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Previous investigations have shown various interactions between spatial concepts and speech sounds. For instance, the front-high vowel [i] is associated with the concept of forward, and the back-high vowel [o] is associated with the concept of backward. Three experiments investigated whether the concepts of forward/front and backward/back are associated with high- and low-pitched vocalizations, respectively, in Finnish. In Experiments 1 and 2, the participants associated the high-pitched vocalization with the forward-directed movement and the low-pitched vocalizations with the backward-directed movement. In Experiment 3, the same effect was observed in relation to the concepts of front of and back of. We propose that these observations present a novel sound-space symbolism phenomenon in which spatial concepts of forward/front and backward/back are iconically associated with high- and low-pitched speech sounds. This observation is discussed in relation to the grounding of semantic knowledge of these spatial concepts in the movements of articulators such as relative front/back-directed movements of the tongue. [ABSTRACT FROM AUTHOR]

Cochlear implant (CI) users, even with substantial speech comprehension, generally have poor sensitivity to pitch information (or fundamental frequency, F0). This insensitivity is often attributed to limited spectral and temporal resolution in the CI signals. However, the pitch sensitivity markedly varies among individuals, and some users exhibit fairly good sensitivity. This indicates that the CI signal contains sufficient information about F0, and users' sensitivity is predominantly limited by other physiological conditions such as neuroplasticity or neural health. We estimated the upper limit of F0 information that a CI signal can convey by decoding F0 from simulated CI signals (multi-channel pulsatile signals) with a deep neural network model (referred to as the CI model). We varied the number of electrode channels and the pulse rate, which should respectively affect spectral and temporal resolutions of stimulus representations. The F0-estimation performance generally improved with increasing number of channels and pulse rate. For the sounds presented under quiet conditions, the model performance was at best comparable to that of a control waveform model, which received raw-waveform inputs. Under conditions in which background noise was imposed, the performance of the CI model generally degraded by a greater degree than that of the waveform model. The pulse rate had a particularly large effect on predicted performance. These observations indicate that the CI signal contains some information for predicting F0, which is particularly sufficient for targets under quiet conditions. The temporal resolution (represented as pulse rate) plays a critical role in pitch representation under noisy conditions. [ABSTRACT FROM AUTHOR]

"Computing Taste: Algorithms and the Makers of Music Recommendation" by Nick Seaver explores how algorithmic recommender systems shape our musical taste and cultural encounters. The book delves into the origins of modern recommender systems, the developers' interpretations of music taste, and the spatial conceptions that reshape genres. Seaver also discusses the entanglement between culture and technology, offering methodological insights on studying algorithmic systems. This foundational text provides paradigm-shifting advances in understanding the role of computer algorithms in the cultural realm, making it valuable for researchers interested in the interplay between culture and technology." [Extracted from the article]

The perception of time is a subjective experience influenced by various factors such as individual psychology, external stimuli, and personal experiences, and it is often assessed with the use of the reproduction task that involves individuals estimating and reproducing the duration of specific time intervals. In the current study, we examined the ability of 97 musically trained participants to reproduce the durations of temporal intervals that were filled with music or speech stimuli. The results revealed a consistent pattern of durations being underestimated, and an association was observed between the duration of musical training and the level of accuracy in reproducing both music and speech tracks. In addition, speech tracks were overall reproduced more accurately, and as longer, than music tracks. Structural models suggested the presence of two, highly correlated, dimensions of time perception for speech and music stimuli that were related to the duration of musical training, but not with self-reported rhythm perception. The possible effects of arousal and pleasantness of stimuli on time perception are discussed within the framework of an internal clock model. [ABSTRACT FROM AUTHOR]

Timing cues such as interaural time differences (ITDs) and temporal pitch are pivotal for sound localization and source segregation, but their perception is degraded in cochlear-implant (CI) listeners as compared to normal-hearing listeners. In multi-electrode stimulation, intra-aural channel interactions between electrodes are assumed to be an important factor limiting access to those cues. The monaural asynchrony of stimulation timing across electrodes is assumed to mediate the amount of these interactions. This study investigated the effect of the monaural temporal electrode asynchrony (mTEA) between two electrodes, applied similarly in both ears, on ITD-based left/right discrimination sensitivity in five CI listeners, using pulse trains with 100 pulses per second and per electrode. Forward-masked spatial tuning curves were measured at both ears to find electrode separations evoking controlled degrees of across-electrode masking. For electrode separations smaller than 3 mm, results showed an effect of mTEA. Patterns were u/v-shaped, consistent with an explanation in terms of the effective pulse rate that appears to be subject to the well-known rate limitation in electric hearing. For separations larger than 7 mm, no mTEA effects were observed. A comparison to monaural rate-pitch discrimination in a separate set of listeners and in a matched setup showed no systematic differences between percepts. Overall, an important role of the mTEA in both binaural and monaural dual-electrode stimulation is consistent with a monaural pulse-rate limitation whose effect is mediated by channel interactions. Future CI stimulation strategies aiming at improved timing-cue encoding should minimize the stimulation delay between nearby electrodes that need to be stimulated successively. [ABSTRACT FROM AUTHOR]

This research, carried out between 2020 and 2021, involves an online questionnaire and individual interviews with undergraduate music students at universities and conservatoires in the UK, to examine student experiences of receiving and delivering instrumental and singing tuition. There is no regulation of instrumental teaching in the UK, and individuals are able to teach without formal training or qualification. Existing literature suggests that musicians often begin teaching while still in education, though there is limited research concerning the experience of this process. This research confirms that students are involved in delivering instrumental and singing lessons before and during their undergraduate studies, often beginning with peer learning initiatives in school or 'helping' family and friends. The study identifies positive perceptions of the role of teaching in portfolio careers in music and highlights the influence of both instrumental teachers and classroom music teachers in shaping understandings and providing guidance and opportunities for students. [ABSTRACT FROM AUTHOR]

Prosodic aspects of cross-linguistic contact are under-researched, especially past contact that has subsequently ceased. In this paper, we investigate declarative and polar question tunes of contemporary Cretan Greek, a regional variety of Greek whose speakers were in contact with Venetian speakers during the four and half centuries of Venetian rule on the island, from 1204 to 1669. The F0 contours of the Cretan tunes and alignment of peaks and troughs of interest with the nuclear vowel are compared to the corresponding tunes in Venetian dialect and Venetian Italian and to those in Athenian (Standard) Greek, which are used as control. The data (1610 declarative utterances and 698 polar questions) were drawn from natural speech corpora based on pragmatic criteria: broad focus for declaratives, broad focus, and information-seeking interpretation for polar questions. The pitch contour shapes of the tunes are modeled using polynomial basis functions, and the F0 alignment points are determined analytically. The results show the robustness of contact effects almost three and a half centuries after regular contact ceased and indicate that the shapes of the F0 contours of Cretan and Venetian declarative and polar question tunes are similar. In addition, Cretan alignment patterns are similar to Venetian and significantly different from Athenian. Insights are gained from research into how long prosodic characteristics may persist in a recipient language—decades or even centuries after the cessation of contact. [ABSTRACT FROM AUTHOR]

This paper presents the investigation and analysis of speech accommodation effects in data obtained from Spanish learners of German with varying proficiency levels. The production data were recorded during a collaborative map task of the Spanish learners of German among each other and with a native speaker of German. The map task was designed to target words and phrases with specific segmental and suprasegmental characteristics. These characteristics were derived from contrastive analyses of Spanish and German. The main objectives of the paper were to investigate whether segmental and suprasegmental characteristics of the target language German are affected by phonetic accommodation to varying degrees and whether these differences depend on the proficiency level of the speaker or the interlocutor. The statistical analysis, using regression analyses, revealed inconsistent accommodation effects across learners of different proficiency levels as well as different linguistic phenomena. In line with previous findings the results can best be accounted for by an adaptation of a dynamic system approach. [ABSTRACT FROM AUTHOR]

Background and aims: Fascinations for or aversions to particular sounds are a familiar feature of autism, as is an ability to reproduce another person's utterances, precisely copying the other person's prosody as well as their words. Such observations seem to indicate not only that autistic people can pay close attention to what they hear, but also that they have the ability to perceive the finer details of auditory stimuli. This is consistent with the previously reported consensus that absolute pitch is more common in autistic individuals than in neurotypicals. We take this to suggest that autistic people have perception that allows them to pay attention to fine details. It is important to establish whether or not this is so as autism is often presented as a deficit rather than a difference. We therefore undertook a narrative literature review of studies of auditory perception, in autistic and nonautistic individuals, focussing on any differences in processing linguistic and nonlinguistic sounds. Main contributions: We find persuasive evidence that nonlinguistic auditory perception in autistic children differs from that of nonautistic children. This is supported by the additional finding of a higher prevalence of absolute pitch and enhanced pitch discriminating abilities in autistic children compared to neurotypical children. Such abilities appear to stem from atypical perception, which is biased toward local-level information necessary for processing pitch and other prosodic features. Enhanced pitch discriminating abilities tend to be found in autistic individuals with a history of language delay, suggesting possible reciprocity. Research on various aspects of language development in autism also supports the hypothesis that atypical pitch perception may be accountable for observed differences in language development in autism. Conclusions: The results of our review of previously published studies are consistent with the hypothesis that auditory perception, and particularly pitch perception, in autism are different from the norm but not always impaired. Detail-oriented pitch perception may be an advantage given the right environment. We speculate that unusually heightened sensitivity to pitch differences may be at the cost of the normal development of the perception of the sounds that contribute most to early language development. Implications: The acquisition of speech and language may be a process that normally involves an enhanced perception of speech sounds at the expense of the processing of nonlinguistic sounds, but autistic children may not give speech sounds this same priority. [ABSTRACT FROM AUTHOR]

This paper examines the perceptual threshold in patterns of tonal timing (alignment) of Falling versus Low tones. The results indicate a remarkable sensitivity among the listeners. In a perception experiment with 30 participants, we tested how native speakers of the West Nilotic language Nuer responded to stimuli in which the timing of the F0 fall that distinguishes Low versus Fall following a High target is manipulated. We measured the threshold for the responses to shift tone perception from 25% to 75%. The results show that listeners only needed an average of 19 ms to differentiate between the melodic shapes and as little as 13 ms for one item. Perceptual sensitivity this fine-grained is not expected based on what is known about the Just Noticeable Difference (JND) from previous studies. Results from non-tonal languages report a sensitivity threshold for tonal timing of at least 50 ms at category boundaries. This difference suggests that whether or not subjects speak a tone language may be a determining factor in their JND. [ABSTRACT FROM AUTHOR]

The purpose of this study was to gain a deeper understanding of preservice music educators' perceptions of elementary general music (EGM), pedagogical competencies, and specialization preference. Preservice music teachers responded to a survey about perceptions of personal experiences with EGM, preparation and comfort related to EGM, and confidence in the ability to teach content and skills common in EGM curricula. Participants (n = 203) also answered questions about their preferred specialization and about factors that would influence their choice of job in the future. Most participants remembered having positive personal experiences with general music in elementary school and believe it is important for future musical success. Confidence in content and skills common in teaching EGM increases as they progress through their degree program. Most identify ensemble teaching and middle and high school grades as their future aspirations. Significant predictors of future career choice included undergraduate major and comfort teaching. [ABSTRACT FROM AUTHOR]

The purpose of this Self-Study of Teacher Education Practice (S-STEP) was to examine faculty and student perceptions of co-curricular experiences between an undergraduate instrumental conducting and a junior-level music education course. To help students develop their conducting and pedagogical skills simultaneously, music education and conducting faculty co-taught their courses and developed and implemented co-curricular assignments for 14 co-enrolled participants. Data were collected from faculty journals, meeting transcriptions, participant surveys, and interviews. Findings indicate that the collaboration and co-curricular experiences promoted student and faculty growth. Increased podium time and peer teaching opportunities during which students are given feedback greatly improved students' perceived level of comfort and confidence in front of an ensemble. In addition, the co-teaching and co-curricular assignments between conducting and music education courses promoted substantial growth in students' conducting and pedagogical skills and their ability to connect the two. Implications for music teacher education, future research, and further revision of these collaborative practices are discussed. [ABSTRACT FROM AUTHOR]

Musical abilities, both in the pitch and temporal dimension, have been shown to be positively associated with phonological awareness and reading abilities in both children and adults. There is increasing evidence that the relationship between music and language relies primarily on the temporal dimension, including both meter and rhythm. It remains unclear to what extent skill level in these temporal aspects of music may uniquely contribute to the prediction of reading outcomes. A longitudinal design was used to test a group-administered musical sequence transcription task (MSTT). This task was designed to preferentially engage sequence processing skills while controlling for fine-grained pitch discrimination and rhythm in terms of temporal grouping. Forty-five children, native speakers of Portuguese (Mage = 7.4 years), completed the MSTT and a cognitive-linguistic protocol that included visual and auditory working memory tasks, as well as phonological awareness and reading tasks in second grade. Participants then completed reading assessments in third and fifth grades. Longitudinal regression models showed that MSTT and phonological awareness had comparable power to predict reading. The MSTT showed an overall classification accuracy for identifying low-achievement readers in Grades 2, 3, and 5 that was analogous to a comprehensive model including core predictors of reading disability. In addition, MSTT was the variable with the highest loading and the most discriminatory indicator of a phonological factor. These findings carry implications for the role of temporal sequence processing in contributing to the relationship between music and language and the potential use of MSTT as a language-independent, time- and cost-effective tool for the early identification of children at risk of reading disability. [ABSTRACT FROM AUTHOR]

Lexical tones are known to be a challenging aspect of speech to acquire in a second language, but several factors are known to affect tone learning facility, such as L1 tonal status (whether a learner's L1 is tonal or not), tone type (the shape of the tones to be acquired), and individual extralinguistic factors (such as musicianship, pitch aptitude, and working memory). Crucially, most of our knowledge of the effect of these factors is based on evidence from perception. The production side of tone learning and the origins of individual variability in learning facility remain relatively understudied. To this end, this study investigated non-native tone production—both in terms of phonetic accuracy in a pseudoword imitation task and in terms of phono-lexical accuracy in a picture-naming task—by English-L1 and Mandarin-L1 speakers. Results show that L1 tonal status and tone type dynamically affected both imitation and picture-naming accuracy, as there were specific accuracy patterns for the English and Mandarin groups. Production accuracy was further facilitated by individual musical experience, working memory, and pitch aptitude. This study's findings add to the currently limited literature on how both language-specific and individual extralinguistic factors modulate non-native tone processing in the speaking modality. [ABSTRACT FROM AUTHOR]

Development of vocal exercises with visual art and interactive tools might contribute to development of students' musical skills and enhance learning effectiveness. This paper gets an insight into the effectiveness of the vocal exercises developed with visual art tools and a vocal training app. The survey was conducted among 110 students from a music school in China. Students from small groups B who used MOOC and the developed vocal exercises performed 8.6% better compared to the control group, suggesting the programme's effectiveness for teaching vocal performance. Group B post-assessment of the special factors showed increased scores on the three assessment criteria after the intervention. This study has practical value and is important for further research because it demonstrates the developed vocal exercises' effect on musical skills. Research findings may be applied in educational institutions that are interested in finding ways to develop musical skills and improve the effectiveness of vocal training. The results are important for teachers, education officials and everyone interested in the introduction of interactive environments. [ABSTRACT FROM AUTHOR]

The study aims to investigate the impact of a specially designed intervention programme on middle school students' creative thinking and musical experience. The study was conducted among 120 students (SD = 13.4) at middle music schools in the PRC. The instruments included the Creative Personality Scale (CPS) and the Scale of Musical Experience (SME). On the CPS post-test, the control group demonstrated the same creativity, suggesting the impossibility of independent development of creative abilities within an educational institution. The influence group demonstrated increased medium creativity (10.0%) and strong creativity (11.1%). SME post-test in the control group suggests that poor musical experience fell by 11.4%, medium experience increased by 6.4% and strong musical experience increased by 5.0%. The influence secured the dominance of the medium musical experience, with poor musical experience reduced by 22.3% and strong experience increased by 15.7%. The present findings can enhance scientific knowledge about classical music practices and their adoption within educational institutions. The practical significance of the study lies in the fact that creativity-oriented practices can be integrated into music schools. [ABSTRACT FROM AUTHOR]

When a sentence is produced with contrastive prosodic prominence, the word that carries the prominence becomes more salient, and alternatives to that word are usually implied. In processing, this implies that focused words and their alternatives should be more strongly activated. Previous research on focus processing has primarily been confined to Germanic languages. The current paper reports on two experiments investigating the role of prosodic prominence in immediate (Experiment 1) and long-term processing (Experiment 2) of focused words and focus alternatives in Mandarin. Prosodic prominence was effective in activating focused words and their alternatives. In the memory task, this facilitation effect was only found toward the beginning of the experiment. We attribute this difference to task-related adaptive use of prosodic prominence in utterance processing. This research sheds light on whether, when, and how listeners use prosodic prominence to identify important information and to evoke alternatives during sentence comprehension. [ABSTRACT FROM AUTHOR]

Objective: Assessing violinists' motor and musical performance adaptations to dynamic assistive support (DAS) provided by a passive device, using a force-field adaptation paradigm. Background: Up to 93% of instrumentalists are affected by musculoskeletal injuries and particularly violinists. The repetitive nature of their work may lead to muscle fatigue, an injury risk factor. DAS has been used in occupational settings to minimize muscle activations and limit fatigue accumulation. DAS may however affect motor and musical performance. Method: Fifteen expert violinists were equipped with reflective markers and surface and intramuscular electromyography (EMG) sensors. Movements, muscle activations, and sound were recorded while participants completed three experimental conditions for which they continuously played a 13-s musical excerpt: Control (no DAS), Adaptation (DAS), and Washout (no DAS). DAS was applied at the left elbow (violin-holding side). Conditions were repeated 1 week later. Participants later listened to their own audio recordings playing with and without DAS and blindly assessed their performances. Linear mixed models were used to compare DAS and no-DAS conditions' kinematic, EMG, and musical performance data. Results: DAS perturbed user kinematics but reduced mean activations of left medial deltoid and superior trapezius. Joint kinematic and muscle activation patterns between DAS and no DAS conditions however remained similar. Musical performance was unchanged with DAS. Conclusion: Though DAS modified violinists' upper-limb configurations, resulting kinematics were not detrimental to musical performance. Reduced muscle activations with DAS could contribute to lessening muscle fatigue. Application: Although its effect on muscle fatigue should be further investigated, DAS might be useful in preventing violinists' injuries. [ABSTRACT FROM AUTHOR]

In addition to language, the human voice carries information about the physical characteristics of speakers, including their body size (height and weight). The fundamental speaking frequency, perceived as voice pitch, and the formant frequencies, or resonators of the vocal tract, are the acoustic speech parameters that have been most intensely studied for perceiving a speaker's body size. In this study, we created sine-wave (SW) replicas of connected speech (sentences) uttered by 20 male and 20 female speakers, consisting of three time-varying sinusoidal waves matching the frequency pattern of the first three formants of each sentence. These stimuli only provide information about the formant frequencies of a speech signal. We also created a new experimental condition by adding a sinusoidal replica of the voice pitch of each sentence. Results obtained from a binary discrimination task revealed that (a) our SW replicas provided sufficient useful information to accurately judge the speakers' body height at an above chance level; (b) adding the sinusoidal replica about the voice pitch did not significantly increase accuracy; and (c) stimuli from female speakers were more informative for body height detection and allowed higher perceptual accuracy, due to a stronger correlation between formant frequencies and actual body height than stimuli from male speakers. [ABSTRACT FROM AUTHOR]

Enhanced pitch perception has been identified in autistic individuals, but it remains understudied whether such enhancement can be observed in the lexical tone perception of language-delayed autistic children. This study examined the categorical perception of Mandarin lexical tones in 23 language-delayed autistic children and two groups of non-autistic children, with one matched on chronological age (n = 23) and the other on developmental age in language ability (n = 23). The participants were required to identify and discriminate lexical tones. A wider identification boundary width and a lower between-category discrimination accuracy were found in autistic children than their chronological-age-matched non-autistic peers, but the autistic group exhibited seemingly comparable performance to the group of developmental-age-matched non-autistic children. While both non-autistic groups displayed a typical categorical perception pattern with enhanced sensitivity to between-category tone pairs relative to within-category ones, such a categorical perception pattern was not observed in the autistic group. These findings suggest among language-delayed autistic children with a developmental age around 4, categorical perception is still developing. Finally, we found categorical perception performance correlated with language ability, indicating autistic children's language disability might be predictive of their poor categorical perception of speech sounds. Some theories suggested that autistic people have better pitch perception skills than non-autistic people. However, in a context where pitch patterns are used to differentiate word meanings (i.e. lexical tones), autistic people may encounter difficulties, especially those with less language experience. We tested this by asking language-delayed autistic children to identify and discriminate two Mandarin lexical tones (/yi/ with Tone 1, meaning 'clothes'; /yi/ with Tone 2, meaning 'aunt'; /yi/: the standard romanization of Mandarin Chinese). On average, these autistic children were 7.35 years old, but their developmental age in language ability was 4.20, lagging behind 7-year-old non-autistic children in terms of language ability. Autistic children's performance in identifying and discriminating lexical tones was compared with two groups of non-autistic children: one group was matched with the autistic group on age, and the other was matched based on language ability. Autistic children performed differently from the non-autistic children matched on age, while autistic and non-autistic children matched on language ability exhibited seemingly similar performance. However, both the non-autistic groups have developed the perceptual ability to process lexical tones as different categories, but this ability was still developing in autistic children. Finally, we found autistic children who performed worse in identifying lexical tones had poorer language ability. The results suggest that language disability might have adverse influence on the development of skills of speech sound processing. [ABSTRACT FROM AUTHOR]

Good musical abilities are typically considered to be a consequence of music training, such that they are studied in samples of formally trained individuals. Here, we asked what predicts musical abilities in the absence of music training. Participants with no formal music training (N = 190) completed the Goldsmiths Musical Sophistication Index, measures of personality and cognitive ability, and the Musical Ear Test (MET). The MET is an objective test of musical abilities that provides a Total score and separate scores for its two subtests (Melody and Rhythm), which require listeners to determine whether standard and comparison auditory sequences are identical. MET scores had no associations with personality traits. They correlated positively, however, with informal musical experience and cognitive abilities. Informal musical experience was a better predictor of Melody than of Rhythm scores. Some participants (12%) had Total scores higher than the mean from a sample of musically trained individuals (⩾6 years of formal training), tested previously by Correia et al. Untrained participants with particularly good musical abilities (top 25%, n = 51) scored higher than trained participants on the Rhythm subtest and similarly on the Melody subtest. High-ability untrained participants were also similar to trained ones in cognitive ability, but lower in the personality trait openness-to-experience. These results imply that formal music training is not required to achieve musician-like performance on tests of musical and cognitive abilities. They also suggest that informal music practice and music-related predispositions should be considered in studies of musical expertise. [ABSTRACT FROM AUTHOR]

In this mixed-methods study, we explored perspectives of ensemble directors (N = 306) regarding standards-based instruction and circumstances impacting standards-based instruction in the areas of creating, performing, responding, and connecting. Our research was modeled on Byo's (1999) examination of teacher perceptions of the implementation of the 1994 music standards. We conducted an initial survey and completed follow-up interviews. Every participant indicated familiarity with the National Core Arts Standards, with many reporting that they regularly addressed standards in their teaching. The anchor standards related to performing were most commonly incorporated, whereas those related to creating and connecting were the least commonly addressed. Teachers shared strategies that promoted standards-based instruction and described barriers that prevented them from fully incorporating standards-based instruction. There is a need for ongoing professional development for in-service teachers, dedicated planning time, and realistic expectations related to the creating, responding, and connecting standards in performing ensembles. [ABSTRACT FROM AUTHOR]

In this study, we explored associations between perception of musical features (pitch, tonality, timing, timbre, and loudness), vocal abilities (singing accuracy, melodic achievement, and rhythmic performance), and cognitive levels (reading accuracy and comprehension, grammar, and math) among children ages 6 to 12. Musical perception abilities were measured using the Implicit Tonal Ability Test. Vocal abilities were measured using the Vocal Musical Ability Test. Cognitive levels were measured using standardized Dutch performance tests on academic skills. We investigated which factors (age, gender, cognitive levels, school type, music perception abilities, and participation in music education) predict vocal abilities and how these abilities differed by age. Results showed that singing accuracy was best predicted by gender, math level, and music perception abilities. Melodic achievement was best predicted by age, school type, math level, and music perception abilities. Rhythmic performance was best predicted by age, instrumental music education, and music perception abilities. Regardless of their age, differences in singing abilities between children were large. We advise teachers to provide activities in which repetition and prediction of patterns, scales, all intervals, and intonation are practiced, including transposing melodies and repeating rhythmic patterns. [ABSTRACT FROM AUTHOR]

This mixed-methods study focused on cross-modal change in perception of paintings, by coupling them with related musical pieces. 120 participants were assessed using an online form, distributed via social media. They were asked to choose one of three realistic or abstract paintings, evaluate their perceptual characteristics on five semantic differential rating scales and answer three questions. The participants were then given a choice of three musical pieces (pre-selected to suit each painting) to match their chosen painting. Our findings revealed a significant change in three of the five scales. Moreover, for 93 of the 120 participants, the experience of looking at a painting while listening allowed projection of newly found perception or properties associated with music (dynamism through time, mobility, and the evocation of self-expression) onto the painting. These data suggest that as observers combine stylistically-fitting music with a painting, they find new meaning and value, thereby enhancing their experience. [ABSTRACT FROM AUTHOR]

Auditory memory is an important everyday skill evaluated more and more frequently in clinical settings as there is recently a greater recognition of the cost of hearing loss to cognitive systems. Testing often involves reading a list of unrelated items aloud; but prosodic variations in pitch and timing across the list can affect the number of items remembered. Here, we ran a series of online studies on normally-hearing participants to provide normative data (with a larger and more diverse population than the typical student sample) on a novel protocol characterizing the effects of suprasegmental properties in speech, namely investigating pitch patterns, fast and slow pacing, and interactions between pitch and time grouping. In addition to free recall, and in line with our desire to work eventually with individuals exhibiting more limited cognitive capacity, we included a cued recall task to help participants recover specifically the words forgotten during the free recall part. We replicated key findings from previous research, demonstrating the benefits of slower pacing and of grouping on free recall. However, only slower pacing led to better performance on cued recall, indicating that grouping effects may decay surprisingly fast (over a matter of one minute) compared to the effect of slowed pacing. These results provide a benchmark for future comparisons of short-term recall performance in hearing-impaired listeners and users of cochlear implants. Graphical Abstract This is a visual representation of the abstract. [ABSTRACT FROM AUTHOR]

The purpose of this instrumental case study was to examine preservice music educators' perceptions of teaching voice lessons to elementary and secondary students during an online synchronous fieldwork experience. I used Garrison et al.'s Community of Inquiry (CoI) framework to analyze the participants' perceptions of cognitive presence (i.e., triggering events, exploration, integration, and resolution), social presence (i.e., emotional expression, open communication, and group cohesion), and teaching presence (i.e., structure and design of the fieldwork experience). During initial lessons, participants cited mostly triggering events and exploration, which occurred alongside indicators of social presence. Participants cited technological challenges associated with online synchronous learning (i.e., teaching presence) may have hindered instances of integration and resolution. Music teacher educators may consider using the CoI framework to structure collaborative and supportive online synchronous fieldwork experiences. [ABSTRACT FROM AUTHOR]

The article investigates the ways in which young musicians explored new (unfamiliar) social landscapes and emotions during Covid-19 pandemic lockdowns, through learning to listen to the "music within their steps" while walking on their own or with members of their own families for the inter-disciplinary project 'The Musical Steps'. The project examines the self-recorded essays, visual materials and reflections by the young musicians and their parents, which reveal new cultural perspectives of sound, space and silence, along with the thoughts about musical repertoire which were inspired by the walks. Methodologically, we applied the walking biographical method that enabled us to explore young musicians' reflections on music and their lives during lockdowns from an inter-disciplinary perspective. The walking biographies approach to research on the move has been specially adapted for young musicians and their families by the authors. This article explores how walking changed young musicians' emotional perceptions of music and what they heard and felt during and after their walks. Questions were raised as to whether the walks affected their physical and mental well-being, both personally and musically, and whether the walks influenced their understanding of their cultural background/origin. [ABSTRACT FROM AUTHOR]

As an information-bearing auditory attribute of sound, pitch plays a crucial role in the perception of speech and music. Studies examining pitch processing in autism spectrum disorder have produced equivocal results. To understand this discrepancy from a mechanistic perspective, we used a novel data-driven method, the reverse-correlation paradigm, to explore whether the equivocal findings in autism spectrum disorder have high-level origins in top–down comparisons of internal mental representations of pitch contours. Thirty-two Mandarin-speaking autistic individuals and 32 non-autistic individuals undertook three subtasks testing mental representations of pitch contours in speech, complex tone and melody, respectively. The results indicate that while the two groups exhibited similar representations of pitch contours across the three conditions, the autistic group showed a significantly higher intra-group variability than the non-autistic group. In addition, the two groups did not differ significantly in internal noise, a measure of the robustness of participant responses to external variability, suggesting that the present findings translate genuinely qualitative differences and similarities between groups in pitch processing. These findings uncover for the first time that pitch patterns in speech and music are mentally represented in a similar manner in autistic and non-autistic individuals, through domain-general top–down mechanisms. As a key auditory attribute of sounds, pitch is ubiquitous in our everyday listening experience involving language, music and environmental sounds. Given its critical role in auditory processing related to communication, numerous studies have investigated pitch processing in autism spectrum disorder. However, the findings have been mixed, reporting either enhanced, typical or impaired performance among autistic individuals. By investigating top–down comparisons of internal mental representations of pitch contours in speech and music, this study shows for the first time that, while autistic individuals exhibit diverse profiles of pitch processing compared to non-autistic individuals, their mental representations of pitch contours are typical across domains. These findings suggest that pitch-processing mechanisms are shared across domains in autism spectrum disorder and provide theoretical implications for using music to improve speech for those autistic individuals who have language problems. [ABSTRACT FROM AUTHOR]

This study explores correlations between personal preferences for musical instruments and architectural materials. Specifically, it determines whether preferences for 12 musical instruments or their instrument families may reflect a preference tendency in architectural material features pertaining to colour, quality, texture, and reflection. First, a survey gathered individual appreciations of the attributes. After carefully distinguishing the valid responses, Pearson's correlation coefficient analysis revealed attribute preference correlations within different demographic classes, and Bonferroni correction screened the most reliable ones. The outcomes show different correlation trends across ages and genders, and once again confirm their importance in the preference correlations. Attributes related to material colour and quality reflected a higher number of correlations with musical instrument timber preferences, and thus have more potential to reflect the satisfactory attributes in another field. Several correlations were also discovered, thereby confirming the existence and potential uses of the preference correlations between musical instruments and architectural materials. [ABSTRACT FROM AUTHOR]

The purpose of this study was to examine music education faculty members' perceptions of admissions and selection criteria for entering master's students in music education degree programs. Using multistage sampling, we distributed a questionnaire to music education faculty at National Association of Schools of Music (NASM)-accredited institutions in the United States that offered master's degrees in music education. Results indicated that music education faculty were involved in most admission decisions, and that transcripts, interviews, and letters of recommendation were the most common materials submitted for review. In response to open-ended questions, participants reported that their admission decisions are usually determined by four criteria: academic skills, demonstration of potential as a graduate student, demonstration of teaching ability, and less measurable indicators. This exploration of the admissions and selection criteria that music education faculty use when making admission decisions provides music teacher educators a greater understanding of this important transition point. [ABSTRACT FROM AUTHOR]

Cochlear implants (CIs) are optimized for speech perception but poor in conveying musical sound features such as pitch, melody, and timbre. Here, we investigated the early development of discrimination of musical sound features after cochlear implantation. Nine recently implanted CI users (CIre) were tested shortly after switch-on (T1) and approximately 3 months later (T2), using a musical multifeature mismatch negativity (MMN) paradigm, presenting four deviant features (intensity, pitch, timbre, and rhythm), and a three-alternative forced-choice behavioral test. For reference, groups of experienced CI users (CIex; n = 13) and normally hearing (NH) controls (n = 14) underwent the same tests once. We found significant improvement in CIre's neural discrimination of pitch and timbre as marked by increased MMN amplitudes. This was not reflected in the behavioral results. Behaviorally, CIre scored well above chance level at both time points for all features except intensity, but significantly below NH controls for all features except rhythm. Both CI groups scored significantly below NH in behavioral pitch discrimination. No significant difference was found in MMN amplitude between CIex and NH. The results indicate that development of musical discrimination can be detected neurophysiologically early after switch-on. However, to fully take advantage of the sparse information from the implant, a prolonged adaptation period may be required. Behavioral discrimination accuracy was notably high already shortly after implant switch-on, although well below that of NH listeners. This study provides new insight into the early development of music-discrimination abilities in CI users and may have clinical and therapeutic relevance. [ABSTRACT FROM AUTHOR]

Music through a cochlear implant (CI) is described as out-of-tune, suggesting that musical intervals are not accurately provided by a CI. One potential reason is that pitch may be insufficiently conveyed to provide reliable intervals. Another potential reason is that the size of intervals is distorted through a CI as they would be when produced by a mistuned piano. To measure intervals through a CI, listeners selected prerecorded vowels with different fundamental frequencies to represent each note in Happy Birthday. Each listener had contralateral normal hearing (NH); repeating the experiment with their NH ear allowed for a within-subject control. Additionally, the effect of listening simultaneously to both a CI and NH ear was measured. The resulting versions of Happy Birthday were analyzed in terms of their contours, interval sizes, magnitudes, consistency, and direction. Intervals with NH ears ranged from perfect to uncorrelated with target intervals. Chosen interval size with the CI was poorer than with the NH ear for all subjects. Across listeners, chosen intervals with the CI ranged from highly correlated to uncorrelated with target intervals. That CI intervals were highly correlated with target intervals for some listeners suggests that accurate intervals can be provided through a CI. For some listeners, chosen intervals were larger than target intervals, suggesting that intervals may be perceived as too small. Overall, intervals with the combination of the NH and CI ears were similar to those with the NH ear alone, suggesting that the addition of a CI has little-to-no effect on interval perception. [ABSTRACT FROM AUTHOR]

This study investigates socioprosodic variation in Yami, a moribund indigenous language under intense contact with Mandarin in Taiwan: 32 bilingual (Yami-dominant, balanced, Mandarin-dominant) and 5 Yami-monolingual participants were recruited. We used an Interactive Card Game to elicit semi-spontaneous speech for neutral questions (NQ), default declarative questions (DQ1), and declarative questions with lighter incredulity (DQ2). Results reveal that (1) yes/no question intonation in Yami is highly variable; (2) on a broad community level, the DQ1–DQ2 distinction is absent from Yami; and (3) there is prosodic hybridization and innovation in bilingual speech. In particular, we see significant differences in DQ1 and NQ productions, with DQ1s having a rising nuclear configuration, higher pitch level, and wider pitch span, while NQs are realized with a mid-level pattern, lower pitch level, and narrower pitch span. DQ2 utterances exhibited highly varied nuclear configuration patterns with no significant differences in either pitch level or pitch span in DQ1–DQ2 comparisons. Yet, there is evidence that a hybridized DQ2 has begun to be integrated into Yami among younger bilinguals, suggesting that present-day Yami is in flux and is undergoing restructuring. These intonational variations are not easily attributable to a weakened Yami identity. Rather, younger bilinguals, who are leading the change, are highly dedicated to cultural practices and show strong rootedness in their Indigenous identity. Seemingly, while these less fluent speakers no longer use Yami to fulfill their everyday communicative needs, they are leaning more on its socio-indexical functions to reflect their ethnocultural identity. [ABSTRACT FROM AUTHOR]

The current study provides a phonetic perspective on the questions of whether a high degree of variability in pitch may be considered a characteristic, endonormative feature of Trinidadian English (TrinE) at the level of speech production and contribute to what is popularly described as 'sing-song' prosody. Based on read and spontaneous data from 111 speakers, we analyze pitch level, range, and dynamism in TrinE in comparison to Southern Standard British (BrE) and Educated Indian English (IndE) and investigate sociophonetic variation in TrinE prosody with a view to these global F0 parameters. Our findings suggest that a large pitch range could potentially be considered an endonormative feature of TrinE that distinguishes it from other varieties (BrE and IndE), at least in spontaneous speech. More importantly, however, it is shown that a high degree of pitch variation in terms of range and dynamism is not as much characteristic of TrinE as a whole as it is of female Trinidadian speakers. An important finding of this study is that pitch variation patterns are not homogenous in TrinE, but systematically sociolinguistically conditioned across gender, age, and ethnic groups, and rural and urban speakers. The findings thus reveal that there is a considerable degree of systematic local differentiation in TrinE prosody. On a more general level, the findings may be taken to indicate that endonormative tendencies and sociolinguistic differentiation in TrinE prosody are interlinked. [ABSTRACT FROM AUTHOR]

We investigated whether expression of social meaning operationalized as individual gender identitity and politeness moderated pitch range in the two languages of female and male Japanese-English sequential bilinguals. The bilinguals were resident in either London (UK) or Tokyo (Japan) and read sentences to imagined addressees who varied in formality and sex. Results indicated significant differences in the pitch range of the two languages of the bilinguals, and this was confirmed for female and male bilinguals in London and Tokyo, with the language differences being more extreme in the London bilinguals than in the Tokyo bilinguals. Interestingly, self-attribution of masculine gender traits patterned with within-language variation in the English pitch level of the female bilinguals, whereas self-attribution of feminine gender traits patterned with within-language variation in the English pitch level of the male bilinguals. In addition, female and male bilinguals significantly varied their pitch range in Japanese, but not in English, as a function of the imagined addressees. Findings confirmed that bilinguals produce pitch range differently in their languages and suggest that expression of social meaning may affect pitch range of the two languages of female and male bilinguals differently. [ABSTRACT FROM AUTHOR]

This study investigated the psychological dynamics during worship experiences under the influence of different music conditions. In total, 60 believers were recruited to participate in experiments where they were asked to engage in worship and to connect with God while continuously ranking how strongly they sensed the presence of the divine. After each condition, they were asked to rate how well they were able to focus on God during the worship procedure. Based on a previously published Feedback Loop Model that portrays global psychological mechanisms in worship, we deduced two hypotheses: (1) the ability to focus on God is positively associated with how strong the subjective religious experience becomes, and (2) the different musical conditions yield varying degrees in the intensity of the felt presence of God. Our statistical analyses on the current sample demonstrate that both alternative hypotheses can be accepted. For the latter thesis, two further assumptions were at play: (1) we speculated that religious worship songs were associated with stronger divine experiences than with secular ones, and (2) it was assumed that if they could worship to their own selection of songs, the experience would be more powerful than with the ones that were provided by the research team. Whereas upon our investigation the former assumption can be deemed correct, the latter shows a positive but insignificant association. [ABSTRACT FROM AUTHOR]

To a certain degree, human listeners can perceive a speaker's body size from their voice. The speaker's voice pitch or fundamental frequency (Fo) and the vocal formant frequencies are the voice parameters that have been most intensively studied in past body size perception research (particularly for body height). Artificially lowering the Fo of isolated vowels from male speakers improved listeners' accuracy of binary (i.e., tall vs not tall) body height perceptions. This has been explained by the theory that a denser harmonic spectrum provided by a low pitch improved the perceptual resolution of formants that aid formant-based size assessments. In the present study, we extended this research using connected speech (i.e., words and sentences) pronounced by speakers of both sexes. Unexpectedly, we found that raising Fo, not lowering it, increased the participants' perceptual performance in two binary discrimination tasks of body size. We explain our new finding in the temporal domain by the dynamic and time-varying acoustic properties of connected speech. Increased Fo might increase the sampling density of sound wave acoustic cycles and provide more detailed information, such as higher resolution, on the envelope shape. [ABSTRACT FROM AUTHOR]

Using the Theory of Social Representations as a theoretical and methodological framework, the purpose of this study was to describe children's representations of music, musical identities, and musical engagement across middle childhood. Participants were primary students aged 8 to 11 (N = 132) from four schools in a large city in the Southeastern United States. Previous studies have documented that projective techniques (linguistic associations with textual stimuli) can access latent dimensions of thinking. Accordingly, linguistic associations with the textual stimuli "music," "music and me," music at school," and "music outside school" were used to gain insight into children's representations of music, musical identities, and musical engagement. Participants were also asked to provide socio-demographic data that might influence their responses. The Correspondences Analysis technique was used to reconstruct representational fields associated with the stimuli. For each stimulus, a three-factor extraction identified hidden dimensions in children's linguistic responses and summarized the links between contextual variables and children's representations. Major findings suggest that children at increasingly younger ages express preferences and construct their own representations of music and musical identities. [ABSTRACT FROM AUTHOR]

Standard Japanese uses pitch accent to distinguish words such as initially-accented hashi "chopsticks" and finally-accented hashi "bridge." Research on the second language acquisition of pitch accent shows considerable variation: in accuracy scores in identification, in different dominant accent types in production, and in the unstable accent types of repeated words. This study investigates pitch accent production in English-speaking learners of Japanese, asking how accuracy and stability vary (a) with amount of Japanese experience and (b) between learners. Two groups of learners (13 less experienced; 8 more experienced) produced 180 words in three contexts (e.g., ame "rain," ame da "it's rain," and ame ga furu "rain falls"). Three Japanese phoneticians identified the accent types of the words that the learners produced. The results showed no difference in accuracy or stability between the two groups and little inter-learner variation in accuracy: all had low accuracy. Although some learners had relatively high stability, they did not maintain accent type contrasts across contexts. These results suggest that first language English speakers do not encode pitch accent in long-term memory, raising questions for future research and language teaching. [ABSTRACT FROM AUTHOR]

Timbre is an integral dimension of musical sound quality, and people accumulate knowledge about timbre of sounds generated by various musical instruments throughout their life. Recent studies have proposed the possibility that musical sound is crossmodally integrated with visual information related to the sound. However, little is known about the influence of visual information on musical timbre perception. The present study investigated the automaticity of crossmodal integration between musical timbre and visual image of hands playing musical instruments. In the experiment, an image of hands playing piano or violin, or a control scrambled image was presented to participants unconsciously. Simultaneously, participants heard intermediate sounds synthesised by morphing piano and violin sounds with the same note. The participants answered whether the musical tone sounded like piano or violin. The results revealed that participants were more likely to perceive violin sound when an image of a violin was presented unconsciously than when playing piano was presented. This finding indicates that timbral perception of musical sound is influenced by visual information of musical performance without conscious awareness, supporting the automaticity of crossmodal integration in musical timbre perception. [ABSTRACT FROM AUTHOR]

Prior research involving persons with drug-resistant epilepsy has demonstrated that listening to some music decreases the probability of clinical seizures and their related comorbidities. This article reviews recent research designed to elicit the neural mechanisms behind positive outcomes on biomarkers of the disease. Using novel music analytical and neurophysiological experimental methods, our results showed positive effects on epilepsy using 15-second gamma-band (40-Hz) complex tones as well as Mozart's Sonata for Two Pianos in D Major (K448). We also observed greater effects with increased stimulus duration. Further analysis elicited effects localized to bilateral frontal brain regions due to transitions between musical phrases. Finally, music matched for patient preference from a range of musical styles was not as effective as 40-Hz tones or Mozart's K448. Understanding these results required expertise in both music and neuroscience, and could yield reliable music-based interventions for epilepsy that may also be transferable to other brain disorders. [ABSTRACT FROM AUTHOR]

The career of metaphor hypothesis advanced by Gentner et al, which describes differences in cognitive processing between metaphors encountered for the first time (novel metaphors) and metaphors encountered frequently (conventional metaphors), is applied to diverse relationships between instrumental music and the voice. A general account of musical metaphors hypothesizes that historical controversies over music's capacity to communicate extramusical meaning are rooted in the problematic conceptual metaphor Meaning is Content and may be allayed by adopting an alternative, Meaning is Mapping. Historical practices of modelling instrumental performance and composition on the voice (e.g. cantabile, The Singing Style) are conceived as conventional metaphors and various contemporary approaches to voice-based instrumental and electroacoustic composition are conceived as novel metaphors. A brief survey of contemporary practices illustrates some of the ways recent music has exploited vocality with examples from recent repertoire, and points of comparison between conventional and novel approaches to vocality are summarized. [ABSTRACT FROM AUTHOR]

The article traces the author's research into auditory and temporal perception to probe the strategies useful to a composer for portraying illusions of multiple layers in music, then to a secondary exploration of cross-disciplinary terminologies and strategies, and subsequently to a focus on variables in the listener profile as influencing the potential discernment of meaning in music. Further exploration, tracing the millennia of primitive sound-processing strategies as well as the many contexts which involve body movements and rhythms, leads to the realization that a composer who ventures outside traditional stylistic conventions of music-making will benefit from attention to these factors. In conclusion, the author points out that music is created not only for portraying emotions and moods, but, like all art forms, with an infinite variety of manifestations, subject matter, and research modes. [ABSTRACT FROM AUTHOR]

There has long been interest in the nature of the relationship(s) between hue and pitch or, in other words, between colour and musical/pure tones, stretching back at least as far as Newton, Goethe, Helmholtz, and beyond. In this narrative historical review, we take a closer look at the motivations that have lain behind the various assertions that have been made in the literature concerning the analogies, and possible perceptual similarities, between colour and sound. During the last century, a number of experimental psychologists have also investigated the nature of the correspondence between these two primary dimensions of perceptual experience. The multitude of different crossmodal mappings that have been put forward over the centuries are summarized, and a distinction drawn between physical/structural and psychological correspondences. The latter being further sub-divided into perceptual and affective categories. Interest in physical correspondences has typically been motivated by the structural similarities (analogous mappings) between the organization of perceptible dimensions of auditory and visual experience. Emphasis has been placed both on the similarity in terms of the number of basic categories into which pitch and colour can be arranged and also on the fact that both can be conceptualized as circular dimensions. A distinction is drawn between those commentators who have argued for a dimensional alignment of pitch and hue (based on a structural mapping), and those who appear to have been motivated by the existence of specific correspondences between particular pairs of auditory and visual stimuli instead (often, as we will see, based on the idiosyncratic correspondences that have been reported by synaesthetes). Ultimately, though, the emotional-mediation account would currently appear to provide the most parsimonious account for whatever affinity the majority of people experience between musical sounds and colour. [ABSTRACT FROM AUTHOR]

Some of the problems experienced by users of hearing aids (HAs) when listening to music are relevant to cochlear implants (CIs). One problem is related to the high peak levels (up to 120 dB SPL) that occur in live music. Some HAs and CIs overload at such levels, because of the limited dynamic range of the microphones and analogue-to-digital converters (ADCs), leading to perceived distortion. Potential solutions are to use 24-bit ADCs or to include an adjustable gain between the microphones and the ADCs. A related problem is how to squeeze the wide dynamic range of music into the limited dynamic range of the user, which can be only 6-20 dB for CI users. In HAs, this is usually done via multi-channel amplitude compression (automatic gain control, AGC). In CIs, a single-channel front-end AGC is applied to the broadband input signal or a control signal derived from a running average of the broadband signal level is used to control the mapping of the channel envelope magnitude to an electrical signal. This introduces several problems: (1) an intense narrowband signal (e.g. a strong bass sound) reduces the level for all frequency components, making some parts of the music harder to hear; (2) the AGC introduces cross-modulation effects that can make a steady sound (e.g. sustained strings or a sung note) appear to fluctuate in level. Potential solutions are to use several frequency channels to create slowly varying gain-control signals and to use slow-acting (or dual time-constant) AGC rather than fast-acting AGC. [ABSTRACT FROM AUTHOR]

Recent research has proposed that listeners use prosodic information to guide their processing of phonemic contrasts. Given that prosodic organization of the speech signal systematically modulates durational patterns (e.g., accentual lengthening and phrase-final (PF) lengthening), listeners' perception of durational contrasts has been argued to be influenced by prosodic factors. For example, given that sounds are generally lengthened preceding a prosodic boundary, listeners may adjust their perception of durational cues accordingly, effectively compensating for prosodically-driven temporal patterns. In the present study we present two experiments designed to test the importance of pitch-based cues to prosodic structure for listeners' perception of contrastive vowel length (CVL) in Tokyo Japanese along these lines. We tested if, when a target sound is cued as being PF, listeners compensatorily adjust categorization of vowel duration, in accordance with PF lengthening. Both experiments were a two-alternative forced choice task in which listeners categorized a vowel duration continuum as a phonemically short or long vowel. We manipulated only pitch surrounding the target sound in a carrier phrase to cue it as intonational phrase final, or accentual phrase medial. In Experiment 1 we tested perception of an accented target word, and in Experiment 2 we tested perception of an unaccented target word. In both experiments, we found that contextual changes in pitch influenced listeners' perception of CVL, in accordance with their function as signaling intonational structure. Results therefore suggest that listeners use tonal information to compute prosodic structure and bring this to bear on their perception of durational contrasts in speech. [ABSTRACT FROM AUTHOR]

Pitch discrimination ability has been of research interest due to its potential relationship to language and literacy. However, assessment protocols for pitch discrimination have varied widely. Prior studies with both children and adults have produced conflicting performance findings across different pitch discrimination research paradigms, though they have consistently shown that discrimination accuracy is based on the psychophysical assessment method applied. In the present study, we examined pitch discrimination performance among convenience samples of 19 adult women and ten female children across six different adaptive psychophysical measurement conditions. We found pitch discrimination performance in both groups to be impacted by the measurement paradigm such that, while adults exhibited significantly better discrimination thresholds than did children, the pattern of performance across the six conditions was similar for both the adults and the children. [ABSTRACT FROM AUTHOR]