Part I. Experimental Studies: 2. Experiment in psychology 3. Experiments on perceiving III Experiments on imaging 4-8. Experiments on remembering: (a) The method of description (b) The method of repeated reproduction (c) The method of picture writing (d) The method of serial reproduction (e) The method of serial reproduction picture material 9. Perceiving, recognizing, remembering 10. A theory of remembering 11. Images and their functions 12. Meaning Part II. Remembering as a Study in Social Psychology: 13. Social psychology 14. Social psychology and the matter of recall 15. Social psychology and the manner of recall 16. Conventionalism 17. The notion of a collective unconscious 18. The basis of social recall 19. A summary and some conclusions.

Remembering. A Study in Experimental and Social Psychology, Cambridge (University Press) 1964.

In this book, Andrew Harvey sets out to provide a unified and comprehensive theory of structural time series models. Unlike the traditional ARIMA models, structural time series models consist explicitly of unobserved components, such as trends and seasonals, which have a direct interpretation. As a result the model selection methodology associated with structural models is much closer to econometric methodology. The link with econometrics is made even closer by the natural way in which the models can be extended to include explanatory variables and to cope with multivariate time series. From the technical point of view, state space models and the Kalman filter play a key role in the statistical treatment of structural time series models. The book includes a detailed treatment of the Kalman filter. This technique was originally developed in control engineering, but is becoming increasingly important in fields such as economics and operations research. This book is concerned primarily with modelling economic and social time series, and with addressing the special problems which the treatment of such series poses. The properties of the models and the methodological techniques used to select them are illustrated with various applications. These range from the modellling of trends and cycles in US macroeconomic time series to to an evaluation of the effects of seat belt legislation in the UK.

Forecasting, Structural Time Series Models and the Kalman Filter

To understand the endogenous components of the event-related brain potential (ERP), we must use data about the components' antecedent conditions to form hypotheses about the information-processing function of the underlying brain activity These hypotheses, in turn, generate testable predictions about the consequences of the component We review the application of this approach to the analysis of the P300 component The amplitude of the P300 is controlled multiplicatively by the subjective probability and the task relevance of the eliciting events, whereas its latency depends on the duration of stimulus evaluation These and other factors suggest that the P300 is a manifestation of activity occurring whenever one's model of the environment must be revised Tests of three predictions based on this “context updating” model are reviewed Verleger's critique is based on a misconstrual of the model as well as a partial and misleading reading of the relevant literature

Is the P300 component a manifestation of context updating

We used positron emission tomography to study neural mechanisms underlying intensely pleasant emotional responses to music. Cerebral blood flow changes were measured in response to subject-selected music that elicited the highly pleasurable experience of “shivers-down-the-spine” or “chills.” Subjective reports of chills were accompanied by changes in heart rate, electromyogram, and respiration. As intensity of these chills increased, cerebral blood flow increases and decreases were observed in brain regions thought to be involved in reward/motivation, emotion, and arousal, including ventral striatum, midbrain, amygdala, orbitofrontal cortex, and ventral medial prefrontal cortex. These brain structures are known to be active in response to other euphoria-inducing stimuli, such as food, sex, and drugs of abuse. This finding links music with biologically relevant, survival-related stimuli via their common recruitment of brain circuitry involved in pleasure and reward.

/pdf/intensely-pleasurable-responses-to-music-correlate-with-14puxr5y44.pdf

Intensely pleasurable responses to music correlate with activity in brain regions implicated in reward and emotion

http://gruberpeplab.com/3131/Kreibig_2010.pdf

Autonomic nervous system activity in emotion: A review

1. Objectives and Methods 2. Quantifying Tonal Hierarchies and Key Distances 3. Musical Correlates of Perceived Tonal Hierarchies 4. A Key-Finding Algorithm Based on Tonal Hierarchies 5. Perceived Relations Between Musical Tones 6. Perceptual Organization and Pitch Memory 7. Quantifying Harmonic Hierarchies and Key Distances 8. Perceived Harmonic Relations 9. Perceiving Multiple Keys: Modulation and Polytonality 10. Tonal Hierarchies in Atonal and Non-Western Tonal Music 11. Music Cognition: Theoretical and Empirical Generalizations

Cognitive Foundations of Musical Pitch

A basic issue about musical emotions concerns whether music elicits emotional responses in listeners (the 'emotivist' position) or simply expresses emotions that listeners recognize in the music (the 'cognitivist' position). To address this, psychophysiological measures were recorded while listners heard two excerpts chosen to represent each of three emotions: sad, fear, and happy. The measures covered a fairly wide spectrum of cardiac, vascular, electrodermal, and respiratory functions. Other subjects indicated dynamic changes in emotions they experienced while listening to the music on one of four scales: sad, fear, happy, and tension. Both physiological and emotion judgements were made on a second-by-second basis. The physiological measures all showed a significant effect of music compared to the pre-music interval. A number of analyses, including correlations between physiology and emotion judgments, found significant differences among the excerpts. The sad excerpts produced the largest changes in heart rate, blood pressure, skin conductance and temperature. The fear excerpts produced the largest changes in blood transit time and amplitude. The happy excerpts produced the largest changes in the measures of respiration. These emotion-specific physiological changes only partially replicated those found for nonmusical emotions. The physiological effects of music observed generally support the emotivist view of musical emotions.

/pdf/an-exploratory-study-of-musical-emotions-and-4g77a39054.pdf

An exploratory study of musical emotions and psychophysiology

The cognitive representation of harmonic and tonal structure in Western music is investigated using a tone-profile technique. In this method listeners rate how well single tones (any one of the 12 tones of the chromatic scale) follow a musical element such as a scale, chord, or cadence. Very stable rating profiles reflecting the tonal hierarchies in major and minor keys are obtained, which, when intercorrelated and analyzed using multidimensional scaling, produce a four-dimensional spatial map of the distances between keys. The keys are located on the surface of a torus, in which the circle of fifths and the parallel and relative relations between major and minor keys are represented. In addition, single chords (major, minor, diminished, and dominant seventh) are found to be closely associated with the major and minor keys in which they play harmonic functions. The developing and changing sense of key during sequences of chords is traced by obtaining probe tone ratings following each chord in 10 different sequences, 8 of which contain modulations (changes) between keys. Modulations between closely related keys are found to be effected more immediately than are modulations between relatively distant keys. In all cases beyond the initial chord, the sense of the prevailing key is stronger than that produced by the last heard chord in isolation. Thus, listeners integrate harmonic functions over multiple chords, developing a sense of key that may need to be reevaluated as additional chords are sounded. It is suggested that the perceived relations between chords and keys and between different keys are mediated through an internal representation of the hierarchy of tonal functions of single tones in music. Music consists of tones varying in pitch, serve to highlight rhythmic patterns, further duration, loudness, and timbre, but the per- emphasize phrase structure, and distinguish ception of music extends well beyond the between tones constituting the primary meregistration of these physical attributes of lodic line and tones serving more ornamental the musical stimulus. Indeed, music contains or harmonic functions. Timbral characterconsiderable structure even in the relations istics may additionally provide important that obtain among the individual tones. For cues for the overall structure of the musical example, the durations are such that metri- composition.

http://music.psych.cornell.edu/articles/tonality/1982K&KesslerPsychRevfromJournal.pdf

Tracing the dynamic changes in perceived tonal organization in a spatial representation of musical keys.

In this series of experiments, evidence was found for a complex psychological representation of musical pitch. The results of a scaling study, in which subjects judged the similarities between pairs of tones presented in an explicitly tonal context, suggest that musical listeners extract a pattern of relationships among tones that is determined not only by pitch height and chroma, but also by membership in the major triad chord and the diatonic scale associated with the tonal system of the context. Multidimensional scaling of the similarity ratings gave a three-dimensional conical structure around which the tones were ordered according to pitch height. The major triad components formed a closely related cluster near the vertex of the cone; the remaining diatonic scale tones formed a less closely related subset farther from the vertex; and, the nondiatonic tones, still farther from the vertex, were widely dispersed. The results also suggest that, in the psychological representation, tones less closely related to the tonality are less stable than tones closely related to the tonality, and that the representation incorporates the tendency for unstable tones to move toward the more stable tones in time, reflecting the dynamic character of musical tones. In the similarity ratings of the scaling study, tones less related to the tonality were judged more similar to tones more related to the tonality than the reverse temporal order. Furthermore, in a delayed recognition task memory performance for nondiatonic tones was less accurate than for diatonic tones, and nondiatonic tones were more often confused with diatonic tones than diatonic tones were confused with nondiatonic tones. These results indicate the tonality-specific nature of the psychological representation and argue that the perception of music depends not only on psychoacoustic properties of the tones, but also on processes that relate the tones to one another through contact with a well-defined and complex psychological representation of musical pitch.

The psychological representation of musical pitch in a tonal context

In a recent article, Tversky questioned the application of geometric models to similarity data and proposed an alternative set-theoretic approach. He suggested that geometric models are inappropriate because the similarity data may violate the metric assumptions underlying such models. In addition, he demonstrated that the stimulus context and the nature of the experimental task can affect the similarity relations. The present article suggests that a geometric approach may be compatible with these effects if the traditional multidimensional scaling model is augmented by the assumption that spatial density in the configuration has an effect on the similarity measure. A distance-densi ty model is outlined that assumes that similarity is a function of both interpoint distance and the spatial density of other stimulus points in the surrounding region of the metric space. The proposed relationship between similarity and spatial density is supported by empirical evidence. The distance-density model is shown to be able to account for violations of the metric axioms and certain context and task effects. A number of other issues are discussed with respect to geometric and set-theoretic models of similarity.

/pdf/concerning-the-applicability-of-geometric-models-to-rxow8juing.pdf

Carol L. Krumhansl

Papers

Cognitive Foundations of Musical Pitch

An exploratory study of musical emotions and psychophysiology

Tracing the dynamic changes in perceived tonal organization in a spatial representation of musical keys.

The psychological representation of musical pitch in a tonal context

Concerning the applicability of geometric models to similarity data: The interrelationship between similarity and spatial density.