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Theories of Artificial Grammar Learning
, 2007
"... Artificial grammar learning (AGL) is one of the most commonly used paradigms for the study of implicit learning and the contrast between rules, similarity, and associative learning. Despite five decades of extensive research, however, a satisfactory theoretical consensus has not been forthcoming. Th ..."
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Artificial grammar learning (AGL) is one of the most commonly used paradigms for the study of implicit learning and the contrast between rules, similarity, and associative learning. Despite five decades of extensive research, however, a satisfactory theoretical consensus has not been forthcoming. Theoretical accounts of AGL are reviewed, together with relevant human experimental and neuroscience data. The author concludes that satisfactory understanding of AGL requires (a) an understanding of implicit knowledge as knowledge that is not consciously activated at the time of a cognitive operation; this could be because the corresponding representations are impoverished or they cannot be concurrently supported in working memory with other representations or operations, and (b) adopting a frequency-independent view of rule knowledge and contrasting rule knowledge with specific similarity and associative learning (co-occurrence) knowledge.
The conscious, the unconscious, and familiarity
- Journal of Experimental Psychology-Learning Memory and Cognition
, 2008
"... This article examines the role of subjective familiarity in the implicit and explicit learning of artificial grammars. Experiment 1 found that objective measures of similarity (including fragment frequency and repetition structure) predicted ratings of familiarity, that familiarity ratings predicted ..."
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Cited by 15 (3 self)
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This article examines the role of subjective familiarity in the implicit and explicit learning of artificial grammars. Experiment 1 found that objective measures of similarity (including fragment frequency and repetition structure) predicted ratings of familiarity, that familiarity ratings predicted grammaticality judgments, and that the extremity of familiarity ratings predicted confidence. Familiarity was further shown to predict judgments in the absence of confidence, hence contributing to above-chance guessing. Experiment 2 found that confidence developed as participants refined their knowledge of the distribution of familiarity and that differences in familiarity could be exploited prior to confidence developing. Experiment 3 found that familiarity was consciously exploited to make grammaticality judgments including those made without confidence and that familiarity could in some instances influence partic-ipants ’ grammaticality judgments apparently without their awareness. All 3 experiments found that knowledge distinct from familiarity was derived only under deliberate learning conditions. The results provide decisive evidence that familiarity is the essential source of knowledge in artificial grammar learning while also supporting a dual-process model of implicit and explicit learning.
Does stimulus appearance affect learning
- American Journal of Psychology
, 2006
"... We examined the learning process with 3 sets of stimuli that have identical symbolic structure but differ in appearance (meaningless letter strings, arrangements of geometric shapes, and sequences of cities). One hypothesis is that the learning process aims to encode symbolic regularity in the same ..."
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We examined the learning process with 3 sets of stimuli that have identical symbolic structure but differ in appearance (meaningless letter strings, arrangements of geometric shapes, and sequences of cities). One hypothesis is that the learning process aims to encode symbolic regularity in the same way, largely regardless of appearance. Another is that different types of stimuli bias the learning process to operate in different ways. Using the experimental paradigm of artificial grammar learning, we provided a preliminary test of these hypotheses. In Experiments 1 and 2 we measured performance in terms of grammaticality and found no dif-ference across the 3 sets of stimuli. In Experiment 3 we analyzed performance in terms of both grammaticality and chunk strength. Again we found no differences in performance. Our tentative conclusion is that the learning process aims to encode symbolic regularity independent of stimulus appearance. It is a trivial statement to point out that the aim of the learning process is to identify regularity in the stimuli that are learned. It is equally trivial to observe that there are many kinds of regularity. For example, in language
Implicit learning of natural language syntax. Unpublished dissertation: University of Cambridge. Rebuschat, P., (forthcoming).Measuring implicit and explicit knowledge in second language research. Language Learning
, 2008
"... This dissertation is the result of my own work and includes nothing which is the outcome of work done in collaboration except where specifically indicated in the text. No parts of this dissertation have been submitted for any other qualification. The dissertation does not exceed the regulation lengt ..."
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This dissertation is the result of my own work and includes nothing which is the outcome of work done in collaboration except where specifically indicated in the text. No parts of this dissertation have been submitted for any other qualification. The dissertation does not exceed the regulation length, including footnotes, references and appendices but excluding the bibliography.
THE USE OF LARGE CORPORA TO TRAIN A NEW TYPE OF KEY-FINDING ALGORITHM: AN IMPROVED TREATMENT OF THE MINOR MODE
"... JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JS ..."
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Cited by 3 (1 self)
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JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.
All use subject to JSTOR Terms and Conditions DIACHRONIC CHANGES IN JAZZ HARMONY: A COGNITIVE PERSPECTIVE
, 2012
"... JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JS ..."
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JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.
Keywords: Familiarity Intentional control
"... string felt and reported whether or not they used familiarity to make their grammaticality re for r gai ..."
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string felt and reported whether or not they used familiarity to make their grammaticality re for r gai
1 Communicating structure, affect and movement: Comment on Bharucha, Curtis & Paroo
"... Barucha et al propose that music serves to communicate affect, the experience of motion, and an inducement to a particular structural interpretation. We will take the meaning of “communicate ” to be broad and not necessarily imply all the pragmatic constraints that successful communication often ent ..."
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Barucha et al propose that music serves to communicate affect, the experience of motion, and an inducement to a particular structural interpretation. We will take the meaning of “communicate ” to be broad and not necessarily imply all the pragmatic constraints that successful communication often entails. For example, we will take a structure to be successfully communicated even if the recipient is not consciously aware of what the structure as such really is. Commonly people appreciate musical structure, have the experiences intended by the composer, yet are not consciously aware of what the structure is. Indeed, this commentary will focus on the case where a structure put into music by us is detected by listeners without them being able to say what it is exactly they have detected. We show how some musical structures are analogous to certain linguistic structures in virtue of exhibiting mirror symmetries. We argue that people can come to implicitly learn to detect symmetries, musical inversions in particular. Such implicit learning leads to greater liking of the structures learnt. Then we will show that just as music may communicate affect, structure and movement, so can movement communicate structure and affect. Just as melody is a type of movement in tonal space, so can physical
Recognition of Musical Materials BÉNÉDICTE POULIN- CHARRONNAT,
"... The present study investigates the effect of a change in instrumentation on the recognition of musical excerpts in Western contemporary and tonal music. The critical finding was a strong effect of timbre on the recognition of musical material that is modulated by both the extent of musical expertise ..."
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The present study investigates the effect of a change in instrumentation on the recognition of musical excerpts in Western contemporary and tonal music. The critical finding was a strong effect of timbre on the recognition of musical material that is modulated by both the extent of musical expertise and the musical style. Changing the instrumentation of musical excerpts from a piece by Reynolds considerably hampers recognition among musicians (Expts. 1 and 2), but not among nonmusicians, whose recognition was poor regardless of instrumentation. Both musicians and nonmusicians were affected by instrumentation change in excerpts from a symphonic poem by Liszt (Expt. 3). This finding suggests that timbre may contribute, along with pitch and rhythm, to the identity of musical materials. The difference found between musicians and nonmusicians with the Reynolds piece may be parsimoniously explained by the fact that the musicians were considerably more familiar with contemporary music than were the nonmusicians. The purpose of the present study was to investigate the effect of a change in instrumentation on the recognition of thematic materials used in Reynolds’s The Angel of Death. In this piece, five themes are first Address correspondence to Bénédicte Poulin-Charronnat, Max-Planck-Institute for
