Subject: Re: Auditory perceptual blocks, and criterion shifts From: "Richard M. Warren" <rmwarren@xxxxxxxx> Date: Mon, 26 Nov 2012 15:09:17 -0600 List-Archive:<http://lists.mcgill.ca/scripts/wa.exe?LIST=AUDITORY>--Apple-Mail-2--152680894 Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=us-ascii The comments described by Eldad Tsabary today may be an example of a = general perceptual effect described in the article ["Criterion Shift = Rule and Perceptual Homeostasis," Warren, 1995, Psychological Review, = 92, 574-584.]. This article considers that "...the bases employed for = evaluative judgments are displaced in the direction of a preceding or = simultaneously encountered value. Consequences of this displacement = have been discovered and re-discovered numerous times, and appear in the = literature in many guises." As discussed in some detail, these include = what have been called adaptation with negative after-effects, = attunement, diabatic effect, persistence effect, and the Law of = Contrast. In vision, it has been observed with both static and dynamic = displays, in hearing with lateralization shifts and in the many studies = involving phonetic boundary effects in psycholinguistics. Regards, Richard Richard M. Warren=20 Research Professor=20 and Distinguished Professor Emeritus Department of Psychology University of Wisconsin-Milwaukee PO Box 413 Milwaukee, WI 53201 (414) 229-5328 On Nov 25, 2012, at 12:24 PM, eldad tsabary wrote: > Hi all, > I am looking for some ideas and literature on two concepts relevant to = ear training. >=20 > 1. perceptual blocks - the case where a lack of perceptual = flexibility, inability to change attentional focus, or hear at a = different structural level, or any other aspect of perception, prevents = ear training students from discriminating, segregating, or identifying = sonic or musical parameters despite regular practice. I have used the = term "perceptual block" to describe such instances, though in the = literature, this term is usually associated with theories of creativity = (and while I find some parallels , these concepts are quite different). >=20 > One of many such blocks, for example, could be (in the tonal domain) a = perceptual habit that could be described, perhaps, as "tonal = interference." In such cases, the students seem to listen to a certain = interval in the context of previous tonal stimuli and may get thrown off = by that contextual modality. A simple example of that is in listening to = a minor third E-G right after hearing the major third C-E. In my = experience, students often hear the minor third in the context of a C = major triad and therefore hear it as having a major modality (or = "feel").=20 >=20 > This is only one type of example. I am looking for any literature that = deal (more widely or more specifically) with the concept of auditory = organization being stuck on a certain interpretation, inhibiting skill = acquisition. >=20 > 2. perceptual guides or anchors - the case where ear training students = find a relatively reliable perceptual reference point that allows them = to identify a certain sonic or musical parameter by comparison. An = example from the tonal domain, again, may be the technique of learning = how scale degrees sound by comparing them in the mind's ear to the tonic = as a steady anchor. In another example, students practicing microtonal = discrimination (down to about 5 cents differences) discovered that the = acoustics of the room had an effect on the spatial perception of = microtonal variation in pure tones. They used their spatial perception = as an anchoring mechanism to recognizing microtonal differences.=20 >=20 > The second example is of course very different from the first, but I = am interested in both and more. I am looking for any literature that = deals with perceptual organization strategies (in attentive processing) = that can be used to acquire aural skills by providing a reliable = reference point. >=20 > I would also love some ideas about these concepts. >=20 > Many thanks > Eldad >=20 >=20 >=20 >=20 >=20 --Apple-Mail-2--152680894 Content-Transfer-Encoding: quoted-printable Content-Type: text/html; charset=us-ascii <html><head></head><body style=3D"word-wrap: break-word; = -webkit-nbsp-mode: space; -webkit-line-break: after-white-space; = "><div><div style=3D"word-wrap: break-word; -webkit-nbsp-mode: space; = -webkit-line-break: after-white-space; "><div><div style=3D"word-wrap: = break-word; -webkit-nbsp-mode: space; -webkit-line-break: = after-white-space; "><div><div style=3D"word-wrap: break-word; = -webkit-nbsp-mode: space; -webkit-line-break: after-white-space; = "><div><div style=3D"word-wrap: break-word; -webkit-nbsp-mode: space; = -webkit-line-break: after-white-space; "><div style=3D"word-wrap: = break-word; -webkit-nbsp-mode: space; -webkit-line-break: = after-white-space; "><div><div style=3D"word-wrap: break-word; = -webkit-nbsp-mode: space; -webkit-line-break: after-white-space; = "><div><br></div><div><span class=3D"Apple-style-span" = style=3D"border-collapse: separate; font-family: Helvetica; = font-variant: normal; letter-spacing: normal; line-height: normal; = orphans: 2; text-indent: 0px; text-transform: none; white-space: normal; = widows: 2; word-spacing: 0px; -webkit-border-horizontal-spacing: 0px; = -webkit-border-vertical-spacing: 0px; = -webkit-text-decorations-in-effect: none; -webkit-text-size-adjust: = auto; -webkit-text-stroke-width: 0px; "><div style=3D"word-wrap: = break-word; -webkit-nbsp-mode: space; -webkit-line-break: = after-white-space; "><div><div style=3D"font-size: 13px; "><font = class=3D"Apple-style-span" size=3D"4"><span class=3D"Apple-style-span" = style=3D"font-size: 14px; ">The comments described by Eldad Tsabary = today may be an example of a general perceptual effect described in the = article ["Criterion Shift Rule and Perceptual Homeostasis," Warren, = 1995, <i>Psychological Review</i>, 92, 574-584.]. This = article considers that "...the bases employed for evaluative judgments = are displaced in the direction of a preceding or simultaneously = encountered value. Consequences of this displacement have been = discovered and re-discovered numerous times, and appear in the = literature in many guises." As discussed in some detail, these = include what have been called <i>adaptation with negative = after-effects</i>, <i>attunement</i>, <i>diabatic effect, = persistence effect, </i>and <i>the Law of Contrast</i>. = In vision, it has been observed with both static and dynamic displays, = in hearing with lateralization shifts and in the many studies involving = phonetic boundary effects in psycholinguistics.</span></font></div><div = style=3D"font-size: 13px; "><font class=3D"Apple-style-span" = size=3D"4"><span class=3D"Apple-style-span" style=3D"font-size: 14px; = "><br></span></font></div><div style=3D"font-size: 13px; "><font = class=3D"Apple-style-span" size=3D"4"><span class=3D"Apple-style-span" = style=3D"font-size: 14px; ">Regards,</span></font></div><div = style=3D"font-size: 13px; "><font class=3D"Apple-style-span" = size=3D"4"><span class=3D"Apple-style-span" style=3D"font-size: 14px; = "><br></span></font></div><div style=3D"font-size: 13px; "><font = class=3D"Apple-style-span" size=3D"4"><span class=3D"Apple-style-span" = style=3D"font-size: 14px; ">Richard</span></font></div><div = style=3D"font-size: 13px; "><font class=3D"Apple-style-span" = size=3D"4"><span class=3D"Apple-style-span" style=3D"font-size: 14px; = "><br></span></font></div><div><span class=3D"Apple-style-span" = style=3D"font-size: 14px; "><br></span></div><div style=3D"font-size: = 13px; font-style: normal; font-weight: normal; "><font = class=3D"Apple-style-span" size=3D"4"><span class=3D"Apple-style-span" = style=3D"font-size: 14px; "><b><br = class=3D"Apple-interchange-newline">Richard M. = Warren</b></span></font> </div><div style=3D"font-size: 13px; = font-style: normal; font-weight: normal; ">Research = Professor </div><div style=3D"font-size: 13px; font-style: normal; = font-weight: normal; "> and Distinguished Professor = Emeritus</div><div style=3D"font-size: 13px; font-style: normal; = font-weight: normal; ">Department of Psychology</div><div = style=3D"font-size: 13px; font-style: normal; font-weight: normal; = ">University of Wisconsin-Milwaukee</div><div style=3D"font-size: 13px; = font-style: normal; font-weight: normal; ">PO Box 413</div><div = style=3D"font-size: 13px; font-style: normal; font-weight: normal; = ">Milwaukee, WI 53201</div></div><div style=3D"font-size: 13px; = font-style: normal; font-weight: normal; ">(414) = 229-5328</div><div><br></div></div></span></div></div><span = class=3D"Apple-style-span" style=3D"border-collapse: separate; = font-family: Helvetica; font-variant: normal; letter-spacing: normal; = line-height: normal; orphans: 2; text-indent: 0px; text-transform: none; = white-space: normal; widows: 2; word-spacing: 0px; = -webkit-border-horizontal-spacing: 0px; -webkit-border-vertical-spacing: = 0px; -webkit-text-decorations-in-effect: none; -webkit-text-size-adjust: = auto; -webkit-text-stroke-width: 0px; "><span class=3D"Apple-style-span" = style=3D"border-collapse: separate; font-family: Helvetica; = font-variant: normal; letter-spacing: normal; line-height: normal; = orphans: 2; text-indent: 0px; text-transform: none; white-space: normal; = widows: 2; word-spacing: 0px; -webkit-border-horizontal-spacing: 0px; = -webkit-border-vertical-spacing: 0px; = -webkit-text-decorations-in-effect: none; -webkit-text-size-adjust: = auto; -webkit-text-stroke-width: 0px; "><span class=3D"Apple-style-span" = style=3D"border-collapse: separate; font-family: Helvetica; = font-variant: normal; letter-spacing: normal; line-height: normal; = orphans: 2; text-indent: 0px; text-transform: none; white-space: normal; = widows: 2; word-spacing: 0px; -webkit-border-horizontal-spacing: 0px; = -webkit-border-vertical-spacing: 0px; = -webkit-text-decorations-in-effect: none; -webkit-text-size-adjust: = auto; -webkit-text-stroke-width: 0px; "><div style=3D"word-wrap: = break-word; -webkit-nbsp-mode: space; -webkit-line-break: = after-white-space; "><div style=3D"font-size: 13px; font-style: normal; = font-weight: normal; = "><br></div><div><br></div></div></span></span></span></div></div><div><di= v>On Nov 25, 2012, at 12:24 PM, eldad tsabary wrote:</div><br = class=3D"Apple-interchange-newline"><blockquote type=3D"cite"><div = style=3D"word-wrap: break-word; -webkit-nbsp-mode: space; = -webkit-line-break: after-white-space; ">Hi all,<div>I am looking for = some ideas and literature on two concepts relevant to ear = training.</div><div><br></div><div>1. perceptual <b>blocks</b> - the = case where a lack of perceptual flexibility, inability to change = attentional focus, or hear at a different structural level, or any other = aspect of perception, prevents ear training students from = discriminating, segregating, or identifying sonic or musical parameters = despite regular practice. I have used the term "perceptual block" to = describe such instances, though in the literature, this term is usually = associated with theories of creativity (and while I find some parallels = , these concepts are quite different).</div><div><br></div><div>One of = many such blocks, for example, could be (in the tonal domain) a = perceptual habit that could be described, perhaps, as "tonal = interference." In such cases, the students seem to listen to a certain = interval in the context of previous tonal stimuli and may get thrown off = by that contextual modality. A simple example of that is in listening to = a minor third E-G right after hearing the major third C-E. In my = experience, students often hear the minor third in the context of a C = major triad and therefore hear it as having a major modality (or = "feel"). </div><div><br></div><div>This is only one type of = example. I am looking for any literature that deal (more widely or more = specifically) with the concept of auditory organization being stuck on a = certain interpretation, inhibiting skill = acquisition.</div><div><br></div><div>2. perceptual <b>guides or = anchors</b> - the case where ear training students find a relatively = reliable perceptual reference point that allows them to identify a = certain sonic or musical parameter by comparison. An example from the = tonal domain, again, may be the technique of learning how scale degrees = sound by comparing them in the mind's ear to the tonic as a steady = anchor. In another example, students practicing microtonal = discrimination (down to about 5 cents differences) discovered that the = acoustics of the room had an effect on the spatial perception of = microtonal variation in pure tones. They used their spatial perception = as an anchoring mechanism to recognizing microtonal = differences. </div><div><br></div><div>The second example is of = course very different from the first, but I am interested in both and = more. I am looking for any literature that deals with perceptual = organization strategies (in attentive processing) that can be used to = acquire aural skills by providing a reliable reference = point.</div><div><br></div><div>I would also love some ideas about these = concepts.</div><div><br></div><div>Many = thanks</div><div>Eldad</div><div><br></div><div><br></div><div><br></div><= div><br></div><div><br></div></div></blockquote></div><br></div></div><br>= </div></div><br></div></div><br></div></div><br></body></html>= --Apple-Mail-2--152680894--