanding of the neurological bases for language abilities were the results of the study of the brains and behaviors of patients with language impairments due to focal brain damage. The two most prominent pioneers in this field are remembered because their names have become associated with distinctive aphasia (language loss) syndromes and the brain regions associated with them. In 1861 Paul Broca described the damage site in the brain of a patient who had (...) lost the ability to produce articulate speech as a result of a stroke. Broca's aphasia, as it is now commonly called, is produced by damage that involves the inferior left frontal lobe of the brain. It tends to produce both a loss of articulatory skill (sometimes but not always with paralysis) and (as discovered much later) problems with grammar and syntax, including grammatical comprehension under certain conditions. Despite speech production impairments, Broca's aphasics do not have basic word‐ and sentence‐comprehension difficulties, when comprehension is not dependent on syntactic analysis. In 1874 Carl Wernicke demonstrated that damage to the left superior temporal lobe produced a different syndrome of language impairments. Wernicke's aphasia generally spares fluent, syntactic speech but impairs the use and comprehension of content words. Wernicke's aphasics'speech includes inappropriate word substitutions, neologisms, and semantic confusions, and their comprehension is similarly disturbed. These early studies also demonstrated that these aphasic disturbances were almost exclusively associated with damage to the structures of the left cerebral hemisphere, even though anatomically corresponding structures are present on both sides of the brain. However, this is not true of all language functions. Some left‐handed individuals can suffer aphasia from right hemisphere damage, and recent studies of patients with right hemisphere damage without aphasia have demonstrated impairment of their comprehension above the sentence level (e.g., interpretation of jokes and stories) and in the production and interpretation of prosodic features of speech (rhythmic and tonal patterning that conveys emphasis and emotion). (shrink)

Neurophysiological studies in humans employing magneto- and electro- encephalography increasingly suggest that oscillatory rhythmic activity of the brain may be a core mechanism for binding sensory information across space, time, and object features to generate a unified perceptual representation. To distinguish whether oscillatory activity is causally related to binding processes or whether, on the contrary, it is a mere epiphenomenon, one possibility is to employ neuromodulatory techniques such as transcranial alternating current stimulation. tACS has seen a rising interest due (...) to its ability to modulate brain oscillations in a frequency-dependent manner. In the present review, we critically summarize current tACS evidence for a causal role of oscillatory activity in spatial, temporal, and feature binding in the context of visual perception. For temporal binding, the emerging picture supports a causal link with the power and the frequency of occipital alpha rhythms ; however, there is no consistent evidence on the causal role of the phase of occipital tACS. For feature binding, the only study available showed a modulation by occipital alpha tACS. The majority of studies that successfully modulated oscillatory activity and behavioral performance in spatial binding targeted parietal areas, with the main rhythms causally linked being the theta and beta frequency bands. On the other hand, spatio-temporal binding has been directly modulated by parieto-occipital gamma and alpha tACS, suggesting a potential role of cross-frequency coupling when binding across space and time. Nonetheless, negative or partial results have also been observed, suggesting methodological limitations that should be addressed in future research. Overall, the emerging picture seems to support a causal role of brain oscillations in binding processes and, consequently, a certain degree of plasticity for shaping binding mechanisms in visual perception, which, if proved to have long lasting effects, can find applications in different clinical populations. (shrink)

I argue that an explicit distinction between cognitive characters and cognitive phenotypes is needed for empirical progress in the cognitive sciences and their integration with evolution-guided sciences. I elaborate what ontological commitment to characters involves and how such a commitment would clarify ongoing debates about the relations between human and nonhuman cognition and the extent of cognitive abilities across biological species. I use theoretical proposals in episodic memory, language, and sociocultural bases of cognition to illustrate how cognitive characters are (...) being introduced in scientific practice. (shrink)

In this paper I present an account of the rational abilities that make our decisions free. Following the lead of new dispositionalists, a leeway account of free decisions is developed, and the rational abilities that ground our abilities to decide otherwise are described in detail. A main result will be that the best account of the relevant rational abilities makes them two-way abilities: abilities to decide to do or not to do x in accordance (...) with one’s apparent reasons. Dispositionalism about rational abilities will be vindicated, since it helps to see why and how these two-way abilities entail an ability to decide otherwise and, thus, free will. (shrink)

BackgroundIn Sweden, individuals with visual field loss have their driving license withdrawn. The literature clearly indicates that individuals with VFL are unsafe drivers on a group level. However, many drivers with VFL can be safe on an individual level. The literature also suggests that self-perception, beliefs, and insights of one’s own capabilities are related to driving performance. This study had three aims: To investigate self-perceived driving capability ratings for individuals with VFL; to compare these ratings between groups with different medical (...) conditions associated with VFL ; and to relate the self-perception ratings to actual driving performance in an advanced driving simulator.MethodsParticipants comprised 723 individuals whose driver’s license had been withdrawn because of VFL and 92 normally sighted elderly individuals. All participants completed a background survey, rated difficulties with different traffic situations, rated their strengths and weaknesses as drivers, and rated aspects that were important for causing traffic accidents. Of the VFL group participants, 264 also completed a simulator-based driving test that they knew could lead to renewal of their driving license. VFL participants and normally sighted was at the same age when they completed the simulator driving test.ResultsOverall, individuals with VFL rated their capabilities as high on all instruments and scales used, even higher than the elderly normally sighted control group. The only VFL etiology group that rated lower than other groups was the diabetes group. Safety orientation and internal control orientation values were best at discriminating between VFL participants in terms of self-perception of driving performance. Participants categorized as “high” in terms of safety skills and internal control were more modest in their ratings. Finally, participants who passed the simulated driving test did not differ from those who failed, in any of the self-perception measures.ConclusionSelf-perception ratings among individuals with VFL were higher than those of normally sighted elderly individuals. Self-assessed skills did not predict driving performance. Groups with different VFL etiologies rated similarly. Self-ratings of driving abilities cannot be used to assess actual driving performance. Actual driving tests are necessary to discriminate between safe and unsafe drivers with VFL. (shrink)

Different disciplines converge to trace language evolution from motor skills. The human ability to use tools has been advocated as a fundamental step toward the emergence of linguistic processes in the brain. Neuropsychological and neuroimaging research has established that linguistic functions and tool-use are mediated by partially overlapping brain networks. Yet, scholars still theoretically debate whether the relationship between tool-use and language is contingent or functionally relevant, since empirical evidence is critically missing. Here, we measured both linguistic production and tool-use (...) abilities in the same participants, as well as manual and linguistic motor skills. A path analysis ruling out unspecific contributions from manual or linguistic motor skills, showed that motor proficiency using a tool lawfully predicts differences in individual linguistic production. In addition, more complex tool-use reveals stronger association between linguistic production and tool mastery. These findings establish the existence of shared cognitive processes between tool-use and language. (shrink)

This article analyzes the financial performance and managerial abilities of a sample of US and European socially responsible (SR) mutual funds. The period analyzed commences from January 1994 and concludes in January 2013 and yields 18 US and 89 European green funds. The results obtained for green fund managers are compared with those achieved for conventional and other forms of SR mutual fund managers. We control for the mutual fund investment objective (distinguishing between domestic and global portfolios) and for (...) the effect of crisis market periods. For US SR funds, partitioning the data into crisis and normal periods reveals that SR funds obtain statistically insignificant performance in crisis periods but underperform relative to the market in normal periods. Furthermore, the findings indicate that green funds do not perform worse than other forms of SR mutual funds. For European SR funds partitioning the data into crisis and normal periods reveals that SR funds obtain statistically insignificant performance irrespective of market conditions. Similar to the US findings, green Europe SR funds do not perform worse than other forms of SR mutual funds. Managerial abilities are not evident in the findings though unsuccessful timing of the market is revealed for both Europe and US global green funds. When analyzing managerial abilities in crisis and non-crisis market periods, US green fund managers achieve better results in crisis market periods and the opposite occurs for green fund managers in European market. (shrink)

This study investigated the mechanisms behind episodic autobiographical memory development in school-age children. Thirty children performed a novel EAM test. We computed one index of episodicity via autonoetic consciousness and two indices of retrieval spontaneity for a recent period and a more remote one . Executive functions, and episodic and personal semantic memory were assessed. Results showed that recent autobiographical memories were mainly episodic, unlike remote ones. An age-related increase in the indices of episodicity and specific spontaneity for recent AMs (...) was mainly mediated by an age-related increase in the efficiency of the three cognitive abilities. Remote AMs varied only slightly with age , reflecting improvements in semantic abilities. Thus, EAM development in school-age children is essentially bound up with the increasing efficiency of cognitive abilities. Results are discussed in the light of models of childhood amnesia. (shrink)

There is widespread interest in the possibility that music training enhances nonmusical abilities. This possibility has been examined primarily for speech perception and domain-general abilities su...

The goal of this research is to know and compare the emotions and reactions to confinement due to the COVID-19 pandemic in children and adolescents with high abilities and community samples. This is a mixed study with an exploratory reach that is descriptive, and which combines survey and qualitative methodologies to examine the emotions and reactions to confinement experiences of children and adolescents aged between 5 and 14 years. An online poll was designed with 46 questions, grouped into three (...) sections: General Data, Reactions to the health contingencies of COVID-19, and Positive and negative emotions. This last section was included the Oros’ positive emotions questionnaire and the scales of the negative effect of the PANAS Schedule positive and negative affect on children and adolescents between 8 and 14 years old. Data were collected online with a convenience sample. Quantitative data were analyzed with the SPSS statistics program and qualitative data with Alceste software. Among the main findings is the fact that there are no significant differences between the groups by ability in terms of reactions and emotions; however, there are differences between age groups and sex. The study discusses the implications for educational intervention in situations like the current pandemic. (shrink)

This study provides new longitudinal evidence on two major types of gesture–speech combination that play different roles in children’s early language. We analysed the spontaneous production of 10 Italian children observed monthly from 10–12 to 23–25 months of age. We evaluated the extent to which the developmental trends observed in children’s early gesture–word and word–word productions can predict subsequent verbal abilities. The results indicate that “complementary” and “supplementary” gesture–speech combinations predict subsequent language development in a different manner: While the (...) onset of “supplementary” combinations predicts the onset of two-word combinations, the use of “complementary” combinations at 12 and 18 months predicts the vocabulary and the ability to produce more words utterances at 2 years of age. Moreover, the results suggest that both “complementary” and “supplementary” crossmodal combinations are good predictive indexes of early verbal skills during the second year of age. (shrink)

This study provides new longitudinal evidence on two major types of gesture–speech combination that play different roles in children’s early language. We analysed the spontaneous production of 10 Italian children observed monthly from 10–12 to 23–25 months of age. We evaluated the extent to which the developmental trends observed in children’s early gesture–word and word–word productions can predict subsequent verbal abilities. The results indicate that “complementary” and “supplementary” gesture–speech combinations predict subsequent language development in a different manner: While the (...) onset of “supplementary” combinations predicts the onset of two-word combinations, the use of “complementary” combinations at 12 and 18 months predicts the vocabulary and the ability to produce more words utterances at 2 years of age. Moreover, the results suggest that both “complementary” and “supplementary” crossmodal combinations are good predictive indexes of early verbal skills during the second year of age. (shrink)

This study aimed to explore the influence of the visuospatial active working memory sub-components on early math skills in young children, followed longitudinally along the first two years of primary school. We administered tests investigating visual active working memory (jigsaw puzzle), spatial active working memory (backward Corsi), and math tasks to 43 children at the beginning of first grade (T1), at the end of first grade (T2), and at the end of second grade (T3). Math tasks were select according to (...) the children’s age and their levels of formal education: the “Battery for the evaluation of numerical intelligence from 4 to 6 years of age” (BIN 4–6) at T1 to test early numerical competence and the “Test for the evaluation of calculating and problem-solving abilities” (AC-MT 6–11) to test math skills at T2 and T3. Three regression models, in which the predictors were identified through a forward selection based on the use of the Bayesian information criterion (BIC) index, were performed to study the relationship between visual and spatial working memory and math ability at the three points in time. The results show that spatial working memory influences early numerical performance at T1, while early numerical performance is the unique predic-tor of math performance at T2. At the end of the second grade, the regression model reveals a relationship between math performance and both visual and spatial working memory and the attenuation of the importance of domain-specific predictors. The study depicts the dif-ferent implications of visual and spatial working memory predictors over the children’s de-velopment periods and brings additional evidence to the debate on the relationship between visuospatial working memory and math ability in young children. (shrink)

This study intended to test whether attachment to one’s own residential place at neighborhood level could represent a coping response for the elderly (consistently with the “docility hypothesis;” Lawton, 1982), when dealing with the demands of unfamiliar environments, in order to balance their reduction of spatial abilities. Specifically, a sequential path was tested, in which neighborhood attachment was expected to play a buffer role between lowered spatial competence and neighborhood satisfaction. The participants (N = 264), senior citizens (over 65-year-old), (...) responded to a questionnaire including the measures of spatial self-efficacy, spatial anxiety, attitude toward wayfinding, residential attachment and residential satisfaction. Results from the mediation analysis showed that a lower perceived spatial self-efficacy is associated to a higher spatial anxiety, and both promote a more negative attitude toward wayfinding tasks in non-familiar places. This leads to a higher attachment to one’s own neighborhood, which in turn predicts a higher residential satisfaction. Thus, the “closure” response of becoming more attached to their residential place may be an adaptive strategy of the elderly for compensating the Person-Environment (P-E) mis-fit (Lawton and Nahemow, 1973) when they feel unable (or less able) to cope with the demands of unfamiliar environments. (shrink)

In recent years, neologicists have demonstrated that Hume's principle, based on the one-to-one correspondence relation, suffices to construct the natural numbers. This formal work is shown to be relevant for empirical research on mathematical cognition. I give a hypothetical account of how nonnumerate societies may acquire arithmetical knowledge on the basis of the one-to-one correspondence relation only, whereby the acquisition of number concepts need not rely on enumeration (the stable-order principle). The existing empirical data on the role of the one-to-one (...) correspondence relation for numerical abilities is assessed and additional empirical tests are proposed. In the final part, it is argued that the fact that the successor relation and the one-to-one correspondence relation can play independent roles in number concept acquisition may be a complication for testing the Whorfian hypothesis. (shrink)

In an outline of a paper found amongst his philosophical papers and correspondence after his untimely death in 2001—“Nihil Obstat: An Analysis of Ability,” reproduced in this volume—David Lewis sketched a new compatibilist account of abilities, according to which someone is able to A if and only if there is no obstacle to their A-ing, where an obstacle is a ‘robust preventer’ of their A-ing. In this paper, we provide some background context for Lewis’s outline, a section-by-section commentary, and (...) a general discussion of the account’s main features. (shrink)

Cerebral lateralization is associated with differences in brain organization and handedness is seen as its main marker. In order to verify the hypothesis that differences in brain organization tend to be associated with different patterns of interests and abilities, 379 normal left-handed subjects (221 women, aged 18 – 72 years) and 366 normal right-handed subjects (256 women, aged 18 – 72 years) were interviewed about their interests and special abilities. The following interests and special abilities were studied: (...) singing, playing an instrument, dancing, painting, acting, foreign language skills, sports skills, and writing poetry.The results in the left-handers group showed that there is a significantly higher percentage of subjects with a pronounced interest in playing an instrument. In the group of right-handers, the study demonstrated a significantly higher percentage of subjects specifically interested in learning foreign languages. With respect to the abilities, a significantly higher incidence of participants with vocal, instrumental, sports, and foreign language skills was found in the left-handers’ group. Differences in functional cerebral organization between left- and right-handers were suggested as possible explanation for the relationship of handedness with special abilities. (shrink)