Thomas J. Tighe – författare

Originally published in 1976, this volume is based on a conference held in 1974. The purpose of the conference was to foster communication between those researchers studying habituation or closely related processes in children and those studying habituation at the level of neurophysiology and animal behaviour. Within each of these groups there was burgeoning interest in habituation, yet there had been little, if any, interaction between them.

Overall, this volume provides a medium for cross-fertilization between animal-neurophysiological and developmental research on habituation, highlighting some of the current empirical and theoretical concerns within each area at the time. While other volumes may have provided more comprehensive and detailed reviews of aspects of habituation, the juxtaposition of developmental and animal neuro-physiological research provided in this text was unique in the literature at the time.

Originally published in 1976, this volume is based on a conference held in 1974. The purpose of the conference was to foster communication between those researchers studying habituation or closely related processes in children and those studying habituation at the level of neurophysiology and animal behaviour. Within each of these groups there was burgeoning interest in habituation, yet there had been little, if any, interaction between them.

Overall, this volume provides a medium for cross-fertilization between animal-neurophysiological and developmental research on habituation, highlighting some of the current empirical and theoretical concerns within each area at the time. While other volumes may have provided more comprehensive and detailed reviews of aspects of habituation, the juxtaposition of developmental and animal neuro-physiological research provided in this text was unique in the literature at the time.

This book deals with the complex cognitive processes involved in understanding two "horizontal" aspects of music perception, melody and rhythm, both separately and together. Focusing on the tonal framework for pitch material in melodies, the first section provides evidence that mere exposure to music organized in a particular way is sufficient to induce the auditory system to prepare itself to receive further input conforming to the patterns already experienced. Its chapters also offer evidence concerning elaborations of those basic schemes that come about through specialized training in music. Continuing themes from the first section -- such as the hypothesis that melodies must be treated as integral wholes and not mere collections of elements -- the second section discusses the integration of melody and rhythm. In these chapters there is an underlying concern for clarifying the relation -- central to aesthetic questions -- between physical patterns of sound energy in the world and our psychological experience of them. The chapters in the third section provide excellent examples of the new, scientific literature that attempts to objectively study early musical abilities. Their data establish that infants and young children are far more perceptive and skilled appreciators of music than was thought a decade ago.

This book deals with the complex cognitive processes involved in understanding two "horizontal" aspects of music perception, melody and rhythm, both separately and together. Focusing on the tonal framework for pitch material in melodies, the first section provides evidence that mere exposure to music organized in a particular way is sufficient to induce the auditory system to prepare itself to receive further input conforming to the patterns already experienced. Its chapters also offer evidence concerning elaborations of those basic schemes that come about through specialized training in music. Continuing themes from the first section -- such as the hypothesis that melodies must be treated as integral wholes and not mere collections of elements -- the second section discusses the integration of melody and rhythm. In these chapters there is an underlying concern for clarifying the relation -- central to aesthetic questions -- between physical patterns of sound energy in the world and our psychological experience of them. The chapters in the third section provide excellent examples of the new, scientific literature that attempts to objectively study early musical abilities. Their data establish that infants and young children are far more perceptive and skilled appreciators of music than was thought a decade ago.