L III A Communicave Interacon / N Literacy and Experse G M SIC OF LANGUAGE U A G E 2010 Malobe O F Women Singing M U Mbendjele

S © J. Lewis: I C London 5-6 Sept 2011

Organised by Middlesex Language & Communicaon Research Group & Cambridge Centre for Music and Science seminar 3: communicative interaction/ literacy & expertise Introducon to the seminar series

This seminar series aims to explore new direcons in the study of the relaonship between language and music in psychology. Language and music share many features: they are both composed of sequences of sub-units; both require these units to be organised according to convenonal structural rules; they vary pitch, temporal and rhythmic features to convey meaning; they ulize specific wring systems; and they both organize coordinated or joint social acons. The debate is sll open concerning the evoluonary relaonship between language and music, their boundaries (what is unique and specific to each) and whether they do or do not belong to separate domains/modules. For instance, Brown (2000) proposed that language and music may be described as two end-points of a connuum in which sound would specialize to convey more affecve meaning (music) or referenal meanings (language). This suggests that language and music are evoluonary homologues stemming from a musilanguage common ancestor (see Cross, 2005; 2007; Fitch, 2005, 2006; Mithen, 2006 aer Darwin 1871). These ideas have smulated hypotheses in areas ranging from the neurological bases of language and music, to transfers of learning across the two domains, the use of music in neurological rehabilitaon and other clinical contexts, as well as theorecal issues of embodied cognion and joint acon.

The last decade or so has seen this field of research develop rapidly, both theorecally and empirically. In the UK, this development has been driven by the pioneering work of Sloboda (1985, 1997, 2001). In this seminar series, current trends will be analysed in an aempt to idenfy new direcons that will consolidate research on language and music as an inter- disciplinary field with roots in psychology, music, linguiscs, neuroscience and informacs. This will benefit from the specific experse brought by each organising partner and direct collaborators, while invited experts in specific fields will contribute methodological, empirical or theorecal experse from their respecve disciplines.

Six themac axes will be explored in the course of the three meengs:

• 1-2 development/evoluon, including the relaonship with language development (held at Middlesex University, 20th July 2010); • 3-4 meaning/entrainment (held at Cambridge University, 13th -14th December 2010); • 5-6 communicave interacon / literacy and experse (Middlesex University, 5th – 6th September 2011)

Although the specific structure of the seminars may vary, the meengs will involve [a] research presentaons by parcipants who are ‘expert’ in parcular areas, [b] ‘round table’ meengs about specific topics relevant for a parcular theme, and [c] workshops and ‘brainstorming’ groups to idenfy relevant empirical quesons to move the field ahead. The laer two parts of the seminars will allow all parcipants - including the more junior researchers - to interact. seminar 3: communicative interaction/ literacy & expertise

Scienfic goals: • Idenficaon and exploraon of new direcons in the interdisciplinary study of language & music • Idenficaon and exploraon of specific research quesons suitable for empirical tesng • Idenficaon of common and discipline-specific concerns in the issues above While acknowledging the progress made so far in the field of language and music research, this seminar series aims to push the boundaries beyond the tradional ‘structure – content – funcon’ paron. More specifically, we aim to explore precise direcons of overlap or divergence between language and music in the four areas of development and evoluon (origin), meaning (including structural and pragmac aspects), formal communicaon (reading and wring), and interacon. For example, whereas research has been conducted into the development of musical abilies in children, or music percepon in infants (e.g. the work of Sandra Trehub and Laurel Trainor), the queson of the relaonship between language development in infancy and aspects of musicality has not yet been invesgated. In these seminars, we aim to idenfy specific research quesons which could lead to empirical invesgaon. To connue with the previous example, relevant quesons could be: do the ‘musical’ aspects of speech (e.g. rhythm, tone and intonaon) support language development in infancy? What aspects of interacon provide common ground to linguisc and musical communicaon?

Finally, in this intrinsically interdisciplinary field we aim to idenfy aspects concerning both theorecal and empirical invesgaons of the topic that are relevant to all disciplines involved, while acknowledging perspecves which may be more discipline-specific: Establishing a common ground is a prerequisite for successful interdisciplinary communicaon.

Outcomes: The main expected outcome is the generaon of research proposals (ideally, one in each of the themac areas), to further the understanding of psychological processes in the scienfic study of language and music. Further possible outcomes: Publicaon of a book reviewing the four themac areas, or a monographic number of a journal; a formal conference or series of workshops

Resources: hp://www.mediafire.com (login details available from the seminar organisers) www.mdx.ac.uk/research/areas/psychology/language/music/index.aspx

Scienfic Programme: Fabia Franco (Middlesex), Ian Cross (Cambridge), & Simone Falk (Munich) seminar 3: communicative interaction/ literacy & expertise

Programme:

Time Monday 5th September

8.30 REGISTRATION AND COFFEE (Hatchcro Building, ground floor foyer)

9.15 – 9.30 Welcome and Introducon (1st floor, room H116) Fabia Franco (Middlesex)

Session 1: Communicave interacon, Chair: Simone Falk (Munich)

9.30 – 10.00 Group music making in support of language skills Kae Overy (Edinburgh) 10.00 – 10.30 Music and relevance theory Marn Orwin (SOAS, London)

10.30 – 11.00 Music and speech in interacon: Terms and definions Ian Cross & Sarah Hawkins (CMS, Cambridge)

11.00 – 11.20 COFFEE BREAK (Hatchcro Building, ground floor foyer)

11.20 – 11.50 Music shows Tim Wharton (Kingston/UCL)

11.50 – 12.20 Self and other in joint acon. Evidence from a musical paradigm Giacomo Novembre (Max Planck, Leipzig), with Luca Ticini, Simone Schuetz- Bosbach & Peter Keller 12.20 – 12.50 Songs with words: Music as a proxy language in children with severe learning difficules Adam Ockelford (Roehampton, London) 12.50 – 14.00 LUNCH BREAK (College Building Quad/CG47)

14.00 – 16.00 Workshops – Discussion groups (Hatchcro Building, ground floor, Psychology Laboratories: HG02, HG07, HG09, HG13): 1A – Atypical populaons/remediaon & rehabilitaon (Leader: Pam Heaton, Goldsmiths) 1B – Development & evoluon (Leader: Fabia Franco, Middlesex) 1C – Gesture, movement & dance (Leader: Pieter-Jan Maes, Ghent) 1D – Orality, literacy & experse (Leaders: Marn Orwin, SOAS, London & Tim Wharton, Kingston & UCL) seminar 3: communicative interaction/ literacy & expertise

16.00 – 16.20 COFFEE BREAK (Hatchcro Building, ground floor foyer)

16.20 – 16.40 Preparaon of reports from discussion groups

16.45 Plenary session: Report from groups, and Q & A session, Chair: Uli Reich (Berlin). Room H116

18.00 Poster Session and wine recepon (Room HG09)

20.00 CONFERENCE DINNER – Valenno’s Restaurant seminar 3: communicative interaction/ literacy & expertise

Programme:

Time Tuesday 6th September

Literacy & experse, Chair: Fabia Franco (Middlesex). Room H116

9.00 – 9.30 Linguisc tunes: On the funconality of ming and intonaon in spoken language corpora Uli Reich (Berlin) 9.30 – 10.00 Spontaneous vocalisaons of young children: the cultural context and quesons in research methodology Viivian Jõemets (Tartu) 10.00 – 10.30 Rhythmic entrainment and singing in 5 year old children John Verney & Usha Goswami (Cambridge)

10.30 – 10.50 COFFEE BREAK (Hatchcro Building, ground floor foyer)

10.50 – 11.20 An exploraon, analysis and comparison of the inial stages of the reading of words with the reading of music Sheila Oglethorpe (Salisbury Cathedral School) 11.20 – 11.50 Auditory temporal processing skills of conservatoire level musicians with and without dyslexia and dyslexic non-musicians: insights into relaonships between musical training and dyslexia Paula Bishop-Liebler (Instute of Educaon, London)

11.50 – 12.20 Why are studies of the link between listening skills and language ability so inconsistent? Tim Griffiths (Newcastle), with Manon Grube 12.20 – 13.50 LUNCH BREAK (Claddagh Ring Pub)

14.00 – 16.00 Workshops – Discussion groups (Hatchcro Building, ground floor, Psychology Laboratories: HG02, HG07, HG09, HG13): 2A – Methodologies in interdisciplinary research (Leader: Tommi Himberg, Yvyäskylä) 2B – Entrainment and synchronisaon (Leader: Simone dalla Bella, Warsaw and BRAMS@ McGill) 2C – Pro(social) behaviour and interacon (Leaders: Kae Overy, Edinburgh/ Guenther Knoblich, Budapest) 2D – (Cross) cultures (Leaders: Tom Fritz, Max Planck, Leipzig/ Jerome Lewis, UCL) seminar 3: communicative interaction/ literacy & expertise

16.00 – 16.20 COFFEE BREAK (Hatchcro Building, ground floor foyer)

16.20 – 16.40 Preparaon of reports from discussion groups

16.45 Plenary session: Report from groups, and Q & A session, Chair: Sarah Hawkins (Cambridge). Room H116

18.00 Concluding talk: A joint acon perspecve on music performance Guenther Knoblich (Central European University, Budapest, and Social Mind and Body Group, Nijmegen) 18.45 Closing thoughts: Fabia Franco (Middlesex)/ Uli Reich (Berlin)

19.00 CONFERENCE END seminar 3: communicative interaction/ literacy & expertise

Bahman Baluch [email protected]

Seminar organiser

[Biography]

Bahman is a Reader in Experimental Psychology. In the early 1980s, as part of his PhD at London University, he conducted the first systemac research on cognive processes of skilled reading in Persian. He connued with this subject during his postdoctoral work at the University of Waterloo, Canada. His more recent work has focused on reading and short term memory for words in developmental dyslexic readers and skilled readers as a funcon of spelling transparency. seminar 3: communicative interaction/ literacy & expertise Emma Birke [email protected]

Poster: Motor ming in adults and children – relaonships with reading and aenon

[Biography]

Emma Birke is currently in the third year of a PhD exploring Timing and Dyslexia. Her current projects examine the performance characteriscs of ming deficits in parcipants with dyslexia as well as the impact of task parameters on ming performance. This work also considers the effect of co-morbidity (such as co-occuring ADHD) on ming performance. Emma has previously completed a Masters degree in Cognive Neuroscience and a BSc in Human Psychology, and has experience working with children with ausm and severe learning difficules.

[Abstract]

Impairments in motor ming have been found in clinical populaons including groups with dyslexia and ADHD. Here we examined how motor ming differs in adults and children, and whether it is associated with cognive/behavioural measures of interest. Thirty-five adults, 49 school children and 18 children from a clinical group completed a finger tapping task and measures of literacy, aenon and reasoning. The tapping task comprised trials at five speeds (intervals of 670, 505, 400, 329, and 282ms). Parcipants tapped to an auditory beat in the synchronisaon phase and maintained their responses in the connuaon phase (without the beat). Response intervals were recorded and response variance was also decomposed using an informaon processing model of ming. Timing performance in adults was more accurate and less variable than in children with group differences found in both mekeeper and implementaon variance. The clinical group of children did not differ from the non-clinical children on any of the measures at any tapping speed. Correlaonal analyses indicated that motor ming performance in children was related to spelling, hyperacvity-impulsivity and verbal reasoning, however, only hyperacvity-impulsivity predicted unique variance in ming ability. The ulity of this approach to measuring temporal processing in developmental disorders is discussed. seminar 3: communicative interaction/ literacy & expertise Paula Bishop-Liebler [email protected]

Auditory temporal processing skills of conservatoire level musicians with and without dyslexia and non-dyslexic musicians: insights into relaonships between musical training and dyslexia (with Goswami and Welch)

[Biography]

Paula is in the final stages of a doctorate at the Instute of Educaon, University of London, invesgang interacons between music and dyslexia within conservatoire level musicians. As part of her PhD she is collaborang with Prof. Usha Goswami from Cambridge University and Assistant Prof. Nadine Gaab from Harvard University exploring the temporal processing skills of musicians with and without dyslexia and non-musicians with dyslexia. In addion to her doctoral studies Paula is a specialist teacher and assessor. She works in a variety of instuons such as the Royal College of Music, Guildhall School of Music and Drama, Kent University, the Dyslexia Teaching Centre in Kensington and the Royal Academy of Music.

[Abstract]

Auditory temporal processing is impaired in children and adults with developmental dyslexia. One consistent temporal deficit, found across languages, is insensivity to the rate of onset of amplitude envelopes (amplitude envelope [AE] rise me). Perceptually, this results in difficules with rhythmic ming and rhythm percepon. Rhythm is more explicit in music than in language, hence it is possible that musical training might have a beneficial effect on rise me percepon in dyslexics who have had musical training since childhood. Twenty musicians and 15 musicians with dyslexia who were studying at premier music conservatoires and universies in the UK, along with 13 dyslexic non-musicians matched for age and cognive ability, received a baery of auditory processing tasks along with measures of phonological awareness. Preliminary results will be discussed and their implicaon for the use of musical training as a remediaon tool for dyslexia. seminar 3: communicative interaction/ literacy & expertise Nicola Brunswick [email protected]

Seminar organiser

[Biography]

Nicola is a Senior Lecturer in Psychology at Middlesex University. She studied for her PhD in the psychophysiology of dyslexia at the University of Warwick, funded by the ESRC. She then completed her post-doctoral training on the neuropsychology of dyslexia across languages, using funconal brain imaging, at the Wellcome Department of Imaging Neuroscience and the MRC Cognive Development Unit, London. She researches in the areas of reading and developmental dyslexia, and she is a trustee of the Brish Dyslexia Associaon. She has wrien/edited seven books on psychology, dyslexia and reading development. seminar 3: communicative interaction/ literacy & expertise Marcia Chew [email protected]

Poster: Negave rather than posive affect in music predicts beer cognive performance in hospitalized children (with Franco et al.)

[Biography]

Marcia’s principal research interests lie in music and psychology. She graduated with a degree in Psychology from Middlesex University with a dissertaon project invesgang the relaonship between music and language by tesng tonal and non- tonal language speakers in various tone and melodic discriminaon tasks (supervisor: Fabia Franco). She then worked as a learning support assistant for ausc children in the area of special educaonal needs in Malaysia, which included observing music therapy sessions at EIP Ausm. Passionate about music, she connued to be an acve member of her secondary school wind band and enjoys playing different musical instruments including the organ and euphonium. She is currently Research Assistant on two projects with Fabia Franco, on, respecvely, young children’s recognion of affect in instrumental and vocal music (funded by the Brish Academy), and further invesgaons of the influence of language and musical experience on tone and melody percepon among different tonal and non-tonal language speaker populaons (funded by SEMPRE).

[Abstract]

See entry under Franco

seminar 3: communicative interaction/ literacy & expertise Ian Cross [email protected] Music and speech in interacon: terms and definions (with Sarah Hawkins)

[Biography]

Ian is Professor of Music & Science at Cambridge University, where he is also a fellow of Wolfson College. He has published widely in the field of music percepon and cognion, focusing recently on music and evoluonary theory. He co-edited Musical Structure and Cognion (1985), Represenng Musical Structure (1991) and the Oxford Handbook of Music Psychology (2009), and is presently co-eding Language and Music as Cognive Systems for OUP. He is also a guitarist.

[Abstract] Considered as modes of communicave interacon, music and speech seem to share funcons and perhaps mechanisms. We suggest that understanding interacve communicaon would benefit from an integrated approach that jointly addresses both speech and music. As a first step, we examine terms used in each discipline with the aim of idenfying a common set. The main focus is on terms used to express parcular interacve funcons.

Speech and music are, in part, culturally constructed categories. Different cultures draw different disncons between what, from western perspecves, would be classed as "speech" or "music" and in some instances a simple binary disncon between speech and music may be difficult to apply. Likewise, though speech is undeniably the more effecve way to exchange informaon and to direct acon towards parcular goals, while music may be more effecve in managing social relaonships at mes of social uncertainty, in pracce speech and music overlap considerably in funcon. Speech is at least as concerned with establishing, maintaining and managing relaonships between interlocutors as it is with represenng and exchanging informaon to effect joint acon. Conversely, certain modes of collecve acon (parcularly in the context of ritual) employ music as perhaps their most indispensable component, affording music a significant role in mobilising joint acon.

We draw on ethnomusicological, linguisc, behavioural and neuroscienfic research in exploring concepts and analycal frameworks applied to musical and spoken interacon. Our aim is to develop a unified, theorecally-grounded framework suitable for guiding empirical invesgaons in both areas. seminar 3: communicative interaction/ literacy & expertise Simone Dalla Bella [email protected]

Discussion group leader: 2B - Entrainment and synchronisaon

[Biography]

Simone received his PhD in 2001 at the University of Montreal and is now Associate Professor in the Dept. of Cognive Psychology (soon in the Dept. of Neuropsychology of Music) at the University of Finance and Management in Warsaw, Poland, and Associate Member of the Internaonal Laboratory for Music, Brain, and Sound Research, BRAMS (Montreal, Canada). He is the director of the Music Performance and Brain Lab (hp://www.mpblab.vizja.pl). The purpose of the laboratory is to examine the psychological processes underlying music performance, invesgated in individuals with and without brain damage. Current projects being run in the laboratory include research on sensorimotor synchronizaon, sung performance, and moon kinemacs in music performance in healthy parcipants and paents with motor disturbances (e.g., Parkinson's disease). From October 2011 he will join the Movement to Health Laboratory (M2H) EuroMov at the University of Montpellier-1 (France).

seminar 3: communicative interaction/ literacy & expertise Paul de Mornay Davies [email protected]

Seminar organiser

[Biography]

Paul is a Senior Lecturer in Psychology at Middlesex University. He completed his PhD in psycholinguiscs and neuropsychology at Royal Holloway, University of London, followed by post-doctoral training at Birkbeck and Cambridge on the neuropsychology of language, with a parcular emphasis on aphasia and neurodegenerave disorders. His research focuses on two principal areas: the semanc representaon of object and non-object concepts, and the relaonship between morphology, semancs and phonology in speech percepon and producon. His most recent work, in collaboraon with colleagues from UC Davis, uses ERP in combinaon with priming techniques to invesgate these aspects of language in both aphasic and unimpaired adults. seminar 3: communicative interaction/ literacy & expertise Simone Falk Simone.Falk@germanisk.uni-muenchen.de

Session chair: Communicave interacon

[Biography]

Simone is a lecturer at the department of German linguiscs, LMU Munich. Aer her studies in German and French linguiscs, and literature and journalism, she completed her PhD in Linguiscs at LMU Munich in 2008 with a dissertaon on: Music and Language: prosodic features in French, German and Russian infant-directed singing. Her research interests include Music and Language Structures; Phonecally based Phonology; First Language Acquision; and Syntacc Typology. seminar 3: communicative interaction/ literacy & expertise Fabia Franco [email protected]

Seminar organiser, discussion group leader: 1B - Development and evoluon

Poster: Negave rather than posive affect in music predicts beer cognive performance in hospitalized children (with Bozdogan, Chew & Swaine)

[Biography]

Fabia completed her studies in Psychology at the universies of Padua (BSc/MSc) and Bologna (PhD). While connuing her inial research on infant sound-meaning correspondences based on melodic paerns, she joined the Infant Study Unit at Srling University as Post-Doctoral Research Fellow and started her research on infant poinng and joint aenon with the support of two ESRC grants. Aer holding a tenured lectureship at Padua, she joined Middlesex University in 1998 where she founded the BabyLab. Recently she has developed research interests in the relaonship between language and music; she is currently leading projects on very young children’s recognion of affect in the human voice (Nuffield) and in child- directed instrumental and vocal music (Brish Academy), and on tone and melody percepon in non-musicians and musicians from different language backgrounds (SEMPRE). She is collaborang with Simone Falk (Munich) thanks to a DFG grant on the development of a new project on infants’ speech discriminaon in spoken and sung contexts, and with Maria Nunez (Glasgow) on a SENSE grant invesgang the development of joint aenon and communicave interacon in dealind toddlers.

[Abstract]

Research associated with the so-called ‘Mozart effect’ has established that listening to music can enhance adults’ and children’s performance on a variety of cognive tests (Schellenberg, 2005). The ‘arousal-and-mood hypothesis’ (Thompson et al., 2001) is the prevailing explanaon for such findings, and a number of studies support its proposal that enhanced cognive performance is the result of arousal and posive affect induced by music smuli (see Schellenberg, 2005; Schellenberg et al., 2007).

…Connued seminar 3: communicative interaction/ literacy & expertise

A premise of the arousal-and-mood hypothesis, and of studies of music and affect more generally (e.g., Juslin & Väsjäll, 2008), is that ‘happy’ music induces posive affect and ‘sad’ music induces negave affect. Enhanced cognive performance should therefore be found only in ‘happy’ and not in ‘sad’ music condions. Accordingly, the original test of the arousal-and-mood hypothesis (Thompson et al., 2001) used both ‘happy’ music (faster tempo, major key piece by Mozart) and ‘sad’ music (slower tempo, minor key piece by Albinoni) and found an effect only in the ‘happy’ music condion.

Two experiments were carried out comparing hospitalised children aending the hospital school (HC) and age-matched children aending mainstream school (MC), aged 4-8 years. Following the mood-inducon paradigm (e.g., Bouhuys, Bloem & Groothuis, 1995), study 1 aimed to test if children exposed to ad-hoc composed ‘happy’ vs ‘sad’ music were judging a neutral female face as more happy/sad consistently with the musical affect. As predicted for children >5 years of age according to the literature, MC (N=34) showed a mood inducon effect but HC (N=18) performed at chance level. This finding may be explained by a more negave mood in HC thus being consistent with the view that depression is associated with decreased sensivity towards emoonal expression in others (Gollan, McCloskey, Hoxha & Coccaro, 2010; Roenberg, 2005).

In study 2, separate samples of children from the same populaons (HC, N=40; MC, N=34) were asked to complete a memory game pre/post exposure to the same ‘happy’ vs ‘sad’ musical tracks used in study 1. The results showed that ‘sad’ rather than ‘happy’ music predicted beer cognive performance in hospitalized children. This finding contradicts the premise of the arousal-and-mood hypothesis, and calls for a revision of the role that negave affect is assumed to have in studies of music. seminar 3: communicative interaction/ literacy & expertise Tom Fritz [email protected]

Discussion group leader: 2D - (Cross) cultures (with Jerome Lewis)

[Biography]

With a background in biology and neuropsychology, since February 2003 Tom is scienfic collaborator at the junior research group 'Neurocognion of Music' at the Max Planck Instute for Human Cognive and Brain Sciences in Leipzig. Realisaon of behavioral and fMRI-studies for the Research Group 499 of the German Research Foundaon: "Acousc communicaon of emoons in nonhuman mammals and man: producon, percepon and neural processing”. seminar 3: communicative interaction/ literacy & expertise Sander Gill [email protected]

Poster: A pragmacs of bodies in rhythm (with Himberg and Thompson)

[Biography]

Sander received her PhD in Experimental Psychology from the University of Cambridge, aer which she worked at NTT's Communicaon Science Laboratories and ATR (Kyoto) in Japan, and held a joint posion with CKIR, Finland and CSLI, Stanford University. She is a member of the Centre for Music and Science, University of Cambridge. Her research is concerned with the Human-System Interface, and explores the relaons between rhythmic synchrony, intersubjecvity, and communicaon as performance.

[Abstract]

We report on an experiment of a musical and a linguisc improvisaon task that invesgates how rhythmic mutual synchrony is operang in improvisaon in music and in language.

Music organises me into hierarchical, metrical levels using rhythms that are oen based on a periodic pulse. In contrast, everyday human linguisc interacon with its paused silences, fillers and backchannels, is not occurring to a connuously regulated tempo, but seems to occur at mulple levels of tempo and periodicity that one constantly adjusts to in the moment-by-moment unfolding. These levels include, for example, the uerances of entrained syllables, body swaying, and pragmac movements of sharing goals in communicave interacon.

We consider conversaon as performance, and improvisaon in music as akin to this performance. Improvisaon, musical or linguisc, involves knowing rules/convenons of interacon and having a repertoire of what is possible and not possible to say and play at any moment, but with no knowledge of how the interacve performance will unfold. Both involve heightened moments of rhythmic connecon, and require synchrony. We invesgated the interpersonal entrainment and the shared properes of rhythm in the performance of music and language. Pairs of parcipants performed musical and linguisc improvisaon tasks and their performances were recorded using video and audio recordings and opcal moon capture. seminar 3: communicative interaction/ literacy & expertise Tim Griffiths m.griffi[email protected]

Why are studies of the link between listening skills and language ability so inconsistent? (with Grube)

[Biography]

Tim is Professor of Cognive Neurology at Newcastle University Medical School, where he also holds the posions of Honorary Consultant Neurologist (Newcastle NHS Trust) and Honorary Principal (Wellcome Trust Centre for Neuroimaging at UCL). He has been a Wellcome Trust Senior Clinical Fellow since 2000. During tenure of Wellcome Training Fellowships he received training in psychophysics in Newcastle, and training in funconal neuoroimaging at the Wellcome Trust Centre for Neuroimaging. He is a fellow of the Academy of Medical Sciences. His group studies brain bases for auditory percepon and the impact of neurological disease on these. The group carries out psychophysical studies of neurological paents to precisely characterise the effects of brain disorder, as well as to infer normal mechanisms. More specifically, he has developed boom-up approaches to auditory cognion requiring new ‘stochasc’ smuli mimicking the natural acousc world. This behavioural approach has led to discoveries in relaon to developmental language disorders, disorders of musical percepon, the effects of stroke, and the neural basis for sensory aberraons such as hallucinaons. Parallel funconal imaging experiments provide insights into the mechanisms for paroning the acousc world into objects with different properes. This laer work has informed an ongoing theorecal debate concerning the nature of auditory objects. Recently he has also studied paents with depth electrodes implanted into auditory cortex in collaboraon with Ma Howard in Iowa, and developed a primate model of auditory cognion using fMRI in Newcastle. A focus of current work is computaonal modelling of imaging and depth-electrode data to idenfy precise corcal systems for auditory cognion that might be targeted by intervenons. The likely translaonal impact of his work is now being realised by his extension of knowledge derived from his analysis of brain pitch mechanisms in normals to the study of nnitus paents.

[Abstract]

This work assesses the role of auditory processing in language development in an unselected cohort of 238 school children (age 11). We used a range of auditory tasks assessing modulaon, pitch and me processing, and six standardized tests of

…Connued seminar 3: communicative interaction/ literacy & expertise

phonological skill. In the large group of children with normal language development (n = 219), a significant correlaon was demonstrated between the first auditory and first phonological principal components derived from principal component analysis (PCA) (Spearman’s rho, 0.26 aer controlling for non-verbal IQ, p <0.001). Significant correlaons between individual auditory tasks and phonological skill were only demonstrated for pitch sequences and rhythmic sequences (rho, 0.31 aer controlling for non-verbal IQ, p <0.001). In contrast, a subsample of individuals with dyslexic traits (n = 19) did not show the correlaons that were demonstrated in the larger sample or in other random subsamples of the same size. The data support a role for auditory processing in normal language development, where sequence analysis is parcularly relevant. This work suggests a more subtle disturbance of auditory- phonological coupling in dyslexia than the simple auditory deficits emphasized in previous models. seminar 3: communicative interaction/ literacy & expertise Usha Goswami [email protected]

Rhythmic entrainment and singing in 5 year old children (with John Verney)

[Biography]

Usha is Professor of Educaon at the University of Cambridge and a Fellow of St John's College, Cambridge. In 2005, she became Director of the Centre for Neuroscience in Educaon. Prior to moving to Cambridge in January 2003, she was Professor of Cognive Developmental Psychology at the Instute of Child Health, University College London. She received her PhD from the University of Oxford in 1987, her topic was reading and spelling by analogy. Her research has covered the relaons between phonology and reading, with special reference to rhyme and analogy in reading acquision, and rhyme processing in dyslexic and deaf children's reading. A major focus of the research is cross-linguisc with projects including cross- language studies of the impact of deficits in auditory temporal processing on reading development and developmental dyslexia, neuroimaging studies of the neural networks underpinning reading in good and poor deaf adult readers, studies of reading development and its precursors in deaf children with cochlear implants, and a set of projects based around lexical stascs, invesgang the impact of 'neighbourhood relaons' (similarity relaons such as rhyme) in phonological and orthographic processing in different languages.

[Abstract]

See entry under Verney seminar 3: communicative interaction/ literacy & expertise Lauren Hadley [email protected]

Poster: A theorecal model for reading standard Western notaon derived from models for reading language

[Biography]

Lauren completed her undergraduate degree in Music this year at the University of Cambridge. During the course, Lauren worked with several members of the CMS to undertake experiments and explore a range of diverse topics (from cross-modal percepon, to dance, to me percepon), and she is looking forward to beginning an MSc in Music, Mind and Brain at Goldsmiths in September. She currently has a specific interest in the cognive processes involved in music-reading.

[Abstract]

Reading is a process that has been studied extensively by language researchers yet is sll a young field within music psychology scholarship. In 1983, Singer reported that more than twelve thousand studies into the reading of language had been conducted in the previous century, as opposed to two hundred and fiy proposed by Hodges into notaon reading. The comparisons that have been made between music and language, parcularly within the areas of semanc and syntacc processing, suggest that consideraon of the language research could provide valuable insight into the reading of notaon.

The poster presented at this conference has been adapted from my final-year dissertaon, and explores theorecal and empirical research to compare the reading of standard Western notaon with the reading of text. The differences between the orthographies are considered, and studies of comprehension and decoding in language reading, as well as related musical areas such as expectaon generaon and sight-reading, are examined in order to inform a proposed notaon reading model. The model proposed is intended as a starng point to prepare the way for further research and empirical study. It is hoped that such research may subsequently inform teaching methods through highlighng the skills involved in proficient music reading. seminar 3: communicative interaction/ literacy & expertise Sarah Hawkins [email protected]

Music and speech in interacon: terms and definions (with Ian Cross)

[Biography]

Sarah has degrees in psychology and phonecs from Southampton and Cambridge. She worked for about 9 years in the USA before returning to Cambridge where she is now Professor/Director of Research in Speech and Music Science at CMS. Sarah has done research on ming and rhythm in children's speech, and on percepon of phonological disncve features. Most of her recent research explores the perceptual salience of phonec detail that systemacally indicates linguisc structure, but not necessarily phonemic category, as part of her theorecal interest in biologically- plausible accounts of how the brain processes speech and other human communicave systems. In this connecon, her current research interests are turning towards interacve communicaon in music as well as speech.

[Abstract]

See entry under Cross seminar 3: communicative interaction/ literacy & expertise Pamela Heaton psa01p@gold.ac.uk

Discussion group leader: 1A – Atypical populaons/remediaon and rehabilitaon

[Biography]

Pamela is a Professor of Psychology at Goldsmiths College, University of London. She is a leading world expert on percepon and cognion in ausm and has published her research findings in many high impact peer reviewed journals. She has a special interest in musical and other talents in ausm and in 2002 she was awarded the Brish Psychological Society prize for outstanding doctoral research contribuons to Psychology for her thesis on music and ausm. She is frequently invited to speak at conferences and research events. Recent talks have been given at the Max Planck Instute in Leipzig, the Royal Society in London and the Music and Neurosciences conference in Montreal. She acvely collaborates with researchers in the UK, Europe and North America and her research has been funded by the EU and the ESRC. seminar 3: communicative interaction/ literacy & expertise Tommi Himberg [email protected]

Discussion group leader: 2A – Methodologies in interdisciplinary research, and poster presenter (with Gill & Thompson)

[Biography]

Tommi studied musicology, psychology and English philology in the University of Jyväskylä, compleng his Master of Philosophy in 2002. His master's thesis reported a cross-cultural experiment on percepon of melodic complexity in Finnish and South- African music and listeners. Aer that, Tommi studied for a PhD in Cambridge at the Centre for Music and Science with Dr. Ian Cross, working on interpersonal interacon and entrainment in music. His almost completed PhD thesis "Interacon in Musical Time" reports the development of research and analysis methods for studying musical interacon, as well as innovave experiments, both in simplified finger-tapping contexts and also in more ecologically valid sengs, including "real" performances of music and dance. Currently Tommi works as a university lecturer at the Department of Music, University of Jyväskylä, teaching musicology and music educaon students as well as students in the department's internaonal master's programme Music, Mind and Technology. Tommi's research interests span from music and movement to rhythm, interacon and communicaon, and to embodied, social cognion and social neuroscience. The Finnish Centre of Excellence in Interdisciplinary Music Research, hosted jointly by the Universies of Jyväskylä and Helsinki provides an excellent, collaborave environment for pursuing these interests.

[Abstract]

See entry under Gill seminar 3: communicative interaction/ literacy & expertise Viivian Jõemets [email protected]

Spontaneous vocalizaon of young children: the cultural context and quesons in research methodology

[Biography]

Viivian is a Marie Curie fellow at the University of Tartu, Department of Semiocs. She holds a degree in modern languages from Tallinn University and a post-graduate degree (DEA) in musicology from Université Paris-Sorbonne. She has studied the impact of music on literary works and the interacon of music and poetry in vocal music. She completed her doctoral studies at the Université Paris-Sorbonne in 2010, in her dissertaon she studied the expressivity of the human non-verbal voice. Her current research focuses on spontaneous vocalizaons of young children and on the cultural factors that influence it. Her other research interests include the quesons of the new orality, the impact of full literacy on human (vocal) interacon, the biological foundaons of music, and the evoluon of music and language. She connues to explore the human voice through art projects and she sings classical music and jazz.

[Abstract]

A happy child is a highly vocal being who uses his or her voice for pleasure, as a pasme, to fill the empness of silence, and to establish social connecon. Such voice usage is at the same me musical and linguisc. In the process of acculturaon, children are taught to master language and to acquire specific musical skills the essence of which is a direct outcome of the definion of musicality in a given culture. We shall analyse the cultural factors that condion vocal acculturaon and the kind of musicality these factors encourage. Spontaneous voice usage reveals various aspects of the musicality of young children that do not fully coincide with the definion of musicality that underlies the methodology of musical training as applied in child care facilies. Some methodological aspects of studying children’s spontaneous voice usage will be discussed. seminar 3: communicative interaction/ literacy & expertise Corinne Jola [email protected]

Poster: With or without music? Brain synchronisaon across dance spectators (with Grosbras and Pollick)

[Biography]

Corinne received an MA in Choreography (Laban Trinity College, London) and a PhD in Cognive Neuroscience (Zurich). She has collaborated with Prof. P. Haggard at the Instute of Cognive Neuroscience (London) supported by a personal fellowship from the Swiss Naonal Science Foundaon. At the University of Glasgow she was trained in the Percepon, Acon and Cognion Lab chaired by Prof. F. Pollick, where she used fMRI and TMS to study how aesthec movements are perceived by a diverse group of audience members. Her research interests are representaon, generaon, and percepon of the human body and complex human movement paerns, in parcular in relaon to the performing arts. Currently a Research Fellow at the Department of Psychology at University of Surrey, she combines neuroscienfic techniques with subjecve experiences.

[Abstract]

Most dance performances are a fluid mixture of body movement and music. We thus explored spectators’ responses to the uni- and mulsensory elements of a whole dance performance: Brain acvity of 11 naïve observers was measured by means of funconal Magnec Resonance Imaging technique (fMRI) while they were watching a 6.5 min performance once with music and dance (audiovisual, AV), once without music (visual, V) and once while they listened to the music only (audio, A). We compared subjects’ brain responses to the three condions (AV, V, and A) by analysing how much they were synchronised using intersubject-correlaon (ISC). This method has proven to provide highly reliable funconal brain acvity from free viewing of long sequences (Hasson et al., 2010). We found increased synchronisaon across spectators in areas previously reported for uni- (audio and visual areas) and mulsensory processing of audiovisual smuli (superior temporal gyrus, STG). The STG acvity is of parcular interest; first, the BOLD responses were synchronised across subjects to a greater

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extent in the mulsensory than the unisensory condion, and secondly, the area was partly overlapping with an addionally computed conjuncon analysis (AV>A and AV>V). Our results show that, at least for the Indian dance performance used in our study, music enhances mulsensory entrainment, or synchronicity amongst spectators. Also, our study further supports the noon that scanning subjects during long segments can reveal funconally relevant areas in audiovisual processing. However, we did not find evidence for synchronised brain acvity across spectators in sensorimotor or emoonal areas which could be due to the novelty of our smuli and the “raw” unedited nature of the recordings shown to parcipants. Future studies should invesgate these aspects. seminar 3: communicative interaction/ literacy & expertise Sarah Knight [email protected]

Poster: Hammering the message home: an inial report on percepble periodicity in persuasive oratory

[Biography]

Sarah is currently doing her PhD under the supervision of Dr Ian Cross. Her interests centre on the power of entrainment, through music-, gesture-, and speech-based acvies, to influence social interacon and interpersonal relaonships. Her PhD focuses in parcular on the role of entrainment in oratory, and specifically its ability to increase the perceived persuasiveness of speakers. In her spare me, Sarah enjoys real ale and good books, and plays ddlywinks for the University.

[Abstract]

Entrainment in humans – the synchronisaon of a biological, internal, regular oscillator with an external, periodically-recurring event – has been shown to direct aenon, matching aenonal peaks to these external events. Further to this, entrainment processes involving mulple individuals have been shown to promote prosocial atudes, such as liking, rapport and trust, between the individuals involved. Entrainment is parcularly robust and flexible in the auditory modality, and both music- and speech-related smuli have been shown to elicit it. That said, searches for isochrony in natural speech have largely proved fule, despite some researchers’ determinaon to demonstrate its existence. However, “speech” is not a uniform phenomenon with a single underlying movaon; rather, human speech consists of numerous “registers”, each with different social and communicave purposes – and presumably, therefore, different auditory characteriscs.

One speech type of parcular interest is persuasive oratory, since anecdote, intuion and formal descripve accounts all suggest that this kind of speech is characterised by a higher occurrence of moments of perceptual periodicity than everyday speech. Indeed, such a characterisc would be in line with oratory's persuasive goal: bouts of periodicity would promote entrainment in listeners, which would in turn serve to both

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direct aenon – thus facilitang the inial processing of the message – and also foster posive atudes towards the speaker – thus increasing the likelihood that the message will have the desired effect. However, asserons of increased regularity in persuasive speech have not yet been tested empirically. This study therefore presented listeners with short excerpts of speech from four speech types – conversaonal monologues, didacc speech, persuasive oratory and poetry – and asked listeners to both rate the excerpts for rhythmicity and also tap to accents (stressed syllables) in the speech using a MIDI tapping pad. Results from the rang task indicate significantly higher levels of perceived rhythmicity in oratory than in conversaonal or didacc speech, with only poetry being scored more highly. Furthermore, data from the tapping task indicate significantly higher levels of periodicity in oratory than in conversaonal speech, with oratory again falling closer to poetry than either of the other speech types. These results therefore provide inial empirical support for informal reports of oratory's relavely periodic nature. It remains unclear, however, whether or not such periodicies in fact have the persuasive and/or aenonal funcons hypothesised above; forthcoming work will therefore test the effect of periodicity in speech on both ease of message processing and also speaker persuasiveness . seminar 3: communicative interaction/ literacy & expertise Guenther Knoblich [email protected]

Concluding talk: A joint acon perspecve on music performance, and Discussion group co- leader: 2C – (Pro) social behaviour and interacon

[Biography]

Guenther has held several academic posions in Germany, the US, and the UK, and is now a Professor at the newly founded Cognive Science Department at Central European University in Budapest. His research addresses a wide variety of psychological topics ranging from percepon-acon links to problem solving. For several years now the main focus of his research has been on studying the cognive and neural bases of joint acon together with the other members of the Social Mind and Body Group (SOMBY).

[Abstract]

Recently cognive sciensts have become increasingly interested in studying the cognive mechanisms that enable individuals to coordinate their acons in the pursuit of joint acon outcomes. I will start with a short overview of basic mechanisms that allow individuals to prepare for joint acon and to achieve and maintain coordinaon. Then I will aempt to spell out the opportunies and limits of a joint acon approach to understanding music experse and to understanding the communicave interacons that occur when people perform music together. I will discuss how basic research on joint acon can enrich the toolbox of music research and may help us to beer understand the similaries and differences between music and language processing. seminar 3: communicative interaction/ literacy & expertise Sarah Kuppen [email protected]

Poster: A longitudinal study of basic auditory processing and phonological skills in children with low IQ (with Usha Goswami)

[Biography]

Sarah is a lecturer in developmental psychology at Anglia Ruskin University. She holds a PhD from Cambridge University supervised by Prof. Usha Goswami on auditory processing and reading disability and a master’s degree from Oxford University where she studied late talking infants with Prof. Dorothy Bishop. Her current research interests connue those from her doctoral thesis and include a longitudinal invesgaon of behavioural outcomes from low IQ good, as compared to poor, readers. She has also recently undertaken research concerning the relaonship between reading ability and the discriminaon of pitch and rhythm.

[Abstract]

Poor readers with low IQ are consistently excluded from reading disability research. This is despite converging research which demonstrates a similar reading related profile between low IQ poor readers and children with discrepancy defined dyslexia (Stanovich, 1988). We present research invesgang the relaonship between auditory discriminaon and phonological awareness in a group of 95 children, composed of low IQ poor readers (LIQPR), low IQ good readers (LIQGR), chronological age controls (CA) and reading age controls (RL), over the course of two years.

Overall, LIQGRs performed at the level of CA controls for phonology but not all language measures. LIQGRs also demonstrated consistently lower thresholds (beer performance) than PR-LIQs on the majority of auditory tasks. Fixed-step regressions controlling for group membership found the majority of Phase 1 auditory measures predicted significant variance in reading age for all children.

In conclusion, similar to dyslexics, PR-LIQs have poor auditory processing related to poor phonological awareness. Addionally, auditory ability predicts decoding development over me. The age-appropriate auditory processing for the GR-LIQs suggests that low IQ or poor language are not proximal causes of this relaonship. seminar 3: communicative interaction/ literacy & expertise Mats Kussner [email protected]

Poster: Shaping music in performance: musicians’ and non-musicians’ visualizaons of sound

[Biography]

Mats studied undergraduate psychology at the universies of Würzburg and Amsterdam before graduang from Goldsmiths, University of London in 2009 with a Master's in Music, Mind and Brain. He went on to read music at postgraduate level and gained some teaching experience at Goldsmiths before taking up a fully funded PhD posion at King's College London in June 2010. Mats is currently working on a project called 'Shaping Music in Performance' which is part of the AHRC Research Centre for Musical Performance as Creave Pracce (CMPCP). Its aims are to shed light on the noon of 'shape' or 'shaping' as used by performers, listeners, crics, composers and music scholars in a variety of ways. Mats' parcular role within this project is to clarify and invesgate performers' and listeners' visualizaons of sound and music. His general interests are music cognion and music-induced emoons.

[Abstract]

The noon of ‘shape’ or ‘shaping’ is widely used among musicians when talking and thinking about musical performances, and yet despite its apparent ubiquity remains under-researched. This may be due to the numerous - and oen diverging - metaphorical associaons made with it, which render coherent studies and theorising an ambious endeavour. However, it is argued that musical shape is located beyond a purely linguisc level of metaphor too, and can be conceived of as a synaesthec phenomenon. That is to say that our percepons of sound and music map onto other senses such as the visual domain. To research this, I have developed a psychological experiment where musicians and non-musicians are asked to represent sounds visually using an electronic graphics tablet. Smuli consisted of sine tones varying in pitch, loudness and tempo, and the tablet recorded the locaons, mestamps and pressure values of parcipants’ corresponding responses. Preliminary results showed that the majority of parcipants used the height to represent pitch and thickness of the line to depict loudness. However, correlaon analyses revealed that musicians outperform non-musicians considerably in terms of accuracy for both pitch and loudness representaon. Results are discussed with regards to literature on music cognion and movement. seminar 3: communicative interaction/ literacy & expertise Jerome Lewis [email protected]

Discussion group leader: 2D – (Cross) cultures (with Tom Fritz)

[Biography]

Jerome lectures in Social Anthropology at University College London. He began working with Pygmy hunter-gatherers and former hunter-gatherers in Rwanda in 1993. This led to work on the impact of the genocide on Rwanda’s Twa Pygmies. Since 1994 he has worked with Mbendjele Pygmies in Congo-Brazzaville researching child socialisaon, play and religion; egalitarian polics and gender relaons; and language and communicaon. Studying the impact of global forces on many Pygmy groups across the Congo Basin has led to research into human rights abuses, discriminaon, economic and legal marginalisaon, and to applied research supporng conservaon efforts by forest people and supporng them to beer represent themselves to outsiders. seminar 3: communicative interaction/ literacy & expertise Fang Liu [email protected]

Poster: Differenal recognion of pitch paerns in discrete and gliding smuli in congenital amusia: evidence from Mandarin speakers (with Yi, Patel, Francart and Cunmei)

[Biography]

Fang is currently a Postdoctoral Scholar in the Suppes Brain Lab at the Center for the Study of Language and Informaon at Stanford University. Fang received her BA in Chinese Linguiscs and MA in Experimental Phonecs from the Department of Chinese Language and Literature at Peking University, China. She then studied for a Masters degree in Stascs and a PhD in Linguiscs at the University of Chicago, USA. Between 2008-09, she worked as a part-me research assistant in cognive psychology at Goldsmiths, University of London. In 2009-10, she was awarded a one-year Postdoctoral Fellowship by the ESRC (Goldsmiths, University of London; University College London). Her research focuses on speech prosody in Mandarin and English, pitch processing in congenital amusia, speech/song imitaon in individuals with or without musical disorders, and language processing in the brain.

[Abstract]

Congenital amusia is a neuro-genec disorder of musical processing that may result from deficits in fine-grained melodic contour percepon. In order to examine whether this “melodic contour deafness” is associated with specific pitch paerns or smulus types, this study invesgated whether Chinese amusics have different thresholds for idenficaon of discrete and gliding pitch paerns in the speech syllable ma and in its non-speech complex tone analog. Nineteen Mandarin-speaking amusics and nineteen matched controls parcipated in four two-interval forced-choice (2IFC) tasks using adapve tracking procedures in APEX 3 for idenficaon of pitch paerns in pairs of ma’s and complex tones with discrete (high-low or low-high) and gliding (rising-falling or falling-rising) pitches. While the two groups showed comparable thresholds for idenficaon of pitch paerns in gliding ma, amusics had significantly higher thresholds than controls for idenficaon of pitch paerns in discrete ma, discrete complex tone, and gliding complex tone. In addion, amusics showed significantly

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higher thresholds for idenficaon of pitch paerns in discrete smuli than in gliding smuli, whereas controls’ thresholds for discrete and gliding smuli were highly comparable. Finally, while controls achieved significantly lower thresholds for idenficaon of pitch paerns in complex tone than in ma for both discrete and gliding condions, amusics’ thresholds were not significantly affected by smulus type. These results indicate that amusics have more difficulty recognizing pitch paerns in discrete smuli (high/low) than in gliding smuli (rising/falling), and that smulus type (speech vs. non-speech) is not a significant factor affecng amusics’ pitch paern recognion abilies. These findings help explain why amusics generally have problems with musical pitch percepon, but rarely report problems with speech percepon where connuously changing pitch movements are employed. seminar 3: communicative interaction/ literacy & expertise Janeen Loehr [email protected]

Poster: Represenng individual and joint acon outcomes in duet music performance: An ERP invesgaon (with Vesper, Kours, Sebanz and Knoblich)

[Biography]

Janeen is a Marie Curie postdoctoral fellow in the Social Mind and Body group at the Donders Instute for Brain, Cognion and Behaviour at Radboud University Nijmegen. She is currently invesgang the mechanisms by which people achieve the precise interpersonal temporal coordinaon required in tasks such as ensemble music performance. Prior to her postdoctoral work, she completed her Ph.D. at McGill University in Montreal, Canada. There she examined how people adapt to others’ acons during interpersonal coordinaon, and how cognive and biomechanical constraints influence the producon of the complex movement sequences required for music performance.

[Abstract]

When two people perform a joint acon, they may each represent the desired outcome of their combined acons (joint outcome) as well as the specific acons the other must produce in order to achieve this outcome (partner’s acons). We examined whether pianists represent the specific pitches their partner has to produce (partner’s acons), and/or the musical harmony that results from the two performers’ combined acons (joint outcome), when they perform duets together. Pairs of pianists memorized both parts of a simple piano duet. Each then performed one part of the duet while their partner performed the other, while EEG was recorded from both. On some trials, the auditory feedback associated with a pitch produced by one of the pianists was altered so that it either a) changed the pitch without changing the harmony of the chord to which it belonged (partner’s acon) or b) changed both the pitch and the harmony of the chord (joint outcome). ERP components that reflect violaons of expectancy (feedback-related negavity) and error awareness (Pe) indicated that pianists monitored both their own and their partner’s acons, and that pianists were more aware of their own errors when those errors affected the joint outcome. Thus, both individual and joint acon outcomes are represented and monitored during the performance of joint acons. seminar 3: communicative interaction/ literacy & expertise Pieter-Jan Maes [email protected]

Discussion group leader: 1C – Gesture, movement and dance

[Biography]

Pieter-Jan is currently working on a PhD project supervised by Prof. Dr. Marc Leman, director of the Instute for Psychoacouscs and Electronic Music (IPEM) at Ghent University, department of Musicology. His research interests are grounded in the embodied music cognion paradigm and cover the relaonship between music, corporeal imitaon processes and meaning formaon. Based on results of experimental research, he develops music HCI-applicaons for the music educaon, performance and gaming sector. seminar 3: communicative interaction/ literacy & expertise Giacomo Novembre [email protected]

Self and other in joint acon. Evidence from a musical paradigm (with Ticini, Schuetz-Bosbach and Keller)

[Biography]

Giacomo studied philosophy (BA) in Milan (Italy), and cognive neuroscience (MS) in Nijmegen (the Netherlands). He is now a PhD student at the Internaonal Max Planck Research School (IMPRS) of the Max Planck Instute for Human Cognive and Brain Sciences (Leipzig, Germany). He is working in the research group “Music Cognion and Acon” under the supervision of Peter Keller. His research explores the relaonship between percepon and acon in musical interacons such as imitaon and ensemble performance. More specifically, he is looking at shared representaons of musical acons 1) across different modalies within one musician's brain and 2) across two individuals during joint musical performance.

[Abstract]

The capacity to disnguish between our own and others’ behaviour is a cognive prerequisite for successful joint acon. We employed a musical joint acon task to invesgate how the brain achieves this disncon. Amateur pianists performed the right-hand part of piano pieces, previously learned bimanually, while the complementary le-hand part was either not executed or (believed to be) performed by a co-performer. This experimental seng was intended to induce a co- representaon of the le-hand part reflecng either the self or the co-performer. Single-pulse TMS was applied to the right primary motor cortex and MEPs were recorded from the resng le forearm. Results show that corcomotor excitability was modulated by whether the representaon of the le hand was associated with the self or the other, with the MEP amplitude being low and high respecvely. This result remained unchanged in a separate session where the parcipant could neither see nor hear the other, but sll infer his presence by means of contextual informaon. Thus, the sociality of the context in which one acts modulates acon aribuon at the level of the motor control system. Likewise, the amplitude of MEPs associated with the co- performer increased with pianists’ empathic scores. seminar 3: communicative interaction/ literacy & expertise Adam Ockelford [email protected]

Songs with words: Music as a proxy language in children with severe learning difficules

[Biography]

Adam is Professor of Music and Director of the Applied Music Research Centre at Froebel College, the University of Roehampton. Adam’s research interests are in music psychology, educaon, theory and aesthecs – parcularly special educaonal needs and the development of exceponal abilies, the cognion of musical structure and the construcon of musical meaning. Adam regularly lectures and appears in the media all over the world. Among his many books are 'Repeon in Music: Theorecal and Metatheorecal Perspecves', (Ashgate, 2005), 'In the Key of Genius: The Extraordinary Life of Derek Paravicini', (Hutchinson, 2007), 'Music for Children and Young People with Complex Needs' (OUP, 2008), 'Applied Musicology: Using Zygonic Theory to Inform Music Psychology, Educaon and Therapy Research' (OUP, 2011), and 'Music, Language, and Ausm', (Jessica Kingsley, 2012).

[Abstract]

This paper explores how music can fulfill some of the funcons of language in social interacon in children with severe learning difficules, who are in the early stages of verbal development. Musical examples from sessions with language-impaired pupils are analysed using 'zygonic' theory. This models music as an abstract narrave in perceived sound whose elements are logically bound together in the mind through the creaon or recognion of imitaon. It is shown how imitaon enables one parcipant to influence another in improvised musical dialogues, enabling music to operate in some respects as a proxy language. seminar 3: communicative interaction/ literacy & expertise Sheila Oglethorpe [email protected]

An exploraon, analysis and comparison of the inial stages of the reading of words with the reading of music

[Biography]

Sheila graduated from the Royal Academy of Music. On arrival in Salisbury, Wiltshire, she joined the music staff at Salisbury Cathedral School as a peripatec piano teacher and for 5 years was also director of music at a boys’ preparatory school in Hampshire. On leaving there she joined the music staff at Godolphin School, a secondary girls’ school. She took the RSA diploma in Specific Learning Difficules in 1991 and published Instrumental Music for Dyslexics in 1996. She has developed a series of musical assessment tests for children enrolling at Salisbury Cathedral School in order to advise and help the instrumental music staff beer to understand any possible weaknesses that may arise among their pupils. While sll a music/dyslexia adviser to Salisbury Cathedral School, Sheila is the Chair of the Brish Dyslexia Associaon music commiee.

[Abstract]

There will be an examinaon of nomenclature which will include confusions arising from conceptual differences, direconal orientaon and progress, paern, punctuaon, pace, memory and auditory orientaon. seminar 3: communicative interaction/ literacy & expertise Marn Orwin [email protected]

Discussion group leader: 1D – Orality, literacy and experse (with Tim Wharton), and presenter: Music and Relevance theory

[Biography]

Marn is a Senior Lecturer in Somali and Amharic at the School of Oriental and African Studies where he teaches both languages and their literature. His research interests centre around literary linguiscs, specifically in relaon to Somali poetry. Musical performance of what is sll essenally an oral/aural tradion has led him to start looking at the interacon between music and language. He is also interested in the theorecal understanding of metrical structure in poetry, the relaon between language and music and the noon of meaning in music and he has started to think about this in the context of a recent model of syntax/semancs known as Dynamic Syntax.

[Abstract]

Relevance Theory is an account of the pragmacs of natural language in which communicaon is assumed to be inferenal. That is to say it aempts to explain how a hearer infers a speaker's meaning given what the speaker provides in any given context. At its core is the Cognive Principle of Relevance which states that human cognion tends to be geared to the maximisaon of relevance. In this presentaon I shall consider to what extent we can consider music to be ostensive-inferenal communicaon in Relevance Theorec terms. This es in with my work on looking at music from a Dynamic Syntax perspecve since this model of language assumes Relevance Theory as an account of natural language pragmacs. I shall ask whether we can talk of inference when considering music, and if so what we might mean by that. I suggest this is possible if we consider what it is for music to 'mean' in a formal and abstract manner that assuming an analogue to Dynamic Syntax allows. This allows us to talk of a semancs and pragmacs of music and thus forces us to consider how the pragmacs of music works and if Relevance Theory provides an account which can be considered for music. seminar 3: communicative interaction/ literacy & expertise Kae Overy [email protected]

Group music making in support of language Skills, and Group Leader: 2C – (Pro) social behaviour and interacon

[Biography]

Kae is a Senior Lecturer in Music, Co-Director of the Instute for Music in Human and Social Development (IMHSD) and Director of the MSc in Music in the Community at the University of Edinburgh. She studied Music at the University of Edinburgh, Psychology of Music at the University of Sheffield, and Music Pedagogy at the Zoltan Kodaly Pedagogical Instute of Music, Hungary. Her post-doctoral work was conducted at Harvard Medical School, involving fMRI studies of musical processing. Kae has a long-standing interest in the role of music in human experience, with an emphasis on music and language, interdisciplinary collaboraon and the integraon of research and pracce. She currently supervises five interdisciplinary PhD students and four MSc students.

[Abstract]

Musical listening experiences, performance experiences and learning experiences can range from emoonal, intellectual and joyful to boring, painful and even terrifying. Idenfying the appropriate use of music in language support acvies is crucial, and must be flexible with regard to the individuals or group involved, the resources available and the specific aims of the music acvies. In this presentaon I will not aempt to provide answers - I will simply introduce some personal ideas around this topic, with reference to the MAP, a musical acvies programme designed for dyslexic children, and to SAME, a theorecal model of emoonal responses to music. seminar 3: communicative interaction/ literacy & expertise Chrisne Parsons chris[email protected]

Poster: Ready for acon? A role for the brainstem in responding to infant vocalisaons

[Biography]

Chrisne is a post doctoral researcher at the Department of Psychiatry, University of Oxford. Her current research is focused on understanding how we respond to arguably the most biologically salient informaon in the environment, the sounds and faces of infants. As well as understanding normal brain funcon, a major aim is to understand what happens in affecve disorders such as depression and anxiety. This is accomplished through the study of clinical, nonclinical and neuropsychiatric populaons using complementary methods including magnetoencephalography (MEG), deep brain smulaon (DBS), funconal MRI, diffusion tensor imaging and behavioural tasks.

[Abstract]

It is hard to imagine a class of sounds more alerng than vocalisaons from an infant. An infant’s vocalisaon conveys an urgency that compels the listener to make rapid decisions to engage in defensive or other behaviours. A region of the brainstem, the periaqueductal gray (PAG), has long been implicated in the control of urgent, defensive and mobilizing behaviours in both humans and other animals. Here, we report the first direct evidence for the involvement of the PAG of the midbrain in response to infant vocalisaons. We recorded local field potenals directly from electrodes implanted in this region in a paent who had undergone deep brain smulaon treatment, while he listened to infant vocalisaons of varying affect. We found a significant difference in early acvity recorded from the PAG in response to infant vocalizaon compared to frequency-matched control sounds. We propose that this specific, rapid acvity in response to vocalisaons may reflect the iniaon of a state of heightened alertness necessary to insgate protecve caregiving behaviour. seminar 3: communicative interaction/ literacy & expertise Uli Reich [email protected]

Linguisc tunes: On the funconality of ming and intonaon in spoken language corpora

[Biography]

Uli is a full professor of Linguiscs of Romance Languages at the Freie Universität Berlin. He studied Romance Philology in Munich and got his MA in Spanish Literature. He then switched to Linguiscs and wrote a doctoral thesis on the syntax and phonology of pronouns and zero objects in Brazilian Portuguese. He then went to Cologne as an assistant professor and in 2007 accomplished his Habilitaon with a monograph on the Metrical and Intonaonal Phonology of French spoken by Senegalese with Wolof as L1. Uli’s interest in music and the relaons between music and language arose out of his work on spoken language, a field in which the temporal and tonal organizaon of meaningful uerances is sll very poorly understood. He believes that he can learn a lot on these topics from musicologists. In December 2009 he organized an internaonal conference on relaons between music and language in Berlin, and he tries to connue to strengthen research in this very promising field.

[Abstract]

My talk will give a brief introducon to the differences between spoken and wrien language. Beside the medial difference of graphic vs. phonic realizaon, dichotomic conceptual condions like spontaneous vs. planned, private vs. public, dialogue vs. monologue, involvement of or distance to situaonal contexts shape the form of concrete uerances decisively. I will argue that much of contemporary linguisc theory is based on the observaon of wrien language, thus leading to a peripheral account of two extremely important dimensions of spoken uerances which we find limited in wrien language: ming and intonaon. Observing spoken language corpora in different languages, I will try to sketch types of formal and communicave funcons served by the tonal scaling and the ming of linguisc events. Some of these form-funcon-pairs are similar in musical forms, the main difference being the construcon and management of proposional content in language, but not in music. Finally, I will argue that linguiscs needs a theory of linguisc performance which describes and explains the implementaon of abstract structure into the shape of concrete uerances in me. seminar 3: communicative interaction/ literacy & expertise Joel Swaine [email protected]

Poster: Negave rather than posive affect in music predicts beer cognive performance in hospitalised children (with Franco, Bozdogan & Chew)

[Biography]

Joel has a background in commercial music composion and producon. He completed his Master of Music at the University of Texas in 1997, and was a PhD student with Ian Cross at the Centre for Music and Science at Cambridge from 2000-2003. He has worked in varying roles at Brunel University, Essex University, Middlesex University and the University of Cambridge. Joel has been developing a theory of musical communicaon which aims to provide a model for future empirical research into the relaonship between music and emoon. He is currently developing projects in collaboraon with Fabia Franco.

[Abstract]

See entry under Franco seminar 3: communicative interaction/ literacy & expertise Dan Tidhar [email protected]

Poster: Well-tempered language

[Biography]

Dan is a post-doctoral researcher at the Centre for Digital Music, Queen Mary University of London, where he currently invesgates keyboard temperament in a music informaon retrieval context. His PhD thesis (Berlin, 2004) explored grammar- based models for music, and in parcular their computaonal properes and cognive adequacy. In parallel to his research acvity, Dan is a busy performer of early music on the harpsichord. He holds qualificaons in Music (harpsichord performance), Computer Science, Philosophy, and Linguiscs.

[Abstract]

Recently published work demonstrated the technological availability of temperament esmaon from harpsichord solo recordings (Tidhar et al., 2010; Dixon et al, 2011). At the same me, recent years have also seen a renewed interest in keyboard temperament both in scholarly work (e.g. Lehman, 2005) and in more popular literature (Duffin, 2007). Temperament esmaon technology has been ulised in order to explore the relaon between temperament labelling on CD sleeves and the actual measurements. The analysed corpus revealed that this relaon is surprisingly complex and gives rise to various quesons about tuning theory and pracce (Tidhar et al., 2011; Dixon et al., 2011). In this poster, we explore the possible implicaons of these studies on the language used to describe different temperaments. We speculate about the semancs of temperament descripons, and about communicave processes between the different agents involved, namely, scholars, tuners, and performers. seminar 3: communicative interaction/ literacy & expertise Marne van Puyvelde [email protected]

Poster: Tonal synchrony meets interacon synchrony: shared sounds of affect repair between mother and infant

[Biography]

Marne is a PhD student in Psychological Science. For her PhD she is part of the research group for Interpersonal Discursive & Narrave Studies. Together with Pol Vanfleteren, she introduced a new methodology to analyse the pitches within speech paerns and infant vocalisaons which led to the concept of “Tonal Synchrony” as a new dimension of early interacon synchrony. As tonal synchronised periods within the vocalisaons of mothers and infants contain universal musical aspects based on harmonic and pentatonic series, the occurrence of tonal synchrony is invesgated in foreign cultures (Mexico, Africa). Other research for the moment comprises the physiological aunement between mother and infant on the level of heart and respiraon coordinaon, and the possible effect of tonal consonant music on this physiological dynamic. The meaning of tonal synchrony and its physiological impact will be framed in funcon of the early intersubjecve creaon between a mother and an infant. At this moment, the South African arst Lyn Smuts is working on the musical transcripons of the mother-infant vocalisaons that were done for the research in her new arsc theme of ‘mother sensivity’. A first arsc creaon about tonal synchrony is displayed at the moment in Stellenbosch.

[Abstract]

Infant directed (ID) speech with its typical melodious features has been broadly accepted as an important building block of interacon synchrony as it is recognized to obtain and maintain an infant’s aenon and to communicate affecve informaon to the infant before any linguisc benefits start to prevail. Recently, we reported tonal synchrony as a new dimension of interacon synchrony. During vocal mother-infant interacons the pitches of a mother, very oen (84%), appear to be tonally related

…Connued seminar 3: communicative interaction/ literacy & expertise

with the pitches of her infant in terms of harmonic series or pentatonic series (Van Puyvelde et al., 2010). Sequel research invesgated the relaon between tonal synchrony and affect synchrony (Tronick et al., 2005). Four categories of vocalisaons were compared in relaon with affecve engagement and aenon: (1) moments of tonally synchronised mutual vocal interacons, (2) moments of not-tonally synchronised mutual vocal interacons, (3) moments of one-directed ID speech, and (4) moments of mutual silence. Results showed that during all speech categories the infant’s aenon was maintained, but that it is mainly during tonally synchronized (79%) mutual vocalisaons that mother and infant are affecvely auned (ANOVA, F

(1.806, 25.284) = 24.269, p< .001, ηp²=.634). During a tonal interacon period mother and infant appear to repair their affecve climate and bridge a moment of mismatched affecve engagement (F (3, 42) = 23.30, p< .001, ηp²=.625). During moments of one directed ID speech and not-tonally synchronised mutual vocal interacons mother and infant very oen lost their affecve aunement or did not repair it (F (2.015, 28.216) = 18.50, p< .001, ηp²=.569). No significant salient paerns were observed during moments of mutual silence. seminar 3: communicative interaction/ literacy & expertise John Verney [email protected]

Rhythmic entrainment and singing in 5-Year old children (with Goswami)

[Biography]

John studied at the Northern School of Music in Manchester, Chester College of Educaon and Newcastle University. He was awarded a BPhil higher research degree for his dissertaon on composion work with young violinists in 1990. He was previously an advisory teacher and assistant head of Northumberland County Music Service, and has wrien arcles in music teaching and early years publicaons on linking music to early literacy and in composion. In recent years he has given workshops at conferences and universies in the UK, Minnesota, and Switzerland on the use of music to help children with early literacy skills. During his PhD with Professor Goswami, John aims to invesgate how a teaching strategy pairing music and literacy can enhance performance in rhyme predictability and segmentaon in children aged 4-5 years old.

[Abstract]

The presentaon will focus on the methods and materials developed to research links between rhythmic entrainment in music and early literacy skills – syllable and rhyme awareness - with 5-year-old children. The data is drawn from two samples of 93 and 99 children from 7 Northumberland schools undertaken in 2009 and 2010, respecvely. Beat accuracy was tested at 4 pulse rates (400 ms, 500 ms, 666 ms, 1000 ms) for all tasks.

A parcular focus of the research was to invesgate whether children would best respond to either a simple, or complex smulus. The children were asked to play the bongo drums to both a metronome sound and a piece of music that had an instrumental accompaniment. Whilst singing they joined in with a nursery rhyme both sung to another voice or one that had both singing and accompaniment. Phonological awareness skills (syllable and rhyme) were also measured, as was reading development.

…Connued seminar 3: communicative interaction/ literacy & expertise

Overall, children showed greater temporal accuracy (rhythmic entrainment) in keeping me with a musical piece than in keeping me with a metronome. Entrainment accuracy was greatest at the 500 ms rate, the only rate for which entrainment was as accurate with music and metronome. Temporal accuracy in singing a rhyming word on me was also greatest at 500 ms, although simply singing along to music did not show a preferred rate. Children were also more temporally accurate when singing than in the rhythmic entrainment tasks. Individual differences in rhythmic entrainment were not linked to I.Q., and temporal accuracy at pulse rates of 500 ms (2 Hz) and 666 ms (1.5 Hz) showed some significant links to rhyme awareness and to reading. Unexpectedly, temporal accuracy in singing was linked to I.Q., and was not linked independently to syllable and rhyme awareness. However, temporal accuracy in singing at the 500 ms rate was linked to reading. There was a significant me-lagged correlaon between singing in me at the 500 ms rate and reading performance (BAS) a year later, r= -.243, p= .027). seminar 3: communicative interaction/ literacy & expertise Tim Wharton [email protected]

Discussion group leader: 1D – Orality, literacy and experse (with Marn Orwin), and presenter: Music shows

[Biography]

Tim is a Lecturer in English Language and Communicaon at Kingston University and an Honorary Research Fellow at University College London. His research focuses on ‘natural’ communicave behaviours – such as facial expressions, gesture, tone of voice – and how these might be integrated within a pragmac theory using the noons of ‘showing’ and ‘meaning’. His main theses are outlined in his 2009 book entled ‘Pragmacs and Non-Verbal Communicaon’. Prior to his academic career, he was a singer-songwriter and released records in the 1980s. He has also wrien and recorded a number of songs which are sll used as teaching resources around the world for those learning English as a foreign language.

[Abstract]

‘Take Bach’s Well Temper’d Clavier. To me it means molecular harmony. To my father, it means a broken sewing machine. To Bach, it meant money to pay the candlemaker.’ (David Mitchell—number9dream)

Despite the similaries between music and language (Lerdahl and Jackendoff 1983, Jackendoff 2009), there remain numerous problems associated with any aempt to provide an account of the meaning music conveys in terms of semancs (though see Orwin, this seminar): for one, there is nothing in music that corresponds to the semanc level of ‘linguisc’ or ‘sentence’ meaning we find in language; for another, there are no aspects of music which can be said to correspond to truth-funconal semancs – a piece of music, aer all, cannot be said to be true or false. This paper explores an wholly pragmac account, which it is hoped might complement Cross’s (2009) tri-dimensional view of musical ‘meaning’.

From the pragmast’s point of view, the first step in developing such an account is to extend the tradional Gricean domain of pragmacs (1957). A controversial feature of

…Connued seminar 3: communicative interaction/ literacy & expertise

Grice’s account of intenonal communicaon is the line he draws between showing and non-natural meaning (meaningNN). This disncon has had important effects on the development of pragmacs: many pragmasts have focused on Gricean meaningNN and abstracted away from cases of ‘showing’, which include the intenonal display of ‘natural’ phenomena such as facial expression or tone of voice. While there is room for disagreement on whether cases of showing always amount to cases of meaningNN, there is lile doubt that cases of showing do qualify as cases of intenonal communicaon of the kind a pragmac theory should be able to handle. In my work on non-verbal communicaon I have argued there is, in fact, a connuum of cases between showing and meaningNN and that the connuum provides a theorecal tool which allows us to conceptualise more clearly the observaon that intenonal communicave acts are oen highly complex composites of different, inter-related behaviours, some of which may be enrely natural, and all of which fall at various points along the connuum and (Wharton 2003; Wilson and Wharton 2006; Blakemore and Wharton (forthcoming)).

The second step is to recognise (following Sperber and Wilson (1986/1995) that the Gricean ‘informave’ intenon – tradionally analysed as an intenon to modify the hearer’s thoughts directly (‘to produce a parcular response r’) – is not always analysable as an intenon to communicate simply a single proposion and proposional atude (or even a small set). This move sheds new light on how beer to analyse some of the weaker, vaguer aspects of communicaon, including the communicaon of impressions, emoons, atudes, feelings and sensaons. These, of course, are just those elements communicated by music. The intenonally communicated aspects of music, I argue, work in virtue of the fact that performers, composers and the music itself ‘show’ us possible effects rather than ‘mean’ anything per se.

Blakemore, D. and T. Wharton (forthcoming). On the descripve ineffability of expressive meaning. Paper to be presented at The Prosody-Discourse Interface IDP, Salford, Sept. 2011. Cross, I. and G. E. Woodruff (2009). Music as a communicave medium. In R. Botha & C. Knight (Eds.), The prehistory of language (Vol. 1, pp. 113-144). Oxford: OUP. Grice, H. P. (1957). Meaning. Philosophical Review 66; 377-88.

seminar 3: communicative interaction/ literacy & expertise Maria Witek [email protected]

Poster: “…and I Feel Good!”: The relaonship between body-movement, pleasure and groove.

[Biography]

Maria holds a bachelor degree in musicology from the University of Oslo and completed her MA in music psychology at the University of Sheffield in 2008. Her MA thesis concerns emoonal and physiological responses to groove-based music. Since then, she has worked as a research assistant at the Department of Musicology, University of Oslo, for the projects Rhythm in the Age of Digital Reproducon and Music, Moon and Emoon. She is now pursuing her doctoral degree as a Clarendon Scholar at the University of Oxford, researching the relaonship between body movement, pleasure and groove, using methods such as moon-capture and fMRI. She is also the review editor of Popular Musicology Online.

[Abstract]

This poster presents a study invesgang the effects of groove on the experience of pleasure and the desire to move. 50 midi drum paerns, the majority of which were transcribed from funk drum-breaks, were varied according to an index of rhythmic tension. In an online survey, 66 listeners rated how much pleasure they experienced with the drum paerns and how much the paerns made them want to move. Rangs of pleasure and movement correlated strongly, but there was no significant effect of musical training. Most interesngly, the results show an inverted u-shaped relaonship between rangs and degree of rhythmic tension, indicang an opmal level of rhythmic tension smulang pleasure and movement, beyond which predicon and beat-inducon is prevented. A sub-selecon of these paerns was chosen for a second study, in which 27 parcipants’ brain acvity was recorded using fMRI, and body-movement was measured in a moon-capture study. This study hypothesises that movement intensity, synchronizaon accuracy and acvaons in the reward system (e.g. amygdala, OFC), basal ganglia and secondary motor areas (pMC, SMA and cerebellum) show a similar inverted u-shaped relaonship with degree of rhythmic tension. Depending on the stage reached in the analysis process, funconal neuroimaging- and moon-capture data will be presented in this poster. seminar 3: communicative interaction/ literacy & expertise Kae Young ka[email protected]

Poster: The perfect pitch? The interpretaon of infant vocalisaons in the context of depression and musical training

[Biography]

Kae is a graduate scholar at Jesus College, Oxford who is currently reading for a D.Phil. in Psychiatry on an MRC funded studentship. Her research is focussed on the neural basis of adult responsivity to infant vocalisaons, parcularly in the context of affecve disorders. Her research combines behavioural, neuroimaging and observaonal techniques to invesgate how healthy individuals and individuals with affecve disorders interpret and respond to different features of infant vocalisaons. The aim is to beer understand the origins of disrupted responses to infant cues in the context of psychopathology through characterising behaviour and invesgang the underlying spao-temporal neural processing using magnetoencephalography (MEG).

[Abstract]

Mothers with depression are known to experience difficules in responding to their infants. It is not well-understood why these difficules arise, but there is some evidence to suggest depression might disrupt perceptual abilies. Given that musicians are known to have some enhanced auditory perceptual abilies, we assessed whether depression and previous musical training have any impact on the ability to interpret distress in infant cry vocalisaons (manipulated by changes in pitch). We found that musicians with and without depression demonstrated enhanced discriminave acuity of pitch in infant cries, compared to non-musicians with depression. We suggest that previous musical training may act as a protecve factor that maintains auditory perceptual abilies in the context of depression. This study has potenal implicaons for the development of novel training intervenons to maintain sensive caregiving behaviour in individuals with post-natal depression. seminar 3: communicative interaction/ literacy & expertise Other aendees at seminar 3:

Stanislava Angelova – Middlesex University [email protected]

Stanislava has recently graduated with BSc (Hons) Psychology with HRM from Middlesex University and is on her way to gaining her second degree in Pre-School Pedagogy with English from the University of Plovdiv (Bulgaria). Her main interests are in Psychology and Music, in parcular interpersonal synchrony, entrainment and affiliaon, in which she has wrien her BSc dissertaon under Fabia Franco’s supervision. She is a natural dancer and has established and run for two years the Salsa Social Dancing Society at Middlesex University.

Phil Barnard – Cambridge University [email protected]

Within the Emoon Group at the Cognion and Brain Sciences Unit, my programme of work focuses mainly on Execuve Control and Emoonal Meanings in Cognive and Neural systems. Current work is organised under three project headings: [a] Core Theorecal work on Interacng Cognive Subsystems – a macro-theory of mental architecture. Modelling addresses issues in aenon, memory and psychopathology as well as the evoluon and processing of meaning; [b] Schemac models (of self, others and the world) and execuve mode (how they are processed) – covers experiments on memory and aenon in both healthy parcipants and those with psychopathology (including anxiety, depression, mania and schizophrenia); [c] Brain networks underlying affecve representaons and execuve control in healthy parcipants, paents with frontal lesions and demena. This project is collecng data from paent groups.

Omrum Bozdogan – Middlesex University [email protected]

Omrum graduated this summer with a BSc degree in psychology from Middlesex University

José Roberto do Carmo jr – Universidade de São Paulo [email protected]

Roberto is currently a Vising Professor, based in the Department of Linguiscs of Universidade de São Paulo, Brazil. His research interest is music semiocs and its applicaons, especially the analysis of melody of popular songs, the interacon between melody and speech prosody and, more recently, the melodic coefficients of some primary emoons.

David Firstbrook – University of St Andrews seminar 3: communicative interaction/ literacy & expertise

Mike Forrester – University of Kent [email protected]

Mike’s primary research interests are in child development and language, and he also has secondary interests in psychoanalysis and psychotherapy. The conceptual framework which informs his work derives, for the most part, from pragmacs and in parcular conversaon analysis.

Robert Fulford – Royal Northern College of Music [email protected]

Robert is currently a PhD student in Music Psychology at the Royal Northern College of Music. He gained an MA (Cantab) in Music with Educaon and subsequently an MPhil in Educaonal Psychology at Homerton College, Cambridge. His current research focuses on interacve music- making for musicians with a hearing impairment and is part of an AHRC-funded project in collaboraon with the Acouscs Research Unit at the University of Liverpool. He holds a diploma of The Associated Board of the Royal Schools of Music in flute performance.

Sheryl Gengs – Kings College London sheryl.ge[email protected]

Sheryl is a tutor in the Department of Primary Care and Child Health at King’s College London. Part of the College-wide network of Innovaon Fellows, Sheryl also has direct links with researchers and academics across the Florence Nighngale School of Nursing & Midwifery. She completed her Masters Degree in Applied Psychology at Middlesex University in 2009. Research undertaken for her MSc successfully piloted the use of audio-conferencing to facilitate sibling support groups enabling children to overcome geographical barriers to accessing therapeuc intervenons.

Jane Ginsborg – Royal Northern College of Music [email protected]

Jane was a professional singer before she became a psychologist. She holds BA (Hons) degrees in music (York) and psychology (OU); she undertook her PhD research at Keele University. She was a lecturer at Manchester, a post-doctoral researcher at Sheffield and Senior Lecturer in Psychology at Leeds Metropolitan University. She is now Associate Dean of Research at the Royal Northern College of Music, having been a Research Fellow there since 2005. She has published widely on expert musicians' preparaon for performance, collaborave music making and musicians’ health. She won the Brish Voice Associaon's Van Lawrence Award in 2002 for her research on singers' memorizing strategies. Current research projects include an AHRC-funded invesgaon, with colleagues at the University of Liverpool, of interacve performance for musicians with hearing impairments. seminar 3: communicative interaction/ literacy & expertise

Andrew Goldman – Cambridge University, CMS [email protected]

Andrew holds a BMus in piano performance and a BA in Neuroscience from the University of Southern California, LA. He has recently submied his thesis for an MPhil in Musicology with Ian Cross in the Centre for Music & Science.

Mirjam James - University of Cambridge [email protected]

Mirjam works a Research Associate of the AHRC Research Centre for Musical Performance as Creave Pracce, and is a Post-doctoral Researcher of St John's College. Aer her MA (TU Berlin) and MSc (Keele University) she was awarded a PhD in Musicology by the Technical University Berlin. Her interest in different teaching and rehearsing approaches as well as variees of performance and interpretaon started as an acve musician. Mirjam is a cellist and singer herself and gained huge insight into different areas of learning and performing. During her me as Acng Professor in Systemac Musicology at Bremen University she started her research on communicaon strategies in string quartets and vocal ensembles.

Jayanthiny Kangatharan – Brunel University [email protected]

Jayanthiny is a first- year PhD student in Psychology at Brunel University, invesgang the potenal benefits of certain speech modificaons on listeners’ percepon and cognion. In parcular, she’s looking at whether the physical exaggeraon of vowels (also known as vowel hyperarculaon) is of any perceptual and cognive assistance to listeners in achieving improved speech intelligibility. She’s interested in exploring the mechanisms that underlie these possible benefits. Addionally, she’ll address the quesons of what the circumstances are under which vowel hyperarculaon occurs and if appearance and speech separately affect the elicitaon of vowel hyperarculaon in nave speakers.

Hyperarculated speech samples will be acquired by recording sessions of adult-, child-, infant-, and foreigner- directed speech which will later be used in perceptual categorisaon and discriminaon tasks. Neuroimaging studies will be carried out to uncover the cognive mechanisms of vowel hyperarculaon.

She has a strong interest in Quantave Methods, Cognive Psychology, Neuroimaging and Neuroplascity, and would love to collaborate on work in any of these areas if anyone shares her interests. seminar 3: communicative interaction/ literacy & expertise

Ruth Kempson - King’s College London [email protected]

Ruth is Emeritus Professor of Linguiscs at the Philosophy Department. She enjoyed a long career at the interface of syntax/semancs/pragmacs at SOAS, more recently at King’s College. Recent work has involved developing a grammar of natural language that, in marked contrast to other grammar formalisms, takes as central the concept of language as acvity in real me. Syntax, as the core, is defined as mechanisms for incremental context-dependent growth of interpretaon directly reflecng me-linear processing. This perspecve enables a radical new characterisaon of the language-music correspondence. As devices for human interacon, music and language both involve construcon and manipulaon of paerns of interacon within locally idenfiable units of me. Paerns of interacvity between parcipants defined over these temporal units display striking parallels across music and language, down to a fine level of granularity. Such paerns are subject to rounisaon over me, with convenonalisaon through long-term rounisaons giving rise to varyingly complex systems, both of language and of music.

Linda Kiakides - Middlesex University [email protected]

Linda studied for her Masters in modern languages at the University of London and University of Sussex. She is SpLD Lecturer in Dyslexia at Middlesex University Centre for Learning and Teaching Enhancement where she screens and support students with specific learning difficules, including Dyslexia, Dyspraxia and ADD/ADHD. She parcularly enjoys working with students in the creave and performing arts. With Annelisa Evans, a colleague at the Learner Development Unit, she is invesgang ways of assessing (and improving) students' reading comprehension. Linda is an amateur singer and pianist and is interested in why and how composers set parcular texts to music. She would like to find ways of combining her musical interests with her professional work with students.

Daniel Leech-Wilkinson - King’s College London [email protected]

Daniel is professor of music at King's College London, leading an AHRC-funded project invesgang musicians' use of 'shape' in thinking and talking about music (www.cmpcp.ac.uk/ smip.html). An arcle on the connotaons of portamento in relaon to infant-directed speech appeared in the Journal of Musicological Research 25 (2006). His most recent book, The Changing Sound of Music, is free online at www.charm.kcl.ac.uk. seminar 3: communicative interaction/ literacy & expertise

Ylva Lisesdaer - Middlesex University ylvalisesda[email protected]

Ylva recently graduated with a first class degree in psychology from Middlesex University and her final year dissertaon, invesgang conducon aphasia, is to be presented at the BPS conference in London in April. She is currently studying for an MSc in Cognion & Communicaon at Copenhagen University. In the coming years she hopes to specialise in the neuropsychology of language with a PhD in the pursuit of an academic career.

Stephen Lloyd - Free University Bolzano [email protected]

Stephen has undergraduate degrees from the Universies of Sydney (Music Performance) and Vienna (Orchestral conducng), and a post-graduate diploma at the RNCM (Manchester) in orchestral studies. He is musical director of the Vereinigte Bühnen Bozen and arsc director of the South Tyrol Youth Orchestra, conducng and composing there now for almost twenty years teaching in both the Italian and German school systems in the mul-language province of South Tyrol. While connuing to lecture in composion and arrangement at the Department of Educaon at the Free University of Bolzano, he has recently embarked as a research assistant on a two-year Music and Language project for the Autonomous Province of Bolzano working with Professors Franz Comploi and Hans Drumbl at this tri-lingual University.

Jana Maršková – Trnava & Middlesex Universies j.mar[email protected]

Jana graduated at University of Trnava in Slovakia (BSc/MSc) where she studied Psychology. She worked in the Pedagogical-Psychological counselling center in Banska Bystrica and in the Center for Ausm in Braslava as a psychologist. She is currently a PhD student at University of Trnava working on her thesis on communicaon and social interacon in children with ausm. She received a grant from the Slovak Academic Informaon Agency (SAIA) to conduct a part of her study at the University of Vienna, Austria. More recently, funding from SAIA enabled her to join Fabia Franco at Middlesex University and collaborate on projects concerning voice, music and emoon.

Maria Núñez – Glasgow Caledonian University [email protected]

María is a Lecturer in the Department of Psychology at Glasgow Caledonian University. Her current research in relaon to ausm includes the cognive basis of reasoning in interpersonal exchange. seminar 3: communicative interaction/ literacy & expertise

Michelle Phillips - Cambridge University, CMS michelle.phillips@bnternet.com

Michelle is currently working towards her PhD with Dr Ian Cross. Her work concerns the percepon of large scale musical form, and the noon of musical me (experience of elapsed duraon during music listening). She completed her undergraduate and masters degrees (the former in music and German, and the laer exploring the noon of musical form in contemporary Austrian literature) at the University of Nongham.

Kate Prence – Cambridge University [email protected]

Kate is a PhD student at Cambridge. Her research is invesgang whether recitaon and memorisaon of metrical poetry contributes to children's reading development, through its potenal effect on phonological sensivity.

Joëlle Provasi - Paris Sorbonne [email protected]

Joëlle works at the Laboratoire Développement et Complexité, Ecole Praque des Hautes Etudes (Paris). Her research is on rhythmical synchronizaon in infants and children.

Rein Ove Sikveland – York University [email protected]

Rein is a phonecian who has developed an interest in the combined use of verbal and non- verbal details in language and social interacon. He has recently finished his PhD thesis on phonec and gestural detail in turn-taking. His PhD idenfies and demonstrates the fine level of detail and co-ordinaon between interactants that interaconal management depends on. This PhD was part of an EC-funded Marie Curie Research Training Network (MCRTN) called "Sound to Sense", where one of his tasks was to find ways of collecng phonec and interaconal detail in corpora. In this network he gained experience in working and thinking across disciplines. In the future he aims to connue working on details of social interacon, and develop new ways of understanding and exploring mulmodal detail, both in qualitave research (e.g. using Conversaon Analysis), and in large-scale corpora work. He would also like to focus more on atypical speakers in interacon than he has been able to do so far. seminar 3: communicative interaction/ literacy & expertise

Marne Turgeon – Lancaster University [email protected]

Marne completed a BSc, MSc and PhD in Psychology at McGill University. Her PhD, on auditory stream segregaon (i.e., auditory ‘object’ formaon), showed that temporal regularies and deviaons from them (e.g., synchronous vs. asynchronous onsets) weight more than spaal ones (e.g., close vs. distant sound-source locaons) and/or spectral ones (e.g., simple vs. complex harmonic raos) in the percepon of temporally conguous brief sounds as a single or separate event(s). Aer graduang, she became a Research Fellow in the area of ming with Alan Wing (University of Birmingham) and deepened her interest in a fundamental component of both auditory percepon and motor ming: rhythm. Towards the end of her fellowship, she became interested in the socio-emoonal components of shared rhythmic acon or entrainment (as soldiers walking in steps or musicians playing together in me). As a lecturer at Lancaster University, she is developing a research program focusing on rhythmic entrainment and bonding. She believes that inter-individual entrainment has played, and sll plays, an important role in promong social cohesion through non-verbal means of communicaon. To what extent entrainment contributes to verbal forms of socially- meaningful and sequenally-ordered behaviours, including full-blown language is much less clear to her at this stage; yet, it is a fascinang and important queson she’d like to explore with you.

Marilyn Vihman – York University [email protected]

Marilyn has been Professor of Language and Linguisc Science at the University of York since 2007. She received a BA in Russian from Bryn Mawr College (1961) and a PhD in Linguiscs from the University of California, Berkeley (1971). She directed the Stanford Child Phonology Project from 1980-88, with funding from the Naonal Science Foundaon. From 1996 through 2006 she held a Chair of Developmental Psychology at the University of Wales Bangor. Since arriving in the UK in 1996 she has been awarded ESRC funding for 10 research grants and EU Marie Curie funding for two fellowships.

Marilyn is best known for her 1996 book, Phonological Development: The origins of language in the child. She has carried out studies of early word learning in infants acquiring a range of languages (Brazilian Portuguese, US and UK English, Estonian, Finnish, French, Italian, Japanese, Swedish, Welsh), combining naturalisc longitudinal observaon studies of babbling and early word producon with instrumental analyses. She has also conducted experimental studies of infant word form recognion and segmentaon using the Headturn Preference Procedure and Event Related Potenals. She is also well known for her studies on child bilingualism, based on her own children’s and grandchild’s learning of Estonian and English as well as on funded studies of children acquiring English and Welsh. seminar 3: communicative interaction/ literacy & expertise

Ghofur Woodruff - Cambridge University ghofur.woodruff@gmail.com

Ghofur is a PhD candidate at the Centre for Music and Science, working under the supervision of Dr Ian Cross. His thesis invesgates musical meaning from a naturalist perspecve, focusing on how theories of human and non-human vocal communicaon can elucidate our auditory engagement with music. Other research interests include music cognion, metric theory, the music of Igor Stravinsky, and the philosophy of language and mind. He received a disncon for his Masters dissertaon at the University of Canterbury where he published his first paper in Music Theory Online. He was recently invited to review Aniruddh Patel’s Music, Language and the Brain for the journal Psychology of Music. As a performer, Ghofur plays electric guitar and bass in a number of rock ensembles and has extensive experience as a chorister. seminar 3: communicative interaction/ literacy & expertise

Map of Middlesex University, Hendon campus: seminar 3: communicative interaction/ literacy & expertise

Lunch Venue (Day 2) – Claddagh Ring Pub, Church Rd, Hendon:

Dinner Venue (Day 1) – Valenno’s Restaurant, Waord Way, Hendon: