DOCSLIB.ORG

The Human Faculty for Music: What’S Special About It?

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Human Faculty for Music: What’S Special About It? Bispham (2018) 0 The Human Faculty for Music: What’s special about it? John Christopher Bispham1,2 Wolfson College 1 Leverhulme Centre for Human Evolutionary Studies (LCHES) Division of Biological Anthropology Department of Archaeology and Anthropology 2 Centre for Music and Science (CMS) Faculty of Music University of Cambridge PhD Thesis Submitted 03/2018 Supervisor: Professor Ian Cross Abstract (short version) This thesis presents a model of a narrow faculty for music - qualities that are at once universally present and operational in music across cultures whilst also being specific to our species and to the domain of music. The comparative approach taken focuses on core psychological and physiological capabilities that root and enable appropriate engagement with music rather than on their observable physical correlates. Configurations of musical pulse; musical tone; and musical motivation are described as providing a sustained attentional structure for managing personal experience and interpersonal interaction and as offering a continually renewing phenomenological link between the immediate past, the perceptual present and future expectation. Constituent parts of the narrow faculty for music are considered most fundamentally as a potentiating, quasi- architectural framework in which our most central affective and socio-intentional drives are afforded extended time, stability, and a degree of abstraction, intensity, focus and meaning. The author contends, therefore, that music's defining characteristics, specific functionalities and/or situated efficacies are not demarcated in broadly termed “musical” qualities such as melodic contour or rhythm or in those surprisingly elusive “objective facts” of musical structure. Rather they are solely the attentional/motivational frameworks which root our faculty to make and make sense of music. Our generic capacities for culture and the manifold uses of action, gesture, and sound to express and induce emotion; to regulate affective states; to create or reflect meaning; to signify; to ritualize; coordinate; communicate; interrelate; embody; entrain; and/or intentionalize, none of these is assessed as being intrinsically unique to music performance. Music is, instead, viewed as an ordered expression of human experience, behaviour, interaction, and vitality, all shaped, shared, given significance, and/or transformed in time. The relevance of this model to topical debates on music and evolution is discussed and the author contends that the perspective offered affords significant implications for our understanding of why music is evidently and remarkably effective in certain settings and in the pursuit of certain social, individual, and therapeutic goals. Bispham (2018) 1 Formal Declarations 1) This dissertation is submitted for the degree of Doctor of Philosophy. 2) It is the result of my own work and includes nothing which is the outcome of work done in collaboration. 3) I further state that no substantial part of my dissertation has already been submitted, or, is being concurrently submitted for any degree, diploma or other qualification at the University of Cambridge or any other University or similar institution. 4) It does not substantially exceed the prescribed word limit of 80’000 words excluding the bibliography, cited references and appendices, for the Degree Committee for Archaeology and Anthropology, and is within limits specified by the examiners in their joint report (+/- 10%). Related Publications and Presentations Some of the ideas and arguments in this thesis have been, or are in the process of being, explored and/or advocated in the following media appearances, publications, and conference/seminar talks: Media Appearances: • Television Interview with Pascal Goblot (in preparation). Documentary Film on Prehistoric Music. ARTE TV, https://www.arte.tv/en/. Publications: Bispham, J.C. (in press). Music, Evolution and the Experience of Time. Invited Chapter Submission for ‘Oxford Handbook of Time in Music’ (Oxford University Press). Bispham, J.C. (in preparation). Music’s Evolutionary “Design Features”. To be submitted to Behavioural Brain Sciences (Cambridge University Press). Bispham, J.C. (2012). How musical is Man – An evolutionary perspective. Chapter in “Sound Musicianship: Understanding the Crafts of Music. - 1/7 Meaningful Music Making for Life”. Cambridge Scholars Publishing. Bispham, J. C. (2010). Modelisation de la musique - motivation, pulsation et tonalites musicales. In 'Musique et Evolution' Eds. Deliege, I., Vitouch, O. PSY Mardaga. Bispham. J.C. (2009) – Music’s “design features”: Musical motivation, musical pulse, and musical pitch. Musicae Scientiae, special issue: music and evolution. Cross, I., Bispham, J., Himberg, T. &Swaine, J. (unpublished) – Evolution and Musical Rhythm. Submitted to Evolutionary Anthropology. Bispham, J.C. (2007) – Music as socio-affective confluential communication? Response to 'a commentary on Bispham’ (2006). Music Perception, 25;2 Bispham. J.C. (2006) - Rhythm in Music: What is it? Who has it? And Why? Journal of Music Perception, special issue on rhythm perception and performance, 24;2, 125-134. Bispham, J.C. (2006) - Music means nothing if we don’t know what it means - lead review of ‘The Singing Neanderthals’ by S. Mithen. Journal of Human Evolution, 50, 587-593. Bispham, J.C. (2004) – Bridging the Gaps – Music as a Biocultural Phenonmenon. Commentary on ‘In time with the music: The concept of entrainment and its significance for ethnomusicology’ by Clayton, M., Sager, R., & Will, U. ESEM Counterpoint 1. Presentations Bispham, J. C. (2004) - Music and Evolution. Department of Biological Anthropology Seminar Series, University of Cambridge, UK. Bispham, J. C. (2005) - Rhythm in Music: What is it?, Who has it? And Why? Rhythm Perception and Performance Conference II, Ghent, BE. Bispham, J. C. (2005) - Evolution, Ethology and Entrainment. Poster Presentation at 'Music and Neuroscience Conference IV', Leipzig, DE. Bispham, J. C. (2005) - The Human Skill of Interpersonal Music al Entrainment. International Network of Musical Entrainment Studies Workshop I, Ohio State University, US. Bispham, J. C. (2006) - Evolution and Musical Rhythm. International Network of Musical Entrainment Studies Workshop II, Open University, Milton Keynes, UK Bispham, J. C. (2007) - Towards a model of musicality: Species-specificity, domain-specificity and universals. Leverhulme Centre for Human Evolutionary Studies Seminar Series, University of Cambridge, UK. Bispham, J. C. (2012) - Music's Evolutionary Design Features: Musical Pulse, Musical Tone and Musical Motivation. SEMPRE International Conference on Music , University of Western Australia, Perth, AUS. Bispham, J. C. (2016) - Time in Music: Pulse, Pitch and Attentional Architecture. International Conference on 'Time in Music', Faculty of Music, University of Oxford, UK. Bispham (2018) 2 Abstract (long version) INTRODUCTION The central question and rationales for this thesis are outlined. What is special about music? What is universally present in music across cultures whilst also being distinct from other forms of animal and human behaviour and communication? What constitutes a putative narrow faculty for music? The scope and challenge of this focal question is delineated by four clear statements all of which are in essence, if not in the details, uncontroversial: 1) Music is, within and across cultural boundaries, enormously and wonderfully diverse; 2) Most features we commonly regard as being essentially constitutive of “music” and “musicality” – e.g. pulse, rhythm, melody, gesture, vocal affect, performance, expressivity, movement, emotion regulation, synchronisation, harmony – are broadly speaking present in and integral to other forms of interaction and communication; 3) Music appears to share common substance across cultures in terms of certain consistencies in function, context, setting, and efficacy, as well as in being widely prized and experienced as being intensely meaningful; 4) The full capacity for music is manifest of a vast interconnected mosaic of skills and abilities ranging upwards from the most basic perceptual, vocal and motoric functions. I argue that, as something like music appears from our cultural vantage point to be recognisable as such across cultures, it is logically pursuant that some identifying features or distinct conglomerations of features are commonly present. A key point here is that these traits may not be physically or knowingly/descriptively evident but may reflect implicitly learned ontology and/or empathy with the underlying psychological mechanisms and experience. Finally I contend that understanding and asserting a theoretical model of a narrow faculty for music is an essential step towards understanding the emergence of music and musical capabilities during the course of hominin evolution as well as for interpreting its modern-day uses, functions and efficacies in social, individual and therapeutic settings. Thus, this thesis aims to contribute to an enhanced applicability of - and clarity in - the ever-growing body of interdisciplinary research into music. SECTION I – Music and Evolution Chapter 1 reviews and critiques the current state of research into the evolution of music focusing on debates regarding the status of music as an evolutionary adaptation, putative rationales for the emergence of musical capabilities, universals in music, cross-cultural concerns, and theoretical issues concerning cross-species comparative perspectives.
Load more

Recommended publications
  • Absolute and Relative Pitch Processing in the Human Brain: Neural and Behavioral Evidence
    bioRxiv preprint doi: https://doi.org/10.1101/526541; this version posted March 18, 2019. The copyright holder for this preprint (which was not certified by peer review) is the author/funder, who has granted bioRxiv a license to display the preprint in perpetuity. It is made available under aCC-BY 4.0 International license. Absolute and relative pitch processing in the human brain: Neural and behavioral evidence Simon Leipold a, Christian Brauchli a, Marielle Greber a, Lutz Jäncke a, b, c Author Affiliations a Division Neuropsychology, Department of Psychology, University of Zurich, 8050 Zurich, Switzerland b University Research Priority Program (URPP), Dynamics of Healthy Aging, University of Zurich, 8050 Zurich, Switzerland c Department of Special Education, King Abdulaziz University, 21589 Jeddah, Kingdom of Saudi Arabia Corresponding Authors Simon Leipold Binzmühlestrasse 14, Box 25 CH-8050 Zürich Switzerland [email protected] Lutz Jäncke Binzmühlestrasse 14, Box 25 CH-8050 Zürich Switzerland [email protected] Keywords Absolute Pitch, Multivariate Pattern Analysis, Neural Efficiency, Pitch Processing, fMRI Acknowledgements This work was supported by the Swiss National Science Foundation (SNSF), grant no. 320030_163149 to LJ. We thank our research interns Anna Speckert, Chantal Oderbolz, Désirée Yamada, Fabian Demuth, Florence Bernays, Joëlle Albrecht, Kathrin Baur, Laura Keller, Marilena Wilding, Melek Haçan, Nicole Hedinger, Pascal Misala, Petra Meier, Sarah Appenzeller, Tenzin Dotschung, Valerie Hungerbühler, Vanessa Vallesi,
    [Show full text]
  • TUNING JUDGMENTS 1 1 2 3 4 Does Tuning Influence Aesthetic
    TUNING JUDGMENTS 1 1 2 3 4 5 Does Tuning Influence Aesthetic Judgments of Music? Investigating the Generalizability 6 of Absolute Intonation Ability 7 8 Stephen C. Van Hedger 1 2 and Huda Khudhair 1 9 10 11 1 Department of Psychology, Huron University College at Western 12 2 Department of Psychology & Brain and Mind Institute, University of Western Ontario 13 14 15 16 17 18 19 20 Author Note 21 Word Count (Main Body): 7,535 22 Number of Tables: 2 23 Number of Figures: 2 24 We have no known conflict of interests to disclose. 25 All materials and data associated with this manuscript can be accessed via Open Science 26 Framework (https://osf.io/zjcvd/) 27 Correspondences should be sent to: 28 Stephen C. Van Hedger, Department of Psychology, Huron University College at Western: 1349 29 Western Road, London, ON, N6G 1H3 Canada [email protected] 30 31 32 TUNING JUDGMENTS 2 1 Abstract 2 Listening to music is an enjoyable activity for most individuals, yet the musical factors that relate 3 to aesthetic experiences are not completely understood. In the present paper, we investigate 4 whether the absolute tuning of music implicitly influences listener evaluations of music, as well 5 as whether listeners can explicitly categorize musical sounds as “in tune” versus “out of tune” 6 based on conventional tuning standards. In Experiment 1, participants rated unfamiliar musical 7 excerpts, which were either tuned conventionally or unconventionally, in terms of liking, interest, 8 and unusualness. In Experiment 2, participants were asked to explicitly judge whether several 9 types of musical sounds (isolated notes, chords, scales, and short excerpts) were “in tune” or 10 “out of tune.” The results suggest that the absolute tuning of music has no influence on listener 11 evaluations of music (Experiment 1), and these null results are likely caused, in part, by an 12 inability for listeners to explicitly differentiate in-tune from out-of-tune musical excerpts 13 (Experiment 2).
    [Show full text]
  • Contents & Introduction
    e Archaeology of Sound, Acoustics and Music: Studies in Honour of Cajsa S. Lund Gjermund Kolltveit and Riitta Rainio, eds. Publications of the ICTM Study Group on Music Archaeology, Vol. 3 Series Editor: Arnd Adje Both Berlin: Ekho Verlag, 2020 368 pages with 86 gures and 6 tables ISSN 2198-039X ISBN 978-3-944415-10-9 (Series) ISBN 978-3-944415-39-0 (Vol. 3) ISBN 978-3-944415-40-6 (PDF) Layout and Typography: Claudia Zeissig · Kunst & Gestaltung | www.claudiazeissig.ch Printed in Poland Ekho Verlag Dr. Arnd Adje Both, Berlin [email protected] | www.ekho-verlag.com All rights are reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior permission of Ekho Verlag. © 2020 Ekho Verlag 5 Contents Prefaces and Introduction 11 The Sounds of Former Silence Cornelius Holtorf 13 Pioneering Archaeological Approaches to Music Iain Morley 15 My Tribute to Cajsa, or My Encounter with the Swedish Fairy Godmother of the New Music Archaeology Catherine Homo-Lechner 19 Ears wide open: Listening to the 4D Soundscapes of Cajsa S. Lund Emiliano Li Castro 21 Introduction to the Volume The Archaeology of Sound, Acoustics and Music: Studies in Honour of Cajsa S. Lund Gjermund Kolltveit and Riitta Rainio 6 Contents Chapters 31 Sound Archaeology and the Soundscape Rupert Till 55 Ears to the Ground: On Cajsa Lund’s Legacy and Moving Movements Frances Gill 97 The Rommelpot of the Netherlands as a Case Study in Cajsa
    [Show full text]
  • Philosophy of Music Education
    University of New Hampshire University of New Hampshire Scholars' Repository Honors Theses and Capstones Student Scholarship Spring 2017 Philosophy of Music Education Mary Elizabeth Barba Follow this and additional works at: https://scholars.unh.edu/honors Part of the Music Education Commons, and the Music Pedagogy Commons Recommended Citation Barba, Mary Elizabeth, "Philosophy of Music Education" (2017). Honors Theses and Capstones. 322. https://scholars.unh.edu/honors/322 This Senior Honors Thesis is brought to you for free and open access by the Student Scholarship at University of New Hampshire Scholars' Repository. It has been accepted for inclusion in Honors Theses and Capstones by an authorized administrator of University of New Hampshire Scholars' Repository. For more information, please contact [email protected]. Philosophy of Music Education Mary Barba Dr. David Upham December 9, 2016 Barba 1 Philosophy of Music Education A philosophy of music education refers to the value of music, the value of teaching music, and how to practically utilize those values in the music classroom. Bennet Reimer, a renowned music education philosopher, wrote the following, regarding the value of studying the philosophy of music education: “To the degree we can present a convincing explanation of the nature of the art of music and the value of music in the lives of people, to that degree we can present a convincing picture of the nature of music education and its value for human life.”1 In this thesis, I will explore the philosophies of Emile Jacques-Dalcroze, Carl Orff, Zoltán Kodály, Bennett Reimer, and David Elliott, and suggest practical applications of their philosophies in the orchestral classroom, especially in the context of ear training and improvisation.
    [Show full text]
  • Music, Sound, and Health: a Meeting of the Minds in Neurosciences and Music
    Ann. N.Y. Acad. Sci. ISSN 0077-8923 ANNALS OF THE NEW YORK ACADEMY OF SCIENCES Special Issue: The Neurosciences and Music VI COMMENTARY Music, sound, and health: a meeting of the minds in neurosciences and music Psyche Loui,1 Aniruddh Patel,2 Lisa M. Wong,3 Nadine Gaab,4 Suzanne B. Hanser,5 and Gottfried Schlaug6 1Wesleyan University. 2Tufts University. 3Massachusetts General Hospital and Harvard Medical School. 4Boston Children’s Hospital and Harvard Medical School. 5Berklee College of Music. 6Beth Israel Deaconess Medical Center and Harvard Medical School Address for correspondence: [email protected] Keywords: neuroscience; music; health Humans have been fascinated by the effect of sound basic research and in music therapy, interindivid- on health since antiquity. In the sixth century BC, ual and intraindividual differences on these effects Pythagoras discovered that objects vibrating in sim- pose challenges but also opportunities of individual- ple numerical ratios produced harmonious sounds ized and precision medicine approaches for the field. together. Building from this, he went on to posit Thus, there is a need for theoretical as well as empir- that listening to different musical modes had dif- ical work that aims to understand music and sound, ferent effects on health. Interest in music’s impact their relationship to health and well-being, and how on health continued over the centuries, and, in this relationship can be leveraged to increase human 2018, the study of music, sound, and health con- connections, interactions, and possibly healing. Bet- tinues to excite scientists, therapists, and the poten- ter understanding of these relationships may offer tial recipients of interventions.
    [Show full text]
  • Effects of Harmonics on Relative Pitch Discrimination in a Musical Context
    Perception & Psychophysics 1996, 58 (5), 704-712 Effects of harmonics on relative pitch discrimination in a musical context LAUREL J. TRAINOR McMaster University, Hamilton, Ontario, Canada The contribution of different harmonics to pitch salience in a musical context was examined by re­ quiring subjects to discriminate a small (% semitone) pitch change in one note of a melody that re­ peated in transposition. In Experiment 1,performance was superior when more harmonics were pres­ ent (first five vs. fundamental alone) and when the second harmonic (of tones consisting of the first two harmonics) was in tune compared with when it was out of tune. In Experiment 2, the effects ofhar­ monies 6 and 8, which stand in octave-equivalent simple ratios to the fundamental (2:3 and 1:2, re­ spectively) were compared with harmonics 5 and 7, which stand in more complex ratios (4:5 and 4:7, respectively). When the harmonics fused into a single percept (tones consisting of harmonics 1,2, and one of 5, 6, 7, or 8), performance was higher when harmonics 6 or 8 were present than when harmon­ ics 5 or 7 were present. When the harmonics did not fuse into a single percept (tones consisting of the fundamental and one of 5, 6, 7, or 8), there was no effect of ratio simplicity. This paper examines the contribution of different har­ gion depended to some extent on the fundamental fre­ monics to relative pitch discrimination in a musical con­ quency: The fourth and higher harmonics dominated for text. Relative pitch discrimination refers to the ability to fundamental frequencies up to 350 Hz, the third and higher compare the pitch interval (i.e., distance on a log frequency for fundamentals between 350 and 700 Hz, the second and scale) between one set oftwo tones and another, where the higher for fundamental frequencies between 700 and fundamentals ofthe tones are at different absolute frequen­ 1400 Hz, and the first for frequencies above 1400 Hz.
    [Show full text]
  • The Perception of Melodic Consonance: an Acoustical And
    The perception of melodic consonance: an acoustical and neurophysiological explanation based on the overtone series Jared E. Anderson University of Pittsburgh Department of Mathematics Pittsburgh, PA, USA Abstract The melodic consonance of a sequence of tones is explained using the overtone series: the overtones form “flow lines” that link the tones melodically; the strength of these flow lines determines the melodic consonance. This hypothesis admits of psychoacoustical and neurophysiological interpretations that fit well with the place theory of pitch perception. The hypothesis is used to create a model for how the auditory system judges melodic consonance, which is used to algorithmically construct melodic sequences of tones. Keywords: auditory cortex, auditory system, algorithmic composition, automated com- position, consonance, dissonance, harmonics, Helmholtz, melodic consonance, melody, musical acoustics, neuroacoustics, neurophysiology, overtones, pitch perception, psy- choacoustics, tonotopy. 1. Introduction Consonance and dissonance are a basic aspect of the perception of tones, commonly de- scribed by words such as ‘pleasant/unpleasant’, ‘smooth/rough’, ‘euphonious/cacophonous’, or ‘stable/unstable’. This is just as for other aspects of the perception of tones: pitch is described by ‘high/low’; timbre by ‘brassy/reedy/percussive/etc.’; loudness by ‘loud/soft’. But consonance is a trickier concept than pitch, timbre, or loudness for three reasons: First, the single term consonance has been used to refer to different perceptions. The usual convention for distinguishing between these is to add an adjective specifying what sort arXiv:q-bio/0403031v1 [q-bio.NC] 22 Mar 2004 is being discussed. But there is not widespread agreement as to which adjectives should be used or exactly which perceptions they are supposed to refer to, because it is difficult to put complex perceptions into unambiguous language.
    [Show full text]
  • Perspectives on Rhythm and Timing Glasgow, 19-21 July 2012
    Perspectives on Rhythm and Timing Glasgow, 19-21 July 2012 Book of Abstracts English Language University of Glasgow, Glasgow G12 8QQ, U.K. e-mail: [email protected] web: www.gla.ac.uk/rhythmsinscotland Twitter: @RiS_2012 #PoRT2012 The production and perception of English speech rhythm by L2 Saudi Speakers Ghazi Algethami University of York [email protected] Keywords: L2 speech, rhythm, perception, metrics 3. RESULTS AND DISCUSSION 1. INTRODUCTION The listeners were able to differentiate between the One of the major factors that contribute to the perception native and nonnative speakers regardless of the highly of foreign accent in the speech of L2 English speakers is distorted speech. There was a significant correlation the inappropriate use of rhythm [2]. However, it is one between the perceptual ratings and the scores of of the least studied aspects of L2 speech [1]. This is VarcoV, but not %V. mainly because of the elusive nature of speech rhythm, 4. REFERENCES and the lack of consensus among researchers about how to measure it. [1] Crystal, D. (2003). English as a global language (2nd ed.). Cambridge: Cambridge University Press. Recently developed acoustic metrics of speech [2] Gut, U. (2003). Non-native speech rhythm in German. In rhythm have offered a tool for L2 speech researchers to Proceedings of the15th International Congress of Phonetic examine the production of speech rhythm by L2 Sciences (pp. 2437-2439). Barcelona, Spain. speakers. The current study examined the production of [3] White, L., & Mattys, S. (2007a). Calibrating rhythm: First English speech rhythm by L2 Saudi speakers by using a language and second language studies.
    [Show full text]
  • But Still Moving to the Beat MARK ⁎ Valentin Bégela,B, , Charles-Etienne Benoita,C, Angel Corread,E, Diana Cutandad, Sonja A
    Neuropsychologia 94 (2017) 129–138 Contents lists available at ScienceDirect Neuropsychologia journal homepage: www.elsevier.com/locate/neuropsychologia “ ” Lost in time but still moving to the beat MARK ⁎ Valentin Bégela,b, , Charles-Etienne Benoita,c, Angel Corread,e, Diana Cutandad, Sonja A. Kotza,f,g, ⁎ Simone Dalla Bellaa,h,i,j, a EuroMov, Montpellier University, Montpellier, France b NaturalPad, SAS, Montpellier, France c Cognition and Actions Laboratory, Institute of Neuroscience, Université Catholique de Louvain, 1200 Brussels, Belgium d Centro de Investigacion Mente, Cerebro y Comportamiento, University of Granada, Spain e Departamento de Psicologia Experimental, University of Granada, Spain f Maastricht University, Faculty of Psychology & Neuroscience, Department of Neuropsychology & Psychopharmacology, Maastricht, The Netherlands g Max Planck Institute for Human Cognitive and Brain Sciences, Department of Neuropsychology, Leipzig, Germany h Institut Universitaire de France (IUF), Paris, France i International Laboratory for Brain, Music, and Sound Research (BRAMS), Montreal, Canada j Department of Cognitive Psychology, WSFiZ, Warsaw, Poland ARTICLE INFO ABSTRACT Keywords: Motor synchronization to the beat of an auditory sequence (e.g., a metronome or music) is widespread in Beat deafness humans. However, some individuals show poor synchronization and impoverished beat perception. This Auditory-motor integration condition, termed “beat deafness”, has been linked to a perceptual deficit in beat tracking. Here we present Rhythm perception single-case evidence (L.A. and L.C.) that poor beat tracking does not have to entail poor synchronization. In a Rhythm production first Experiment, L.A., L.C., and a third case (L.V.) were submitted to the Battery for The Assessment of Sensorimotor synchronization Auditory Sensorimotor and Timing Abilities (BAASTA), which includes both perceptual and sensorimotor tasks.
    [Show full text]
  • Design for Auditory Displays: Identifying Temporal and Spatial Information Conveyance Principles
    University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2007 Design For Auditory Displays: Identifying Temporal And Spatial Information Conveyance Principles Ali Ahmad University of Central Florida Part of the Industrial Engineering Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Doctoral Dissertation (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Ahmad, Ali, "Design For Auditory Displays: Identifying Temporal And Spatial Information Conveyance Principles" (2007). Electronic Theses and Dissertations, 2004-2019. 3050. https://stars.library.ucf.edu/etd/3050 DESIGN FOR AUDITORY DISPLAYS: IDENTIFYING TEMPORAL AND SPATIAL INFORMATION CONVEYANCE PRINCIPLES by ALI AHMAD B.S. University of Jordan, 2000 M.S. University of Central Florida, 2003 A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Industrial Engineering and Management Systems in the College of Engineering and Computer Science at the University of Central Florida Orlando, Florida Summer Term 2007 Major Professor: Kay M. Stanney © 2007 Ali Ahmad ii ABSTRACT Designing auditory interfaces is a challenge for current human-systems developers. This is largely due to a lack of theoretical guidance for directing how best to use sounds in today’s visually-rich graphical user interfaces. This dissertation provided a framework for guiding the design of audio interfaces to enhance human-systems performance.
    [Show full text]
  • ￢ﾀﾜlost in Time￢ﾀﾝ but Still Moving to the Beat
    Neuropsychologia 94 (2017) 129–138 Contents lists available at ScienceDirect Neuropsychologia journal homepage: www.elsevier.com/locate/neuropsychologia “ ” Lost in time but still moving to the beat MARK ⁎ Valentin Bégela,b, , Charles-Etienne Benoita,c, Angel Corread,e, Diana Cutandad, Sonja A. Kotza,f,g, ⁎ Simone Dalla Bellaa,h,i,j, a EuroMov, Montpellier University, Montpellier, France b NaturalPad, SAS, Montpellier, France c Cognition and Actions Laboratory, Institute of Neuroscience, Université Catholique de Louvain, 1200 Brussels, Belgium d Centro de Investigacion Mente, Cerebro y Comportamiento, University of Granada, Spain e Departamento de Psicologia Experimental, University of Granada, Spain f Maastricht University, Faculty of Psychology & Neuroscience, Department of Neuropsychology & Psychopharmacology, Maastricht, The Netherlands g Max Planck Institute for Human Cognitive and Brain Sciences, Department of Neuropsychology, Leipzig, Germany h Institut Universitaire de France (IUF), Paris, France i International Laboratory for Brain, Music, and Sound Research (BRAMS), Montreal, Canada j Department of Cognitive Psychology, WSFiZ, Warsaw, Poland ARTICLE INFO ABSTRACT Keywords: Motor synchronization to the beat of an auditory sequence (e.g., a metronome or music) is widespread in Beat deafness humans. However, some individuals show poor synchronization and impoverished beat perception. This Auditory-motor integration condition, termed “beat deafness”, has been linked to a perceptual deficit in beat tracking. Here we present Rhythm perception single-case evidence (L.A. and L.C.) that poor beat tracking does not have to entail poor synchronization. In a Rhythm production first Experiment, L.A., L.C., and a third case (L.V.) were submitted to the Battery for The Assessment of Sensorimotor synchronization Auditory Sensorimotor and Timing Abilities (BAASTA), which includes both perceptual and sensorimotor tasks.
    [Show full text]
  • Michael G. Heinz Page 1 of 18 Curriculum
    Curriculum Vitae Michael G. Heinz Nov 2018 Contact 715 Clinic Drive, Heavilon Hall, Purdue University, West Lafayette, IN 47907 USA Phone: (765) 496-6627 Fax: (765) 494-0771 [email protected] https://engineering.purdue.edu/auditory/ Research Interests Neural correlates of normal and impaired auditory perception, noise-induced hearing loss, models of auditory signal processing and perception Education Ph.D. 2000 Massachusetts Institute of Technology Speech and Hearing Sciences, Division of Health Sciences and Technology Dissertation Title: “Quantifying the effects of the cochlear amplifier on temporal and average-rate information in the auditory nerve” Dissertation Advisor: Laurel H. Carney, Ph.D. M.S.E 1994 Johns Hopkins University Electrical and Computer Engineering Sc.B. 1992 Brown University Engineering (Electrical) Professional Experience Professor Dept. of Speech, Language, and Hearing Sci., Purdue Univ. 2015 – present Professor Weldon School of Biomedical Engineering, Purdue Univ. 2015 – present Academic Visitor Dept. of Psychology, University of Cambridge, England. 2013 Visiting Fellow Wolfson College, University of Cambridge, England. 2013 Associate Professor Dept. of Speech, Language, and Hearing Sci., Purdue Univ. 2011 – 2015 Associate Professor Weldon School of Biomedical Engineering, Purdue Univ. 2011 – 2015 Assistant Professor Dept. of Speech, Language, and Hearing Sci., Purdue Univ. 2005 – 2011 Assistant Professor Weldon School of Biomedical Engineering, Purdue Univ. 2005 – 2011 Research Associate Dept. of Biomedical Engineering,
    [Show full text]