M UA SIC OF LANGUAGE G E O F M US L AN I C. Cambridge Dec & Cambridge Centre for Music and Science

Transcription

1 L AN Cambridge Dec 2010 G M UA SIC OF LANGUAGE G E O F M US I C Organised by Middlesex Language & Communica7on Research Group & Cambridge Centre for Music and Science

2 An introducdon to the seminar series This seminar series aims to explore new direc7ons in the study of the rela7onship between language and music in psychology. Language and music share many features: they are both composed of sequences of sub- units; both require these units to be organised according to conven7onal structural rules; they vary pitch, temporal and rhythmic features to convey meaning; they u7lize specific wri7ng systems; and they both organize coordinated or joint social ac7ons. The debate is s7ll open concerning the evolu7onary rela7onship between language and music, their boundaries (what is unique and specific to each) and whether they do or do not belong to separate domains/modules. For instance, Brown (2000) proposed that language and music may be described as two end- points of a con7nuum in which sound would specialize to convey more affec7ve meaning (music) or referen7al meanings (language). This suggests that language and music are evolu7onary homologues stemming from a musilanguage common ancestor (see Cross, 2005; 2007; Fitch, 2005, 2006; Mithen, 2006 aver Darwin 1871). These ideas have s7mulated hypotheses in areas ranging from the neurological bases of language and music, to transfers of learning across the two domains, the use of music in neurological rehabilita7on and other clinical contexts, as well as theore7cal issues of embodied cogni7on and joint ac7on. The last decade or so has seen this field of research develop rapidly, both theore7cally and empirically. In the UK, this development has been driven by the pioneering work of Sloboda (1985, 1997, 2001). In this seminar series, current trends will be analysed in an a_empt to iden7fy new direc7ons that will consolidate research on language and music as an inter- disciplinary field with roots in psychology, music, linguis7cs, neuroscience and informa7cs. This will benefit from the specific exper7se brought by each organising partner and direct collaborators, while invited experts in specific fields will contribute methodological, empirical or theore7cal exper7se from their respec7ve disciplines. Six thema7c axes will be explored in the course of the three mee7ngs: 1-2 development/evolu7on, including the rela7onship with language development, held at Middlesex University, 20 th July 2010 ; 3-4 meaning/entrainment (Cambridge University, 13 th - 14 th December 2010); 5-6 literacy/pragma7cs (be held at Middlesex University, July 2011 date TBC). Although the specific structure of the seminars may vary, the mee7ngs will involve [a] research presenta7ons by par7cipants who are expert in par7cular areas, [b] round table mee7ngs about specific topics relevant for a par7cular theme, and [c] workshops and brainstorming groups to iden7fy relevant empirical ques7ons to move the field ahead. The la_er two parts of the seminars will allow all par7cipants - including the more junior researchers - to interact.

3 ScienDfic goals: Iden7fica7on and explora7on of new direc7ons in the interdisciplinary study of language & music Iden7fica7on and explora7on of specific research ques7ons suitable for empirical tes7ng Iden7fica7on of common and discipline- specific concerns in the issues above While acknowledging the progress made so far in the field of language and music research, this seminar series aims to push the boundaries beyond the tradidonal structure content funcdon parddon. More specifically, we aim to explore precise direc7ons of overlap or divergence between language and music in the four areas of development and evolu7on (origin), meaning (including structural and pragma7c aspects), formal communica7on (reading and wri7ng), and interac7on. For example, whereas research has been conducted into the development of musical abili7es in children, or music percep7on in infants (e.g. the work of Sandra Trehub and Laurel Trainor), the ques7on of the rela7onship between language development in infancy and aspects of musicality has not yet been inves7gated. In these seminars, we aim to idendfy specific research quesdons which could lead to empirical invesdgadon. To con7nue with the previous example, relevant ques7ons could be: do the musical aspects of speech (e.g. rhythm, tone and intona7on) support language development in infancy? What aspects of interac7on provide common ground to linguis7c and musical communica7on? Finally, in this intrinsically interdisciplinary field we aim to iden7fy aspects concerning both theore7cal and empirical inves7ga7ons of the topic that are relevant to all disciplines involved, while acknowledging perspec7ves which may be more discipline- specific: Establishing a common ground is a prerequisite for successful interdisciplinary communicadon. Outcomes: The main expected outcome is the genera7on of research proposals (ideally, one in each of the thema7c areas), to further the understanding of psychological processes in the scien7fic study of language and music. Further possible outcomes: Publica7on of a book reviewing the four thema7c areas, or a monographic number of a journal A formal conference or series of workshops Resources: h_p:// (login details available from the seminar organisers)

4 ParDcipants at seminar 2: Barnard, Phil (Cambridge University/MRC Cogni7on and Brain Sciences Unit) BirkeW, Emma (Aston University/Psychology) Bishop- Liebler, Paula (Royal College of Music) Brunswick, Nicola (Middlesex University/Psychology) Cameron, Daniel (Goldsmiths/Psychology) Cason, Nia (Goldsmiths/Psychology) Chew, Marcia (Middlesex University/Psychology) Clayton, MarDn (Durham University/Music) Clayton, Nicola (Cambridge University/Experimental Psychology) Cross, Ian (Cambridge University/CMS Director) Cummins, Fred (University College Dublin/Computer Science & Informa7cs) Dalla Bella, Simone (Warsaw University/Cogni7ve Psychology) de Mornay Davies, Paul (Middlesex University/Psychology) do Carmo, José Roberto (Universidad de São Paulo) Eerola, Tuomas (Jyväskylä University/Music) Falk, Simone (Ludwig- Maximilians University Munich/Compara7ve Linguis7cs) Franco, Fabia (Middlesex University/Psychology) Fulford, Robert (Royal Northern College of Music) Ginsborg, Jane (Royal Northern College of Music) Goldman, Andrew (Cambridge University, CMS) Goswami, Usha (Cambridge University/Neuroscience in Educa7on) Grahn, Jessica (Cambridge University/MRC Cogni7on and Brain Sciences Unit) Greatrex, David (Cambridge University, CMS) Hawkins, Sarah (Cambridge University/Linguis7cs & CMS) Hayward, Guy (Cambridge University, CMS) Heaton, Pamela (Goldsmiths/Psychology)

5 House, David (Stockholm Royal Ins7tute of Technology/Speech, Music & Hearing) Jasmine, Kyle (Max Planck Ins7tute for Psycholinguis7cs, Nijmegen) Keller, Peter (Leipzig Max Planck Ins7tute for Music in Human and Social Development) Knight, Sarah (Cambridge University/CMS) Leman, Marc (Ghent University/Ins7tute for Psychoacous7cs & Electronic Music) Leong, Victoria (Cambridge University/Neuroscience in Educa7on) Leongómez, Juan David (S7rling University) Lewis, Jerome (University College London/Anthropology) Lindsen, Job (Goldsmiths) Liu Fang (University College London/Psychology and Language) London, JusDn (Carleton College Northfield, MN/Music) MarDšková, Jana (Trnava & Middlesex Universi7es/Psychology) Moore, Roger (Sheffield University/Computer Science, Speech & Hearing Research Group) Morley, Iain (Oxford University/Archaeology & Anthropology) Orwin, MarDn (SOAS/Languages and Culture of Africa) Overy, KaDe (Edinburgh University/Music) PanagioDdi, Maria (Sheffield University) Pearce, Marcus (Goldsmiths/Cogni7on, Computa7on & Culture) Peelle, Jonathan (Cambridge University, MRC) Phillips, Michelle (Cambridge University, CMS) PrenDce, Kate (Cambridge University/Experimental Psychology) Prior, Helen (Kings College London/Music) Provasi, Joëlle (Sorbonne University/Ecole Pra7que des Hautes Etudes) Rabinowitch, Tal- Chen (Cambridge University, CMS) Rathcke, Tamara (Glasgow University/English Language) Reich, Uli (Free University Berlin/Interdisziplinäres Zentrum Europäische Sprachen) Rohrmeier, MarDn (Cambridge University, CMS)

6 Ross, Barry (Cambridge University, CMS) Smith, Rachel (Glasgow University/English Language) Spiro, Neta (Cambridge University, CMS) Swaine, Joel (Cambridge University, CMS) Tidhar, Dan (QMU/Engineering & Computer Science Centre for Digital Music) Turgeon, MarDne (Lancaster/Psychology) Van Puyvelde, MarDne (Brussels University/Clinical & Lifespan Psychology) Verney, John (Cambridge University, Centre for Neuroscience in Educa7on) Widdess, Richard (SOAS/Music) Witek, Maria (Oxford University) Woodruff, Ghofur (Cambridge University, CMS) Zentner, Marcel (York University/Psychology)

7 Programme: Time Day 1: Monday 13 th December - Entrainment REGISTRATION Introduc0on and opening Ian Cross (Cambridge) and Fabia Franco (Middlesex) Session 1: Entrainment, Chair: Simone Falk (Munich) Orienta7on paper 1: The three most important things psycholinguists need to know about rhythm and 0me in music Jus7n London (Carleton College) Discussion Respondents: Ka7e Overy (Edinburgh) and Peter Keller (Leipzig) Orienta7on paper 2: Looking for rhythm in speech Fred Cummins (Dublin) Discussion Respondents: Roger Moore (Sheffield) and David House (Stockholm) COFFEE BREAK Orienta7on paper 3: What is entrainment? Mar7n Clayton (Durham) Discussion Respondents: Nicola Clayton (Cambridge) and Marc Leman (Ghent) LUNCH BREAK

8 Research papers: Entrainment, Chair: Sarah Hawkins (Cambridge) Rhythmic entrainment in developmental dyslexia and SLI Usha Goswami (Cambridge) Percep0on- ac0on mismatches in sensorimotor synchroniza0on Simone Dalla Bella (Warsaw) fmri inves0ga0ons of finding the beat versus con0nuing the beat Jessica Grahn (Cambridge) Rhythmical synchroniza0on in newborns: sucking and crying responses to the same auditory tempo Joelle Provasi (Sorbonne) Being together in 0me: rhythmic entrainment as socio- emo0onal core to music, dance and gesture with speech Mar7ne Turgeon (Lancaster) Synchrony and inter- personal percep0on on the dance floor Dan Tidhar (QMU), Ma_hew Woolhouse & Ian Cross (Cambridge) COFFEE BREAK Poster session Open discussion DRINKS RECEPTION FOLLOWED BY CONFERENCE DINNER (20.00) Day 2: Tuesday 14 th December - Meaning Workshop: Measuring Dme and entrainment in language and music, Chair: JusDn London (Carleton College) Synchronized coordina0on of movement to music in infants: es0ma0on of accuracy and inten0on Tuomas Eerola (Jyväskylä), with Marcel Zentner (York) Collec0ng and exploi0ng a Swedish mul0modal database of spontaneous speech in dialogue David House (Stockholm) Interpersonal coordina0on in musical contexts: an individual differences based approach Peter Keller (Leipzig)

9 Session 2: Meaning, Chair: Fred Cummins (Dublin) Orienta7on paper 4: What do we mean by meaning? Phil Barnard (Cambridge) Discussion Respondents: Marcel Zentner (York) and Uli Reich (Berlin) COFFEE BREAK Orienta7on paper 5: Music, meaning and culture Richard Widdess (SOAS) Discussion Respondents: Ian Cross (Cambridge) and Jerome Lewis (UCL) LUNCH BREAK Research papers: Meaning, Chair: Fabia Franco (Middlesex) The meaning of tonality within a mother- infant interac0on: tonal synchrony as a way to promote shared engagement Mar7ne Van Puyvelde (Brussels) Speech- to- song illusion: effects of prosodic structure and listener s musicality Tamara Rathcke (Glasgow) & Simone Falk (Munich) Computa0onal models of embodied meaning in the percep0on of musical structure Marcus Pearce (Goldsmiths) What can congenital amusia tell us about language processing? Fang Liu (UCL) Dynamic syntax and meaning in music Mar7n Orwin (SOAS) Open discussion COFFEE BREAK Closing: Ian Cross (Cambridge)

10 Phil Barnard cbu.cam.ac.uk What do we mean by meaning? Within the Emo7on Group at the Cogni7on and Brain Sciences Unit, Phil s programme of work focuses mainly on Execu7ve Control and Emo7onal Meanings in Cogni7ve and Neural systems. Current work is organised under three project headings: [a] Core Theore7cal work on Interac7ng Cogni7ve Subsystems a macro- theory of mental architecture. Modelling addresses issues in a_en7on, memory and psychopathology as well as the evolu7on and processing of meaning; [b] Schema7c models (of self, others and the world) and execu7ve mode (how they are processed) covers experiments on memory and a_en7on in both healthy par7cipants and those with psychopathology (including anxiety, depression, mania and schizophrenia); [c] Brain networks underlying affec7ve representa7ons and execu7ve control in healthy par7cipants, pa7ents with frontal lesions and demen7a. This project is collec7ng data from pa7ent groups [Abstract] Few would disagree with key points made by Cross & Tolbert (2009) concerning music and meaning. Meaning in music (and language for that ma_er) is mul7farious and cannot be comprehensively addressed without drawing on theore7cal ideas in the domains of cogni7on, affect, interpersonal behaviours and wider social contexts. This orienta7on paper will present a system- level approach to meaning based on concepts associated with mental architecture. Elsewhere, in the context of modeling the dysfunc7ons of human cogni7on and affect across a range of psychopathologies (Barnard, 2004; Teasdale & Barnard, 1993), we have argued that human idea7on is grounded in an internal mental dialogue between two qualita7vely dis7nct types of meaning. One form of meaning, proposi7onal meaning, is referen7ally specific it is the sort of meaning that supports the genera7on of sentences, inten7onally controlled ac7on sequences, and the construc7on of visuo- spa7al images. This form of meaning is regarded as unique to homo sapiens sapiens. The other form of meaning, called implica7onal meaning in this framework, is more holis7c and abstract and is the type of meaning associated with affec7ve experience. Implica7onal meaning in the human mental architecture is Con7nued

11 allied with felt senses, intui7on, wisdom and deep exper7se. Current states of implica7onal meanings are created on- line by blending the products of processing abstract proposi7onal meanings with the products of immediate sensa7ons derived from vision, audi7on and body states. Implica7onal meaning is most usefully regarded as schema7c in nature. In addi7on, regulari7es encapsulated in schema are oven latent and can be difficult to make explicit in proposi7ons or words. Human ac7ons, specific thoughts and emo7ons emerge dynamically with cycles of processing between implica7onal and proposi7onal meanings. Implica7onal schemata are used to derive proposi7ons whose re- processed content can then be fed back to modify the current state of ac7vated schemata and so on. In this framework, a depressed individual can, for example, at one and the same 7me proposi7onally know that they are successful ar7st, while implica7onally being overwhelmed by a felt sense of self- as- a- total- failure. The two forms of meaning co- exist in moment- to- moment experience. With its inherent blend of distal percep7on, body states, affect and conceptual meanings, the implica7onal type of representa7on appears to have just those features needed to support a theore7cally grounded analysis of key aspects of musical meaning, including crea7vity and aesthe7cs. This form of analysis will be illustrated by sketching the evolu7onary trajectory (Barnard, 2010, Barnard et al., 2007) that gave rise to the two proposed forms of meaning. It will highlight key commonali7es and differences between the involvement of the two forms of meaning in language use and in music. Against this background the three most important things about meaning are therefore: 1. There are two types of meaning. 2. Musical exper7se and apprecia7on links most readily to an holis7c, schema7c and abstract form of cogni7ve- affec7ve meaning that interrelates the deep structure of proposi7onal meaning with auditory visual and body sensa7ons. 3. Music and language rely on both types of meaning but in markedly different propor7ons. Barnard, P J. (2004). Bridging between basic theory and clinical prac7ce. Behaviour Research and Therapy, 42, Barnard, P.J. (2010). From Execu7ve Mechanisms Underlying Percep7on and Ac7on to the Parallel Processing of Meaning, Current Anthropology, 51:S1, S39- S54. Barnard, P.J., Duke, D.J., Byrne, R.W. & Davidson, (2007). Differen7a7on in cogni7ve and emo7onal meanings: an evolu7onary analysis. Cogni0on and Emo0on, 21(6), Cross, I &Tolbert, E., (2009). Music and Meaning. In S.Hallam, I. Cross & M. Thaut (Eds) The Oxford Handbook of Music Psychology, pp Oxford: Oxford University Press. Teasdale, J.D. and Barnard, P.J. (1993). Affect, Cogni0on and Change: Re- modelling Depressive Thought. Hove: Lawrence Erlbaum Associates.

12 Nicola Brunswick Seminar Series Organiser (Language & Communica0on Research Group), and Conference Booklet Editor Nicola is a Senior Lecturer in Psychology at Middlesex University. She studied for her PhD in the psychophysiology of dyslexia at the University of Warwick, funded by the ESRC. She then completed her post- doctoral training on the neuropsychology of dyslexia across languages, using func7onal brain imaging, at the Wellcome Department of Imaging Neuroscience and the MRC Cogni7ve Development Unit, London. She researches in the areas of reading and developmental dyslexia, and she is a trustee of the Bri7sh Dyslexia Associa7on.

13 Marcia Chew Poster: The influence of na0ve language and musical back- ground on melody and pitch discrimina0on: support for shared resources? Marcia s principal research interests lie in music and psychology. She graduated with a degree in Psychology from Middlesex University with a disserta7on project inves7ga7ng the rela7onship between music and language by tes7ng tonal and non- tonal language speakers in various tone and melodic discrimina7on tasks (supervisor: Fabia Franco). She then worked as a learning support assistant for au7s7c children in the area of special educa7onal needs in Malaysia, which included observing music therapy sessions at EIP Au7sm. Passionate about music, she con7nued to be an ac7ve member of her secondary school wind band and enjoys playing different musical instruments including the organ and euphonium. She is currently Research Assistant on two projects with Fabia Franco, on, respec7vely, young children s recogni7on of affect in instrumental and vocal music (funded by the Bri7sh Academy), and further inves7ga7ons of the influence of language and musical experience on tone and melody percep7on among different tonal and non- tonal language speaker popula7ons (funded by SEMPRE). [Abstract] See entry under Franco

14 MarDn Clayton Presenter of Orienta0on Paper 3: What is entrainment? Mar7n is Professor in Ethnomusicology at Durham University. He studied at SOAS in London, where he obtained degrees in Music and Hindi (BA, 1988) and Ethnomusicology (PhD, 1993). His research interests include Hindustani (North Indian) classical music, rhythmic analysis, compara7ve musicology and early field recordings, Bri7sh- Asian music and Western music in India. He previously worked at the OU, and has taught a range of ethnomusicological courses at numerous other UK universi7es, and worked as Visi7ng Assistant Professor at the University of Chicago. He was a member of the Music sub- panel for the 2008 RAE. Mar7n directed the Experience and meaning in music performance research project funded by the AHRC. He is also co- organiser of a Bri7sh Academy- funded interna7onal network dedicated to the study of entrainment in music, with Ian Cross and Udo Will (Ohio State University). [Abstract] This orienta7on paper is intended to set the context for the research papers that follow by first defining entrainment, and then discussing its manifesta7on in aspects of human behaviour such as music and language. I will focus on some important aspects of entrainment in music per se which may not have been no7ced by researchers in other fields. Entrainment theory describes interac7ons between rhythmic (oscillatory) systems, especially but not only those resul7ng in synchronisa7on. The classic example is provided by Chris7aan Huygens, who observed and then studied the synchronisa7on of pendulum clocks as long ago as the 17 th century. More recently, it has become increasingly apparent that entrainment is an extremely widespread phenomenon not only in mechanical but also in biological systems, and a number of psychologists, neuroscien7sts, musicologists and linguists (amongst others) have begun to inves7gate its importance in human physiology and behaviour. In this paper I will propose that the very ubiquity of entrainment causes confusion: entrainment can occur in different systems at different 7me- scales, both within and between individuals, and it is important to remain aware of how these different manifesta7ons interrelate and not to confuse them. I will illustrate this argument with par7cular reference to entrainment in musical contexts and briefly introduce my own research on musical entrainment.

15 Nicola Clayton Respondent Nicky is Professor of Compara7ve Cogni7on, a Fellow of the Royal Society, Departmental Graduate Tutor and Chair of the Graduate Educa7on Commi_ee and Director of Studies in Natural Sciences (Biological) for Clare College and Clare College Graduate Tutor. Her research is in Compara7ve Cogni7on, at the interface between animal behaviour, experimental psychology and neuroscience. Current studies include (a) tests of social and physical cogni7on in corvids (rooks, jackdaws, jays), (b) compara7ve studies of corvid and ape cogni7on, (c) episodic- like memory and future planning in food- caching corvids and rodents, and (d) compara7ve studies of memory in parids (7ts and chickadees). She is interested in the evolu7on and development of cogni7on in animals and young children. She works mainly with members of the crow family although she also has some studies on rats, bats, apes and young children. See the Compara7ve Cogni7on Lab web page for more informa7on. Nicky is also a keen dancer and is fascinated by the links between science and dance. She has collaborated with Rambert Dance Company on a new work, 'The Comedy of Change', based on Darwinian principles to commemorate Darwin's 200th anniversary. Rambert Dance Company have just appointed Nicky to become the Company's Scien7fic Advisor.

16 Ian Cross Respondent and Presenter of a research paper: Synchrony and interpersonal percep0on on the dance floor (with Tidhar and Woolhouse) Ian is Director of the Centre for Music & Science at Cambridge University, where he is also a fellow of Wolfson College. He has published widely in the field of music percep7on and cogni7on, focusing recently on music and evolu7onary theory. He co- edited Musical Structure and Cogni0on (1985), Represen0ng Musical Structure (1991) and the Oxford Handbook of Music Psychology (2009), and is presently co- edi7ng Language and Music as Cogni0ve Systems for OUP. He is also a guitarist. [Abstract] See entry under Tidhar

17 Fred Cummins Session 2 Chair and Presenter of Orienta0on Paper 2: Looking for rhythm in speech Fred is a lecturer and director of the MSc. in Cogni7ve Science programme at University College Dublin. He is a cogni7ve scien7st, father, two- bit philosopher, and bad ar7st from Dublin. His principal professional interests lie in helping to develop a cogni7ve science that does jus7ce to the reality of subjec7ve experience. He has par7cular interests in rhythm, speech, language, enac7on, ecological psychology, and the metaphysical basis of experience. He is an unreformed an7- representa7onalist and he thinks in terms of dynamic systems theory. Most of Fred s published research has been in the area of phone7cs. His principal object of study has been speech rhythm and 7ming. [Abstract] A brief review is provided of the study of rhythm in speech. Much of that ac7vity has focused on looking for empirical measures that would support the categoriza7on of languages into discrete rhythm `types'. That ac7vity has had li_le success, and has used the term `rhythm in increasingly unmusical and unintui7ve ways. Recent approaches to conversa7on that regard speech as a whole- body ac7vity are found to provide considera7ons of rhythm that are closer to the central, musical, sense of the term.

18 Simone Dalla Bella Percep0on- ac0on mismatches in sensori- motor synchroniza0on Simone received his PhD in 2001 at the University of Montreal and is now Associate Professor in the Dept. of Cogni7ve Psychology (soon in the Dept. of Neuropsychology of Music) at the University of Finance and Management in Warsaw, Poland, and Associate Member of the Interna7onal Laboratory for Music, Brain, and Sound Research, BRAMS (Montreal, Canada). He is the director of the Music Performance and Brain Lab (h_p:// The purpose of the laboratory is to examine the psychological processes underlying music performance, inves7gated in individuals with and without brain damage. Current projects being run in the laboratory include research on sensorimotor synchroniza7on, sung performance, and mo7on kinema7cs in music performance in healthy par7cipants and pa7ents with motor disturbances (e.g., Parkinson's disease). [Abstract] Tight coupling of percep7on and ac7on is crucial for our ability to interact with the environment. Mapping of visual, auditory, and tac7le propriocep7ve informa7on to coordinated motor pa_erns underpin basic ac7vi7es such as naviga7ng the environment, learning a new language, and performing music in an ensemble. Even though percep7on and ac7on are typically well matched, in some cases (e.g., following brain damage) they can uncouple. In audi7on, dissocia7ons of percep7on and ac7on are observed in tone deafness using pitch percep7on/produc7on tasks. In this talk I will provide evidence that a mismatch of percep7on and ac7on in the auditory modality is not limited to the pitch dimension but can also extend to 7ming. To this aim, data from a group of university students and from a child drummer prodigy will be presented. Par7cipants were asked to synchronize their movement (e.g., by finger tapping or playing with a drums7ck) with rhythmical auditory s7muli, such as isochronous sequences, music, and speech u_erances. In addi7on, percep7on Con7nued

19 was assessed with an anisochrony detec7on task, and with the MBEA. The results showed that, in general, precision in synchroniza7on and accuracy in detec7ng anisochronies are associated. Yet, there are excep7ons. Some individuals are unable to tap along with auditory s7muli, whereas their percep7on is normal. Moreover, in the case of the child drummer prodigy, in spite of his excep7onal precision in synchroniza7on, as compared to university students, his performance is average in detec7ng anisochronies. In sum, these findings suggest that 7ming in percep7on and ac7on may rely on separate systems which in general are highly coupled.

20 Paul de Mornay Davies Seminar Series Organiser (Language & Communica0on Research Group) Paul is a Senior Lecturer in Psychology at Middlesex University. He completed his PhD in psycholinguis7cs and neuropsychology at Royal Holloway, University of London, followed by post- doctoral training at Birkbeck and Cambridge on the neuropsychology of language, with a par7cular emphasis on aphasia and neurodegenera7ve disorders. His research focuses on two principal areas: the seman7c representa7on of object and non- object concepts, and the rela7onship between morphology, seman7cs and phonology in speech percep7on and produc7on. His most recent work, in collabora7on with colleagues from UC Davis, uses ERP in combina7on with priming techniques to inves7gate these aspects of language in both aphasic and unimpaired adults.

21 José Roberto do Carmo jr Poster: The role of singing rate and pitch range on emo0onal meaning of pop- song melodies Roberto is currently a Visi7ng Professor, based in the Department of Linguis7cs of Universidade de São Paulo, Brazil. His research interest is music semio7cs and its applica7ons, especially the analysis of melody of popular songs, the interac7on between melody and speech prosody and, more recently, the melodic coefficients of some primary emo7ons. [Abstract] In this exploratory study we analyse forty Beatles songs to determine the existence or not of specific melodic cues for emo7onal meaning. Major studies by Gabrielsson (1996), Juslin & Laukka (2003) and Livingstone et al. (2010) among others have pointed out that Tempo, Mode, Harmony, Pitch Height, Loudness an Ar7cula7on are the main cues of musical emo7on, in a broad sense. Semio7c studies on a large corpus of Brazilian songs (Ta7t, 1986, 1996) suggest that Singing Rate and Pitch Range are finer tools than Tempo and Pitch Height when the object of analysis is the emo7onal meaning of the sung melody. Thus, instead of beats per minute, we should consider syllables per minute and instead of the average between the lowest and highest notes of the melody, we should consider their distance. This hypothesis is supported by two facts observed in sung melodies: first, one Tempo may present different Singing Rates; second, when Singing Rate increases, Pitch Range tends to decrease and vice- versa. There are reasons to believe that this nega7ve correla7on between Singing Rate and Pitch Range is strongly related to the emo7onal content of the melody, par7cularly to the Valence. To test this hypothesis, we gathered data from two Internet surveys about the emo7onal content of Beatles songs (42 informants, 79 songs and 202 indica7ons). The query posted on the Internet asked users to list what they judged to be the saddest and the happiest Beatles songs. The Singing Rate and the Pitch Range of the twenty saddest and the twenty happiest songs were measured, according the indica7ons of the informants. The results confirm the nega7ve correla7on between Singing Rate and Pitch Range and its relevance to the emo7onal meaning of the melody. Crucially, the ra7o between Singing Rate and Pitch Range could be taken as a Valence Index for the analysis of emo7onal content of pop- song melodies.

22 Tuomas Eerola Workshop presenter: Synchronized coordina0on of movement to music in infants: es0ma0on of accuracy and inten0on Tuomas graduated from the University of Jyväskylä, Finland with a PhD disserta7on (2003) that concerned the dynamical aspects and cross- cultural correlates of melodic expectancies. He currently acts as a Professor at the Finnish Centre of Excellence in Interdisciplinary Music Research within the University of Jyväskylä, and as an Associate Professor at the Department of Music at the University of Jyväskylä. His research interest lies within the field of music cogni7on and music psychology, currently in percep7on and induc7on of emo7ons in music and music- induced movement. The approaches to these topics consist of combining computa7onal modelling and empirical (behavioural) experimenta7on. [Abstract] In a recent study (Zentner & Eerola, PNAS 2010), infants were demonstrated to exhibit more rhythmic movements with musical s7muli than in comparison to speech s7muli. Also a rudimentary form of adjustment of movement periods to the musical periods was documented although the group level effect of this adjustment was moderate at best. Here we explore the data from this prior study in more detail by focusing to the individual data with respect to synchronized movements. We first introduce a set of constraints to observe inten7onal rhythmic synchroniza7on. For this purpose, we adopt methods from circular sta7s7cs with tolerances similar to those u7lized in studies of synchroniza7on in non- human species (Patel et al., 2009). We analyze the high- resolu7on movement capture data of the most promising infants across different tempo condi7ons and explore the typical dura7ons of plausible synchronized bouts. The results of these analyses suggest that selected individuals demonstrate a level of movement synchrony with music that is on par with those observed in non- human species. However, the spontaneous motor tempo and limited motor control of the infants are clearly affec7ng the accuracy of such behaviours. The results are considered from the perspec7ve of infants temporal percep7on of music, their rhythmic discrimina7on abili7es and the underlying motor processes involved in coupled movement- auditory behaviours.

23 Simone Falk muenchen.de Session 1 Chair and Presenter of a research paper: Speech- to- song illusion: effects of prosodic- structure and listener s musicality (with Rathcke) Simone is a lecturer at the department of German linguis7cs, LMU Munich. AVer her studies in German and French linguis7cs, and literature and journalism, she completed her PhD in Linguis7cs at LMU Munich in 2008 with a disserta7on on Music and Language: prosodic features in French, German and Russian infant- directed singing. Her research interests include Music and Language Structures; Phone7cally based Phonology; First Language Acquisi7on; and Syntac7c Typology. [Abstract] See entry under Rathcke

24 Fabia Franco Seminar Series Organiser (Language & Communica0on Research Group) & Chair of the Research Papers session on Meaning. Poster: The influence of na0ve language and musical back- ground on melody and pitch discrimina0on: support for shared resources? (with Chew and Rohrmeier) Fabia completed her studies in Psychology at the universi7es of Padua (BSc/MSc) and Bologna (PhD). While con7nuing her ini7al research on infant sound- meaning correspondences based on melodic pa_erns, she joined the Infant Study Unit at S7rling University as Post- Doctoral Research Fellow and started her research on infant poin7ng and joint a_en7on with the support of two ESRC grants. AVer holding a tenured lectureship at Padua, she joined Middlesex University in 1998 where she founded the BabyLab. Recently she has developed research interests in the rela7onship between language and music; she is currently leading projects on very young children s recogni7on of affect in the human voice (Nuffield) and in child- directed instrumental and vocal music (Bri7sh Academy), and on tone and melody percep7on in non- musicians and musicians from different language backgrounds (SEMPRE). [Abstract] The present study aimed to explore the extent to which the na7ve language or musical background of par7cipants had an effect on melodic discrimina7on in music and language. Experience with a tonal language or musical training was contrasted with absence of either types of experience in experiments inves7ga7ng the discrimina7on of [1] pitch contours extracted from speech and played as either humming (low- pass filtered contours) or cello music (annotated and resynthesised from speech contours); [2] Mandarin lexical tones, and [3] sine wave tones. Discrimina7on was measured in terms of accuracy and RTs for all condi7ons, presen7ng pairs of s7muli within a same/different paradigm. Con7nued

25 This poster reports the first results and illustrates the ongoing experiments. The first results suggest that musicians from a non- tonal language background outperformed the other groups. As to the non- musician groups, Mandarin na7ve speakers outperformed English na7ve speakers. Thus, both experience with music and with lexical tones enhanced the ability to discriminate pitch contours, as well as linguis7c tones and sine wave tones. These results are compa7ble with the view that common processes are involved in the discrimina7on of tonal informa7on. Some unexpected effects were found, such as an influence of the original language in which the s7muli were recorded (English, Japanese, Mandarin). Ongoing analyses are a_emp7ng to address the ques7on of whether such differences are due to complexity aspects inherent to the s7muli or possibly to the rhythmic characteris7cs of the languages used to create the s7muli.

26 Robert Fulford Poster: Staying in 0me and staying in tune: The experiences of musicians with hearing Impairments (with Ginsborg) Robert is currently a PhD student in Music Psychology at the Royal Northern College of Music. He gained an MA (Cantab) in Music with Educa7on and subsequently an MPhil in Educa7onal Psychology at Homerton College, Cambridge. His current research focuses on interac7ve music- making for musicians with a hearing impairment and is part of an AHRC- funded project in collabora7on with the Acous7cs Research Unit at the University of Liverpool. He holds a diploma of The Associated Board of the Royal Schools of Music in flute performance. [Abstract] Musicality exists irrespec7ve of hearing. According to one deaf musician, Music is not about hearing any more than language is. For those with hearing impairments, however, music- making in the real world poses real challenges into which very li_le research has been conducted. Semi- structured interviews were conducted with 11 par7cipants who have hearing impairments. They spoke of their musical backgrounds, hearing loss, hearing aids and experiences of making music with other people. For the purposes of the wider inves7ga7on of interac7ve performance for which the present study forms a preliminary explora7on, they were also asked about their experiences of vibro- tac7le feedback. Verba7m transcripts were subjected to a structured thema7c analysis. Par7cipants mo7va7ons for music- making included a love of music, a strong sense of their own musicality and high musical self- efficacy. Nonetheless, results indicated that maintaining temporal synchrony, or staying in 7me and tonal synchrony, or staying in tune with other musicians, were challenges that oven led to nega7ve music- making experiences. They reported a wide variety of strategies for managing these challenges, for example the use of rigorous prepara7on, visual cues, physical cues and social feedback to facilitate the maintenance of tonal and temporal ensemble synchrony in the face of intrinsically musical demands such as pauses, beat- shivs and rubato. In short, while par7cipants reported challenges to music- making arising from their hearing impairments, their mo7va7ons were similar to those of hearing musicians and it can also be argued that the strategies they use to compensate for their impairments are explicitly derived from those that are universal and available to all musicians.

27 Usha Goswami Rhythmic entrainment in developmental dyslexia and SLI Usha is Professor of Educa7on at the University of Cambridge and a Fellow of St John's College, Cambridge. In 2005, she became Director of the Centre for Neuroscience in Educa7on. Prior to moving to Cambridge in January 2003, she was Professor of Cogni7ve Developmental Psychology at the Ins7tute of Child Health, University College London. She received her PhD from the University of Oxford in 1987; her topic was reading and spelling by analogy. Her research has covered the rela7ons between phonology and reading, with special reference to rhyme and analogy in reading acquisi7on, and rhyme processing in dyslexic and deaf children's reading. A major focus of the research is cross- linguis7c with projects including cross- language studies of the impact of deficits in auditory temporal processing on reading development and developmental dyslexia, neuroimaging studies of the neural networks underpinning reading in good and poor deaf adult readers, studies of reading development and its precursors in deaf children with cochlear implants, and a set of projects based around lexical sta7s7cs, inves7ga7ng the impact of 'neighbourhood rela7ons' (similarity rela7ons such as rhyme) in phonological and orthographic processing in different languages. [Abstract] I present studies of rhythmic entrainment in children with dyslexia and SLI, as measured by the ability to keep 7me with a beat presented at different rhythmic rates (1.5 Hz, 2 Hz, 2.5 Hz). I show that impairments are most consistent at the 2 Hz (500 ms) rate, relevant to the syllabic structure of speech (stressed syllables occur every 500 ms on average). Further, individual differences in rhythmic entrainment at 500 ms are predic7ve of differences in language and reading abili7es. I show that these difficul7es with rhythmic entrainment do not ameliorate over developmental 7me, as they remain present in highly remediated adult dyslexics a_ending a world class university. I then present a first a_empt at studying the neural basis of rhythmic entrainment difficul7es. Neural coding by brain oscilla7ons is a major focus in neuroscience with important implica7ons for language research and thereby dyslexia. Con7nued

28 Impaired temporal sampling of speech by neuroelectric oscilla7ons that encode incoming informa7on at lower frequencies (Theta and Delta) would explain the perceptual and phonological difficul7es with syllables, rhymes and rhythmic input found in dyslexia. In a passive rhythmic entrainment paradigm, in which adults with and without dyslexia listened to tone s7muli at a rhythmic rate of 2 Hz (500 ms), impaired phase locking within the Delta and Theta bands was demonstrated for the par7cipants with dyslexia using EEG. I interpret this finding with respect to language encoding and phonological impairments.

29 Jessica Grahn cbu.cam.ac.uk (Jessica will be taking up a faculty posi7on in the Department of Psychology at the University of Western Ontario as of January 1 st - her new address is jgrahn@uwo.ca) fmri inves0ga0ons of finding the beat versus con0nuing the beat Jessica has undergraduate degrees in piano performance and neuroscience, and a PhD in the cogni7ve neuroscience of music from the University of Cambridge. She is currently at the Medical Research Council's Cogni7on and Brain Sciences Unit. She inves7gates the neural bases of musical rhythm processing, as well as novel fmri methodology (in par7cular 'real- 7me' fmri applica7ons for neurofeedback- based rehabilita7on). [Abstract] Neuroimaging studies have revealed that certain motor areas in the brain are involved during auditory percep7on of temporal sequences even when no movement is made. In par7cular, the basal ganglia appear to respond to rhythms in which a beat can be heard compared to irregular rhythms. It is unclear, however, if the ac7vity increase is due to early processing, such as a_emp7ng to extract the beat, or later processing, such as internal beat genera7on. We inves7gated neural ac7vity for different stages of beat percep7on using fmri. Par7cipants listened to a series of beat and non- beat sequences. The beat sequences could be preceded by a non- beat sequence, (the beat was perceived anew on that trial ('beat- new' condi7on)), or could follow another beat sequence with the same beat rate ('beat- con7nua7on'), or a different rate ('beat- faster' and 'beat- slower'). If the basal ganglia are involved in 'finding' a beat, ac7vity should be greater for beat- new and beat- faster/slower sequences, whereas if the basal ganglia are involved in later beat processing, ac7vity should be greater for 'beat- con7nua7on' trials. We found greatest ac7vity for beat- con7nua7on trials, and less ac7vity for beat- new and beat- faster/slower trials. Other motor areas did not show this pa_ern of ac7va7on. Thus, the basal ganglia are more responsive to later stages of beat processing, sugges7ng a role in beat genera7on or predic7on, as opposed to searching for or extrac7ng the beat.

30 Sarah Hawkins Chair of the Research Papers session on Entrainment Sarah has degrees in psychology and phone7cs from Southampton and Cambridge. She worked for about 9 years in the USA before returning to Cambridge in She has conducted research on 7ming and rhythm in children's speech, and on percep7on of phonological dis7nc7ve features. Most of her recent research explores the perceptual salience of phone7c detail that systema7cally indicates linguis7c structure, but not necessarily phonemic category, as part of her theore7cal interest in biologically- plausible accounts of how the brain processes speech and other human communica7ve systems. In this connec7on, her current research interests are turning towards interac7ve communica7on in music as well as speech.

31 David House Respondent and Workshop presenter: Collec0ng and exploi0ng a Swedish mul0modal database of spontaneous speech in dialogue David is Professor of Acous7c and Phone7c Analysis at the Department of Speech, Music and Hearing, KTH. He received a BA in English and Cinema Studies from the University of Kansas, 1975 and a Ph.D. in Phone7cs, Lund University, In 1998, he was appointed Associate Professor at KTH and became Full Professor in David has more than 150 scien7fic publica7ons represen7ng research ac7vity in speech percep7on, prosody, tone and intona7on, speech synthesis and recogni7on, spoken dialogue systems, and speech percep7on by the hearing- impaired. Recent work includes studies on temporal resolu7on and integra7on of visual and auditory cues in mul7modal speech percep7on, social aspects of audio- visual prosody and the func7on and use of prosody and gesture for interac7on in spoken dialogue systems. He is currently Associate Editor of Phone7ca and Secretary and member of the Board of the Interna7onal Speech Communica7on Associa7on (ISCA). Research areas: prosody, audio- visual speech percep7on, tone and intona7on, audio- visual speech synthesis for spoken dialogue systems, gestures in dialogue. [Abstract] This presenta7on reports on current work, lessons learned and experiences gained in collec7ng and exploi7ng an ongoing database project (Spontal, VR ) in which 120 half- hour sessions of spontaneous dialogue are being recorded. The project takes as its point of departure the fact that both vocal signals and gesture involving the face and body are important in everyday, face- to- face communica7ve interac7on and that there is a great need for data with which we can more precisely measure these. The subjects are all na7ve speakers of Swedish and balanced (1) for gender, (2) as to whether the interlocutors are of opposing gender and (3) as to whether they know each other or not. The dialogue topic is free, but aver 20 minutes the par7cipants are asked to open a box which contains objects whose iden7ty or func7on is not immediately obvious. All recordings are comprised of high- quality Con7nued

32 audio, high- defini7on video and a mo7on capture system using infra- red cameras and reflec7ve markers to capture body and head gestures. One way in which the data is being exploited is by crea7ng gesture movement profiles of selected dialogues. These are created from the mo7on capture data by plo}ng Z- normalized average marker movement per speaker over 7me for the en7re dura7on of the dialogues. The profiles can be correlated to important proper7es of the individual dialogues such as speaker ac7vity, dialogue dominance alterna7on, and movement synchrony and entrainment between the par7cipants. The graphic displays of the profiles can illustrate these proper7es and provide interes7ng and useful measurements which can contribute to new ways of analyzing dialogue behaviour.

33 Kyle Jasmin Poster: Virtually accommoda0ng: aligning speech with a virtual interlocutor (with Staum Casasanto 1,2 and Casasanto 1,3 ) 1 Max Planck Ins7tute for Psycholinguis7cs, Nijmegen 2 Stony Brook University, NY 3 New School for Social Research, NY Kyle is a pianist and a member of the Max Planck Ins7tute for Psycholinguis7cs in Nijmegen. He is interested in speech rhythm, gesture, alignment processes between speakers during conversa7on, and ways motor experience can shape language and thought. [Abstract] Why do people accommodate to each other s linguis7c behavior? Studies of natural interac7ons (Giles, Taylor & Bourhis, 1973) suggest that speakers accommodate to achieve interac7onal goals, influencing what their interlocutor thinks or feels about them. But is this the only reason speakers accommodate? In real- world conversa7ons, interac7onal mo7va7ons are ubiquitous, making it difficult to assess the extent to which they drive accommoda7on. Do speakers s7ll accommodate even when interac7onal goals cannot be achieved, for instance, when their interlocutor cannot interpret their accommoda7on behavior? To find out, we asked par7cipants to enter an immersive virtual reality (VR) environment and to converse with a virtual interlocutor. Par7cipants accommodated to the speech rate of their virtual interlocutor even though he could not interpret their linguis7c behavior, and thus accommoda7on could not possibly help them to achieve interac7onal goals. In real- world conversa7ons, accommoda7on may oven be mo7vated by efforts to achieve interac7onal goals: people may accommodate to make others do, think and feel things. But the present data show that this is not the only reason that people accommodate. Since people accommodate to a virtual interlocutor, we can conclude that accommoda7on is not necessarily driven by immediate a_empts to influence Con7nued

34 social rela7onships or convey social messages. Yet, social mo7va7ons at a broader level may mo7vate accommoda7on, which may be a tool by which people develop linguis7c styles, over the long term. The finding that the degree to which people accommodate correlates with how much they iden7fy with their interlocutor suggests that accommoda7on is not merely a reflex. However, these results do not rule out some role for alignment processes that are engaged automa7cally. In real conversa7ons, social and interac7onal factors may combine with automa7c factors to produce linguis7c accommoda7on. Giles, H., Taylor, D. M., and Bourhis, R. (1973). Language in Society 2:

35 Peter Keller Respondent and Workshop presenter: Interpersonal coordina0on in musical contexts: an individual differences based approach Peter holds degrees in Music and Psychology from the University of New South Wales in Australia. Following a brief period as a trombonist and composer, Peter began his scien7fic career at MARCS Auditory Laboratories in Sydney. He subsequently held research posi7ons at Haskins Laboratories (New Haven, USA) and the Max Planck Ins7tute for Psychological Research (Munich, Germany). Peter currently heads the Music Cogni7on and Ac7on group at the Max Planck Ins7tute for Human Cogni7ve and Brain Sciences in Leipzig. The group is devoted to the study of human interac7on in musical contexts. [Abstract] Interpersonal coordina7on in musical contexts is pervasive, rewarding, and poorly understood from a scien7fic perspec7ve. We have rich descrip7ons of coordinated behaviour in musical interac7ons, and a great deal is known about basic mechanisms underlying human cogni7on and ac7on. Yet li_le is known about how these mechanisms coalesce to produce intricate and aesthe7cally pleasing coordinated displays found in group music- making and dance. I will discuss an approach to bridging this gap based on individual differences. This approach involves inves7ga7ng rela7onships between individual musicians cogni7ve/motor skills (e.g., the use of auditory imagery to an7cipate upcoming sounds) and the ability of those musicians to coordinate with one another in ensembles under naturalis7c performance condi7ons.

36 Sarah Knight Poster: Exploring affilia0ve effects of entrainment in passive listening (with Spiro & Cross) Sarah is in the third year of her PhD under the supervision of Dr Ian Cross. Her interests centre on the power of entrainment, through music-, gesture-, and speech- based ac7vi7es, to influence social interac7on and interpersonal rela7onships. Her PhD focuses in par7cular on the role of entrainment in oratory, and specifically its ability to increase the perceived persuasiveness of speakers. In her spare 7me, Sarah enjoys real ale and good books, and plays 7ddlywinks for the University. [Abstract] Music is widely acknowledged to have some form of social efficacy at the group level. One way in which it is suggested to do so is through the simultaneous opera7on of socio- inten7onal processes - our interpreta7ons of the human agency and inten7onality underlying music - and entrainment. During collec7ve musical behaviour, entrainment affords the percep7on of the human ac7on and inten7onality derived from socio- inten7onal interpreta7ons as joint ac7on and shared inten7onality; this in turn fosters interpersonal affilia7on and prosocial behaviour, the la_er of which is linked to trust. However, music nowadays is frequently experienced not communally but in "passive" contexts such as the concert hall; and even in communal music- based interac7ons the par7cipants oven shiv roles, and may at any 7me take the role of dancer, musician, listener, observer, or a combina7on of these. Of course, socio- inten7onal interpreta7ons endure when we are mere observers: musical events are s7ll interpreted as traces of human behaviour. Entrainment, an automa7c neural response, also occurs when a listener is passive during a musical experience; however, it is unknown whether the powers of entrainment to promote prosocially- related outcomes persist in such a context, given the absence of synchronized physical behaviour and all that this behaviour entails. However, given the strength and robustness of the social effects of ac7ve entrainment so far discovered, and the close percep7on/ac7on 7es observed in human beat percep7on - and human cogni7on in general - such a sugges7on seems plausible. This experiment therefore seeks to test the hypothesis that, during passive listening, entrainment promotes trust between the listener and those who can be observed ac7vely entraining to the same s7mulus.

37 Marc Leman Respondent and Poster presenter: Understanding an0- entrainment (with Muller and Moens) Marc is Methusalem research professor in systema7c musicology and director of IPEM at Ghent University. He has a background in musicology, philosophy and compu7ng. He has published more than 150 ar7cles and books (including Music and schema theory (Springer, 1995), Embodied music cogni0on and media0on technology (MIT Press, 2007) and Musical gestures: sound, movement, and meaning (Routledge, 2010). He is a pioneer in the epistemological and methodological founda7ons of computa7onal modeling and, more recently, of (social) embodied music cogni7on. He currently manages a group of about 30 researchers that work on the ques7on of how people engage with music in different significa7on prac7ces. In 2007 he became laureate of the Methusalem for his project on musical embodiment. He likes to play the jazz- trumpet. More informa7on at: h_p:// [Abstract] An7- entrainment is a well- known phenomenon in different parts of the world (e.g. Brazil, Indonesia, Greece). It typically occurs when groups of musicians walk in streets while playing. Their task is to keep the tempo against the tendency to entrain with the tempo of another group. We designed an experiment where an7- entrainment could be tested and measured. Two groups of musicians (17 and 18 subjects) started from different loca7ons marching in the street while playing the same rhythmic pa_ern. Using video, audio and press sensors, we then measured how both groups behaved with respect to each other s tempo. The results suggest that entrainment may be influenced by start tempo, exposure 7me, and a distance effect.

38 Victoria Leong Poster: Entrainment to rhythmic structure in auditory- visual interac0ons (with Soltesz, Szucs and Goswami) Vicky is currently comple7ng her PhD on "Speech Rhythm and Temporal Pa_erns of Slow Amplitude Modula0on in the Speech Envelope" with Prof Usha Goswami. Her work involves developing sta7s7cal descrip7ons of rhythmic pa_erns in speech, as exemplified in children's nursery rhymes. She is inves7ga7ng how pa_erns of very slow amplitude modula7on in the speech envelope may convey informa7on about metrical (rhythmic) structure and predictability, which in turn influence parsing and segmenta7on of speech. Her work also involves a func7onal comparison of rhythmic percep7on and produc7on between individuals with and without developmental dyslexia. She is interested in the poten7al links between perceptual sensi7vity to amplitude modula7on, speech rhythm, and reading development. In her spare 7me, Vicky enjoys swing jazz and doing the Lindy Hop! [Abstract] Meaningful sounds in the natural world such as language and music have a rhythmic structure. However, the neural mechanisms underlying the detec7on of rhythmicity, and its effects on percep7on are unclear. It has been suggested that neuronal assemblies in the brain entrain their pa_ern of excitability to temporally- structured s7muli in the environment (Schroeder & Lakatos, 2009). Previous studies also indicate that the phase of ongoing neural oscillatory ac7vity affects behavioural reac7on 7mes (Lakatos et al, 2008; Senkowski et al, 2006). This suggests a poten7al role for temporal rhythmicity in constraining percep7on and ac7on via the mechanism of neuronal oscillatory entrainment. In this study, we characterized the effect of rhythmic (auditory) entrainment on performance in an ac7ve visual flash detec7on task. We find that par7cipants behavioural reac7on 7me profile shows key differences in slope and periodicity when the task is performed with and without a rhythmic context. These differences are compa7ble with previous findings of the effects of neuronal oscillatory ac7vity on reac7on 7me. We conclude that the presence of a strong Con7nued

39 rhythmic context produces characteris7c effects on performance, even when the rhythmic s7muli (tones) are irrelevant to the main task (visual flash detec7on). These effects are mainly facilitatory in nature (they decrease reac7on 7me), and show a temporal dependency on the entraining rhythmic period. These results support the hypothesis that temporal rhythmicity may constrain percep7on and ac7on by enhancing readiness or expectancy during certain phases of the rhythmic interval.

40 Juan David Leongómez Poster: Context- dependent modula0on of vocal parameters Juan David graduated in 2006 with a 5- year BA in the field of music pedagogy from the Universidad Pedagógica Nacional (Bogota, Colombia). For his undergraduate thesis, he studied the phenomena of acous7c communica7on in non- human animals, especially birds and mammals; he tried to find elements to support the possibility of a non- human origin of the musical phenomenon, finding enormous similari7es with the processes of musical produc7on, listening and comprehension in humans. In 2009 he obtained an MSc in Evolu7onary Psychology with Dis7nc7on from the University of Liverpool. Working under the supervision of Dr. Craig Roberts, he focused his research on the evolu7on of language and acous7c communica7on in humans, analysing varia7ons in two non- seman7c characteris7cs of human speech (pitch and loudness) in different social contexts, finding significant context- dependant differences in the use of these music- like quali7es. Between he held a full- 7me teaching post at the Department of Visual Arts Educa7on at the Universidad Pedagogica Nacional. He is currently star7ng a PhD under the supervision of Dr. Roberts at the University of S7rling, funded by a 4- year scholarship from the Colombian Department of Science, Technology and Innova7on (Colciencias). [Abstract] The idea of an evolu7onary link between music and language has been proposed by several researches since Darwin. Shared neural structures and ontogene7c developmental stages seem to support this theory, but studies addressing specific behavioural and cogni7ve similari7es are essen7al. This project inves7gates the case of two important means for the transmission of informa7on in music: pitch and loudness varia7on, and their possible roles in speech. In order to see whether varia7on in these psychoacous7c cues is also important in human language, responses of par7cipants to same- and opposite- sex s7muli of known a_rac7veness were recorded and acous7cally analysed; sta7s7cal analyses of the pitch and loudness mean and standard devia7on values were conducted. Results show remarkable trends in the use of these cues that could be the product of inter- and intra- sexual Con7nued

41 compe77on strategies to posi7vely affect the percep7on that listeners would have. The existence of these trends in the use of pitch and loudness varia7on supports the hypothesis that these cues are used to communicate inten7ons and/or emo7ons, providing evidence for rela7ons between music and language, analogous to those of the implicated neural resources.

42 Jerome Lewis Respondent Jerome lectures in Social Anthropology at University College London. He began working with Pygmy hunter- gatherers and former hunter- gatherers in Rwanda in This led to work on the impact of the genocide on Rwanda s Twa Pygmies. Since 1994 he has worked with Mbendjele Pygmies in Congo- Brazzaville researching child socialisa7on, play and religion; egalitarian poli7cs and gender rela7ons; and language and communica7on. Studying the impact of global forces on many Pygmy groups across the Congo Basin has led to research into human rights abuses, discrimina7on, economic and legal marginalisa7on, and to applied research suppor7ng conserva7on efforts by forest people and suppor7ng them to be_er represent themselves to outsiders.

43 Job Lindsen Poster: How music can brighten our world: emo0ons induced by music affect brightness Percep0on (with Williams 1 & Bha_acharya 2 ) 1 Department of Psychology, Goldsmiths, University of London 2 Commission for Scien7fic Visualiza7on, Austrian Academy of Sciences, Vienna Job is a post- doctoral researcher at Goldsmiths, University of London, studying behavioural and physiological effects of emo7on and informa7on dynamics in music. His research interests include also cross- modal effects of music and visual processing; Subjec7ve decision making and preference forma7on; Methodological aspects of EEG analysis; Cogni7ve control and cogni7ve flexibility. [Abstract] For most of us, music is emo7onal. Previous research showed that emo7onal components of music influence affec7ve judgement of faces: prior listening to music with posi7ve or nega7ve valence makes a face to be judged as more posi7ve or nega7ve 1. However, it is not known whether music could influence low- level visual processing. Low- level perceptual proper7es are classically thought to be immune from influences of top- down processes, yet the perceived physical world is not just a passive registra7on of external reality, but an ac7ve process of representa7on based on internal expecta7ons and affec7ve states. In the current study, we inves7gated whether musically induced emo7ons can influence brightness percep7on. In Experiment 1, par7cipants saw a grey square before and aver a musical prime, and judged whether the second square was brighter or darker than the first. They were told that the differences in brightness were small but detectable, while in reality the same square was presented twice. Four types of primes were used that were pre- rated as either high or low along the dimensions of arousal and valence 2. Par7cipants were more likely to perceive the second grey square as brighter aver posi7ve valence primes than aver nega7ve valence primes. A similar, but only marginally significant, effect was observed for high arousal as compared to low arousal musical primes. In Con7nued

44 Experiment 2, the same task was used but now par7cipants also rated the valence and arousal of the musical primes. This did not change the effect of valence; the second square was more likely to be perceived as brighter aver posi7vely than aver nega7vely valenced musical primes, irrespec7ve of whether the par7cipant s ra7ngs or the pre- ra7ngs were used. The arousal effect was absent in the second experiment, presumably due to a decay of arousal during the evalua7on stage. Our results could be explained by metaphor representa7on viewpoint (i.e. posi7ve : nega7ve = bright : dark) 3 and the music s ability to communicate basic emo7ons. These results suggest that general affec7ve disposi7on of musical s7muli can systema7cally induce perceptual bias across modality. 1 Logeswaran and Bha_acharya. Crossmodal transfer of emo7on by music. Neuroscience Le_ers (2009) vol. 455 (2) pp Vieillard et al. Happy, sad, scary and peaceful musical excerpts for research on emo7ons. Cogni7on & Emo7on (2008) vol. 22 (4) pp Meier et al. When "light" and "dark" thoughts become light and dark responses: affect biases brightness judgments. Emo7on (2007) vol. 7 (2) pp

45 Fang Liu What can congenital amusia tell us about language processing? Fang is currently an ESRC Postdoctoral Fellow in the Department of Speech, Hearing and Phone7c Sciences at University College London. Fang received her BA in Chinese Linguis7cs and MA in Experimental Phone7cs from the Department of Chinese Language and Literature at Peking University, China. She then studied for a Masters degree in Sta7s7cs and a PhD in Linguis7cs at the University of Chicago, USA. Between , she worked as a part- 7me research assistant in cogni7ve psychology at Goldsmiths, University of London. Her research focuses on speech prosody in Mandarin and English, pitch processing in congenital amusia, and speech/ song imita7on in individuals with or without musical disorders. [Abstract] Congenital amusia is a neuro- developmental disorder of musical percep7on. Previous research has suggested that this disorder is confined to the musical domain, as the majority of amusics showed no problems with speech intona7on processing. Drawing upon evidence from our recent studies, in this talk, I will demonstrate that amusia impacts upon one s linguis7c abili7es in subtle ways for speakers of both tone and non- tonal languages. Specifically, despite repor7ng normal speech communica7on abili7es in language ques7onnaires, the Bri7sh amusics in our study showed impaired performance on discrimina7on, iden7fica7on, and imita7on of statements and ques7ons that were characterized primarily by small pitch direc7on differences in the final word (Liu et al., 2010). For Chinese amusics, amusia did not appear to affect their performance on tasks that involved mul7ple acous7c cues to communica7ve meaning (lexical tone; statement versus ques7on). Only when the tasks contained purely pitch differences between s7muli, which seldom occur in everyday speech, did amusics show impaired performance compared to controls (Liu et al., in prep.). These findings not only provide insight into the core deficit of congenital amusia and help explain why amusics rarely report language problems in daily life, but also have important implica7ons for linguis7c theories.

46 JusDn London Presenter of Orienta0on Paper 1: The three most important things psycholinguists need to know about rhythm and 0me in music Jus7n is Professor of Music at Carleton College in Northfield, MN, USA, where he teaches courses in Music Theory, The Philosophy of Music, Music Percep7on and Cogni7on, and American Popular Music. Trained as a classical guitarist, he holds a Ph.D. in Music History and Theory from the University of Pennsylvania. He has wri_en ar7cles and reviews on a wide range of subjects, from humour in Haydn to the problems of sensorimotor synchroniza7on with complex rhythms. His book Hearing in Time (OUP, 2004) is a cross- cultural explora7on of the percep7on and cogni7on of musical meter. In he was a visi7ng scholar at the CMS of Cambridge University under the auspices of a UK Fulbright Founda7on grant. He has given many talks and symposia, including the Mannes Ins0tute for Advanced Studies in Music Theory (New York, 2005), the Interna0onal Orpheus Academy for Music & Theory (Ghent, Belgium, 2007), and the Interdisciplinary College in cogni7ve science (Günne, Germany, 2009 & 2010). He served as President of the Society for Music Theory in [Abstract] An introduc7on to several basic issues in the percep7on and cogni7on of musical rhythm and meter, each illustrated with several auditory and musical examples. First, rhythmic percep7on is ac7ve, not passive. Here its rela7on to sensorimotor entrainment, its ability to alter or supplement phenomenal auditory events, and its enculturated aspects are discussed. Second, there is an important dis7nc7on between meter our endogenous sense of organiza7on that arises in the percep7on of periodic s7muli and phenomenal pa_erns of dura7on out in the world. Meter involves when events will happen, while grouping involves what events will happen. Third, different levels of rhythmic structure play by different rules. Our rhythm percep7on is subject to a number of basic constraints which affect our ability to discern dura7onal categories, count events (numerosity), and perceive connected mo7on. These include a limit of 100ms/10hz for the shortest dura7ons/fastest periodici7es versus 1500ms/.67hz for the longest/slowest. Within these extremes there is an addi7onal divide around 300ms for the percep7on of beats and melodic shapes, as well as a strong preference for dura7ons around ms (2hz).

47 Roger Moore Respondent Roger has over thirty- five years experience in speech technology R&D and much of my work has been based on insights derived from human speech percep7on and produc7on. In the 1970s, he introduced the 'Human Equivalent Noise Ra7o' (HENR) as a vocabulary- independent measure of the goodness of an automa7c speech recogniser based on a computa7onal model of human word recogni7on. In the 1980s, he published 'HMM Decomposi7on' - a powerful method for recognising mul7ple simultaneous signals (such as speech in noise) - based on observed proper7es of the human auditory system. During the 1990s and more recently, he has con7nued to champion the need to understand the similari7es and differences between human and machine spoken language behaviour.

48 MarDn Orwin Dynamic syntax and meaning in music Mar7n is a Senior Lecturer in Somali and Amharic at the School of Oriental and African Studies where he teaches both languages and their literature. His research interests centre around literary linguis7cs, specifically in rela7on to Somali poetry. Musical performance of what is s7ll essen7ally an oral/aural tradi7on has led him to start looking at the interac7on between music and language. He is also interested in the theore7cal understanding of metrical structure in poetry, the rela7on between language and music and the no7on of meaning in music and he has started to think about this in the context of a recent model of syntax/seman7cs known as Dynamic Syntax. [Abstract] The intui7ve rela7onship between language and music has been of interest to scholars in various disciplines for a long 7me and more recently has been the subject of much discussion in the fields of psychology and cogni7ve science where experimental evidence has produced tantalizing glimpses of what the human cogni7ve capaci7es for music and language might share. The theore7cal study of structure in music has also acknowledged this rela7on. Lerdahl and Jackendoff took ideas from Schenkerian musical analysis and genera7ve linguis7cs to develop their Genera7ve Theory of Tonal Music (GTTM) 1 which remains perhaps the most influen7al and widely known formal theory of musical structure and which has since been supplemented by Lerdahl (2001). 2 GTTM though is a theory of just that musical structure and there is no inves7ga7on of what it is for music to be meaningful in the sense of a seman7cs of music. The no7on of meaning in music is one which has taxed musicologists, philosophers and others and there is a wide ranging literature on this topic, however this has not drawn so much on the study of seman7cs and pragma7cs in natural language in par7cular formal seman7cs 3 and Relevance Theory. 4 In this paper I propose the idea that an approach to music based on the principles of Dynamic Syntax 5 (which owes Con7nued

49 much to formal seman7cs and Relevance Theory) may allow us to state more formally what lies within the domain of music `seman7cs' and what lies within the domain of music `pragma7cs' and how these no7ons compare when used in the contexts of music and of natural language (in this sense the paper will relate to Tim Wharton's presenta7on `Evolu7on, Pragma7cs and Music' in the first workshop). I shall do this by looking conceptually at the ideas upon which Dynamic Syntax is based and by considering how they might be used in explaining structure and seman7cs in music. I suggest a single no7on, which I call `resolu7on', may be posited as applying to both language and music. This manifests itself in natural language in what we conceive of as meaning (in the context of seman7cs) and in music allows us to speak of an analogous no7on of meaning, the difference between the two domains being a func7on of the types and formulae 6 which, along with other things, cons7tute the units of the sound string. These ideas are in the very early stages and I welcome the opportunity of sharing them with colleagues working in different fields. 1 Lerdahl, F. & Jackendoff, R. (1983). A Genera0ve Theory of Tonal Music, Cambridge, Massachuse_s: MIT Press. 2 Lerdahl, F. (2001). Tonal Pitch Space, Oxford: Oxford University Press. 3 See for example Cann, R. (1993). Formal Seman0cs: An Introduc0on, Cambridge: Cambridge University Press. 4 Sperber, D. & Wilson, D. (1995). Relevance: Communica0on and Cogni0on (Second Edi7on), Oxford: Blackwell Publishing. 5 Cann, R., Kempson, R. & Marten, L. (2005). The Dynamics of Language: An Introduc0on, Amsterdam: Elsevier Academic Press. 6 By types I refer here formally to types as conceived within type theory and the term formulae refers, with respect to natural language, to values of a predicate Fo which present the seman7c content of any given expression.

50 KaDe Overy Respondent Ka7e is a Senior Lecturer in Music, Co- Director of the Ins7tute for Music in Human and Social Development (IMHSD) and Director of the MSc in Music in the Community at the University of Edinburgh. She studied Music at the University of Edinburgh, Psychology of Music at the University of Sheffield, and Music Pedagogy at the Zoltan Kodaly Pedagogical Ins7tute of Music, Hungary. Her post- doctoral work was conducted at Harvard Medical School, involving fmri studies of musical processing. Ka7e has a long- standing interest in the role of music in human experience, with an emphasis on music and language, interdisciplinary collabora7on and the integra7on of research and prac7ce. She currently supervises five interdisciplinary PhD students and four MSc students.

51 Marcus Pearce Computa0onal models of embodied meaning in the percep0on of musical structure Educated in experimental psychology and ar7ficial intelligence at Oxford and Edinburgh, Marcus received his PhD from City University, London in 2005, before con7nuing his research on music cogni7on at Goldsmiths, University of London. Following a year as a post- doctoral fellow working on Neuroaesthe7cs in the Wellcome Laboratory of Neurobiology at University College London, he is currently conduc7ng research at Goldsmiths as a co- inves7gator on a EPSRC- funded project inves7ga7ng informa7on and neural dynamics in the percep7on of musical structure (h_p:// He has published widely on computa7onal, psychological and neuroscien7fic aspects of music cogni7on, in par7cular on perceptual expecta7ons and grouping in musical listening. [Abstract] Meyer (1956) dis7nguished designa7ve meanings, whereby musical structures refer to externally non- musical events, from embodied meanings, where musical events refer, through psychological processes of implica7on or expecta7on, to other musical events. Meyer argued that embodied meanings are capable of producing affec7ve states in the listener. Our goal is to understand the psychological processes involved in genera7ng these embodied meanings by using dynamic probabilis7c models of expecta7on in cogni7ve and neural informa7on processing of musical structure. We have developed dynamic probabilis7c models of melodic predic7on that use variable- order contexts, long- and short- term musical structure and combine informa7on from mul7ple musical features in predic7ng note a_ributes such as pitch, onset 7me and dura7on. We have also developed a novel informa7on- dynamic model based on the concept of predic7ve informa7on rate, which measures how much informa7on is gained by current observa7ons about the future, but which is not already known from past observa7ons. Con7nued

52 We use our informa7on- dynamic models to make predic7ons about listeners' responses to music, which can then be tested empirically. We have shown, for example, that informa7on- dynamic measures of surprise predict listeners' pitch expecta7ons well. Notes whose pitches are improbable given the preceding context are perceived as unexpected and vice versa. These results generalise across a range of melodic contexts including single intervals, English folks songs, chorale melodies and English hymns and predict listeners expecta7ons be_er than exis7ng rule- based models. Using EEG to inves7gate dynamic aspects of the neural mechanisms involved in musical expecta7on, we have shown that unexpected notes are associated with characteris7c pa_erns of beta band ac7va7on and phase- locking at centro- parietal scalp loca7ons. We have also used the informa7on- dynamic models to predict other aspects of musical percep7on such as phrase segmenta7on. We hypothesise that grouping boundaries in music correspond to points where the context fails to inform the listener about the iden7ty of the next musical event. This might happen when an unexpected (low probability) event arrives or because the listener is simply uncertain about what will happen next (high entropy). We have produced evidence to support this hypothesis both at the level of phrase boundaries and of high- level form. This work suggests a rela7onship between dynamic changes in perceptual expecta7ons and the cogni7ve representa7on of musical structure.

53 Helen Prior (née Daynes) Poster: Crea0ng meaning in musical performance: the relevance of musical shape Helen studied as an undergraduate at the University of Hull before comple7ng a Masters degree in Music Psychology at Keele University. She completed her PhD on Perceptual and Emo7onal Responses to Tonal and Atonal Music at the University of Hull, where she was supervised by Dr Elaine King. She has lectured in Music and Music Psychology at the University of Hull and at the University of Sheffield. Helen joined the Music Department at King's College, London, in October 2009 as a Research Assistant, and is currently working with Professor Daniel Leech- Wilkinson on a project inves7ga7ng the no7on of Shaping Music in Performance, which will contribute to the AHRC Research Centre for Musical Performance as Crea7ve Prac7ce (CMPCP). She is also a member of the Music and Science Group based at the Ins7tute of Musical Research. [Abstract] The term or idea of musical shape has been widely used by musicians, but poorly documented. The Shaping music in performance project is intended to increase the understanding of this term and its use by performing musicians. This poster outlines findings from two strands of the project that relate to the rela7onship between musical shape and meaning in music. The first strand, which examined documentary evidence from composers, performers and cri7cs, suggests that musical shape, be it of the surface features of a composi7on, or created by the performer through expressive devices, contributes to meaning in music. The second strand examines data gathered from a large- scale ques7onnaire study of performing musicians. Here, some of the rela7onships between music, shape, and meaning are elaborated through a mixture of quan7ta7ve and qualita7ve data.

54 Joëlle Provasi Rhythmical synchroniza0on in newborns: sucking and crying responses to the same auditory tempo Joëlle is assistant Professor at the Ecole Pra7que des Hautes Etudes (Paris - France). Her primary research interests are in temporal learning in newborns, and rhythmical behavior in infants. The main ques7on asked is: How does an infant modify his/her rhythmical behavior to interact with his/her environment? [Abstract] Many ac7vi7es which are central to infants interac7ons with the environment are rhythmical and involve dura7ons of less than one second. This is the case with music, mother s voice and crying. Perceiving these rhythms and being able to synchronize with them is crucial for infants social communica7on, as well as cogni7ve, emo7onal, and sensory- motor development. It is therefore important to understand how short temporal dura7ons are processed at the beginning of life. The aim of the current research was to examine whether newborn s rhythmical motor behaviors can be synchronized with auditory tempo. Two motor behaviors, spontaneous sucking (study 1) and spontaneous crying (study 2), were recorded in a total of 88 newborns exposed to various auditory tempi. Our data revealed that (i) spontaneous motor tempo can be trained, to a certain extent, by an external rhythmic s7mula7on; (ii) infants were able to adapt their sucking behavior to an external tempo if it was faster than their spontaneous rhythm; (iii) newborns were able to synchronize their crying behavior with external rhythmic s7mula7on when the tempo is close to their own ac7vity. In sum, the results suggest that very young infants are sensi7ve to contextual modifica7ons of tempo (which indicates that they perceive them). Synchroniza7on to external s7mula7on is a basic process that allows newborns to interact with their environment.

55 Tamara Rathcke Speech- to- song illusion: effects of prosodic structure and listener s musicality (with Falk) Tamara is a Postdoctoral Research Associate on the ESRC funded project Timing in Accents of English. She received her PhD from the Ludgwig- Maximilians- University in Munich in 2009 for research in which she compared German and Russian with respect to the phone7cs, phonology, seman7cs and phonotac7cs of their tonal repertoires. Her current research concentrates on 7ming and rhythm in speech and music from both phone7c/perceptual and phonologic/linguis7c points of view. [Abstract] The present study inves7gates the boundaries of speech and song by looking at the speech- to- song illusion. This illusion refers to a perceptual effect (first described by Diana Deutsch (1995) for an English sentence) when a spoken phrase shivs to being heard as sung without changing any acous7c characteris7cs of the signal. The percep7on shiv is achieved by a simple repe77on of the same phrase several 7mes and crea7ng a loop. In two successive experimental series, we examined the role of tonal and rhythmic cues for the illusion. We implemented more song- like vs. more speech- like acous7c characteris7cs in several sentences of German. Addi7onally, we obtained data on the musicality of the par7cipants. In total, 92 na7ve German listeners par7cipated in these experiments. Our results show that the percep7on shiv, as induced by the speech- to- song illusion, is a robust perceptual phenomenon. There is however some individual varia7on in the ability to experience the speech- to- song shiv. Our results suggest that subjects sensi7vity to pitch changes correlates with the speed of their percep7on shiv, with good discriminators tending to perceive the illusion in an earlier repe77on cycle than poorer pitch discriminators. Moreover, the experiments revealed that acous7c parameters especially the tonal structure and to a lesser degree the rhythmic make- up of the sentences facilitate the shiv from speech to song poin7ng to an acous7cally guided decoding strategy for speech- vs. song- like signals.

56 Uli Reich berlin.de Respondent Uli is a full professor of Linguis7cs of Romance Languages at the Freie Universität Berlin. He studied Romance Philology in Munich and got his MA for a thesis in Spanish Literature on Julio Cortázar. He then switched to Linguis7cs and, s7ll in Munich, wrote a doctoral thesis on the syntax and phonology of pronouns and zero objects in Brazilian Portuguese, which was approved in He then went to Cologne as an assistant professor and in 2007 accomplished his Habilita0on with a monograph on the Metrical and Intona7onal Phonology of French spoken by Senegalese with Wolof as L1. Uli studied and taught also at the universi7es of São Paulo ( ), Besançon (2006) and Rio de Janeiro ( ). His interest in music and the rela7ons between music and language arose out of his work on spoken language, a field in which the temporal and tonal organiza7on of meaningful u_erances is s7ll very poorly understood. He believes that he can learn a lot on these topics from musicologists. In December 2009 he organized an interna7onal conference on rela7ons between music and language in Berlin, and he tries to con7nue to strengthen research in this very promising field.

57 MarDn Rohrmeier Poster: The influence of na0ve language and musical background on melody and pitch discrimina0on: support for shared resources? (with Franco and Chew) Mar7n studied philosophy, mathema7cs and musicology in Bonn, Germany. He con7nued with an MPhil in Musicology at Cambridge, in and subsequently completed his PhD under the supervision of Dr Ian Cross. Main research topics are music cogni7on, implicit learning on music & language, and music informa7cs. Other interests lie in issues of philosophy of music and music sociology. He co- organised an interna7onal and interdisciplinary conference on Language and Music as Cogni7ve Systems, which happened in Cambridge in His MPhil thesis was based on computa7onal chorales, and further presented a probabilis7c model of key induc7on in short harmony excerpts. In his PhD research he focused on musical acquisi7on and encultura7on, in par7cular, performing experimental and computa7onal approaches to implicit learning of musical structure. Recently, he co- organised a symposium on Music Cogni7on: Learning and Processing at the Annual Mee7ng of the Cogni7ve Science Society (CogSci 2009) together with Dr Patrick Rebuschat. Currently, he is working on a probabilis7c computa7onal music model with Dr Thore Graepel at MicrosoV Research Cambridge. Besides his academic involvements, Mar7n performs notated, not- yet- notated, un- notatable music on the piano at various concerts around Cambridge, and other sunny places, such as the FIMU Fes7val at Belfort. In a vocal Jazz duo, he accompanies Vee Barbary on the piano. He is a passionate Argen7nian Tango dancer and varsity chess player. [Abstract] See entry under Franco

58 Dan Tidhar Synchrony and interpersonal percep0on on the dance floor (with Woolhouse and Cross) Dan is a post- doctoral researcher at the Centre for Digital Music, Queen Mary University of London, where he currently inves7gates keyboard temperament in a music informa7on retrieval context. His PhD thesis (Berlin, 2004) explored grammar- based models for music, and in par7cular their computa7onal proper7es and cogni7ve adequacy. In parallel to his research ac7vity, Dan is a busy performer of early music on the harpsichord. He holds qualifica7ons in Music (harpsichord performance), Computer Science, Philosophy, and Linguis7cs. [Abstract] Recent research has shown that synchronised limb movement assists social memory; for example, people who move their hands in 7me with each other, remember more about each other. We sought to explore this finding in the realm of dance and music. We hypothesised that music- induced motor coordina7on between individuals (as in dance) leads to increased person percep7on, i.e., people who dance in 7me with each other remember more about each other, a prerequisite of social bonding. In our Silent Disco experiment we used 40 dancers, 2- channel silent disco radio headphones, a marked- up dance floor, two types of music (dis7nguished by tempo and mood), and memory iden7fiers (sash colours and symbols). In each experiment trial, 10 dancers were split into two equally sized groups. Each dancer wore radio headphones and a different coloured sash and symbol. Using silent disco equipment, one type of music was transmi_ed to one group, while at the same 7me different music was transmi_ed to the other group. Each dancer was allocated a specific posi7on on the dance floor such that (s)he was equidistant from iden7cal numbers of dancers in each group. To control for physical proximity effects, at regular 7me intervals the dancers moved to other posi7ons on the dance floor so that all the dancers were adjacent to one another at some point within the experiment. Pre- experiment, the dancers faces were photographed. Post- experiment, the dancers were presented with photos of all the other dancers in turn and asked to recall each par7cipant s sash colour and Con7nued

59 sash symbol. The results showed that dancing at the same tempo as other people significantly enhanced sash colour and sash symbol memory, and thus enhanced person percep7on. Our analysis further showed that physical proximity as well as different levels of acquaintance between the dancers had only negligible effects on the results. In this talk we present the silent disco experiment as well as some of the follow- up work we are currently engaged in.

60 MarDne Turgeon Being together in 0me: rhythmic entrainment as socio- emo0onal core to music, dance and gesture with speech Mar7ne completed a BSc, MSc and PhD in Psychology at McGill University. Her PhD, on auditory stream segrega0on (i.e., auditory object forma7on), showed that temporal regulari7es and devia7ons from them (e.g., synchronous vs. asynchronous onsets) weight more than spa7al ones (e.g., close vs. distant sound- source loca7ons) and/or spectral ones (e.g., simple vs. complex harmonic ra7os) in the percep7on of temporally con7guous brief sounds as a single or separate event(s). AVer gradua7ng, she became a Research Fellow in the area of 0ming with Alan Wing (University of Birmingham) and deepened her interest in a fundamental component of both auditory percep7on and motor 7ming: rhythm. Towards the end of her fellowship, she became interested in the socio- emo7onal components of shared rhythmic ac7on or entrainment (as soldiers walking in steps or musicians playing together in 7me). As a lecturer at Lancaster University, she is developing a research program focusing on rhythmic entrainment and bonding. She believes that inter- individual entrainment has played, and s7ll plays, an important role in promo7ng social cohesion through non- verbal means of communica7on. To what extent entrainment contributes to verbal forms of socially- meaningful and sequen7ally- ordered behaviours, including full- blown language is much less clear to her at this stage; yet, it is a fascina7ng and important ques7on she d like to explore with you. [Abstract] From members of a choir singing in unison to a group of soldiers walking in step, entrainment (i.e., being together in 0me) is at the core of human ac7vity. Inter- individual entrainment might have played a key role in human evolu7on by promo7ng social cohesion and coopera7on. Indeed, shared rhythmic ac7on among individuals appears to promote bonding (i.e., a sense of being part of a group). Involving an in7mate link between percep7on and ac7on, as well as social interac7ons, being Con7nued

61 together in 7me is at the centre of that new embodied approach to music. By adap7ng the sensorimotor synchroniza7on (SMS) paradigm, which is well established in the individual- tapping literature to group tapping, this study is a first step to render social entrainment and bonding accessible to empirical inves7ga7on. We will discuss how to define and measure entrainment, a way to adapt the individual SMS paradigm to small groups (2 to 4 individuals), as well as some ini7al results on inter- individual entrainment and bonding that open several lines of further inves7ga7on. It is hoped that these discussions will not be restricted to objec7ve measures of inter- individual coupling (e.g., asynchronies across individuals tap- 7me series), but also open up the methodological challenges of capturing some of the socio- emo7onal correlates of keeping together in 7me. Although this work has been confined to musical rhythms, we will consider how the developed paradigms to inter- individual entrainment could be adapted to include linguis7c rhythms, as in the shared prosodic pa_erns of group singing. More generally, in trying to establish similari7es between the rhythms of music and language, we will not only reconsider defini7ons of entrainment and rhythm, but also of beat, accent structure, metre and tempo.

62 MarDne van Puyvelde The meaning of tonality within a mother- infant interac0on: tonal synchrony as a way to promote shared engagement. Mar7ne is a PhD student in Psychological Science. She graduated in music from the Royal Music Conservatory in Brussels in AVer several years of orchestral work as a flu7st, she started her studies in Psychology at the Vrije Universiteit Brussel. She obtained a Master Degree in Psychological Sciences Clinical Psychology - in 2009 and was subsequently granted a PhD scholarship in the research field of early parent- child interac7on. For her PhD she is part of the research group for Interpersonal Discursive & Narra7ve Studies. Together with musician Pol Vanfleteren, she introduced a new methodology to analyse the pitches within speech pa_erns and infant vocalisa7ons which led to the concept of Tonal Synchrony as a new dimension of early interac7on synchrony. As tonal synchronised periods within the vocalisa7ons of mothers and infants contain universal musical aspects based on harmonic and pentatonic series, the occurrence of tonal synchrony is inves7gated in foreign cultures (Mexico, Africa). Other research for the moment comprises the physiological a_unement between mother and infant on the level of heart and respira7on coordina7on, and the possible effect of tonal consonant music on this physiological dynamic. The meaning of tonal synchrony and its physiological impact will be framed in func7on of the early intersubjec7ve crea7on between a mother and an infant. At this moment, the South African ar7st Lyn Smuts is working on the musical transcrip7ons of the mother- infant vocalisa7ons that were done for the research in her new ar7s7c theme of mother sensi7vity. A first ar7s7c crea7on about tonal synchrony is displayed at the moment in Stellenbosch. [Abstract] Infant Directed Speech (ID Speech) is considered an important factor in the temporal synchronisa7on between mothers and infants. Although IDS has been described for many years in terms of communica7ve musicality, a profound musical analysis has Con7nued

63 yet to be done. Moreover, IDS has mostly been observed separately from the vocalisa7ons of the infant. In recent research (Van Puyvelde et al., 2010) we introduced a wider perspec7ve on the early synchroniza7on processes between mothers and infants, based on tonal analyses of vocal interac7ons between 15 mothers and their 3- month- old infants during five minutes of free play in a laboratory se}ng. Almost 84% of the 558 analysed vocal exchanges contained tonal aspects based on harmonic series (71,06%) or pentatonic series (28,94%) with a strong preference for the consonant simple frequency ra7os. These tonal interac7on periods (TIPs) were oven intertwined by pitch/interval matches. The temporal architecture of a TIP showed a remarkable correspondence with Stern s (2004) present moment which is oven associated with aspects of communica7ve musicality within a mother- infant rela7onship, but also with music, poetry, and dance. Subsequent research (Van Puyvelde et al., submi_ed) inves7gated the possible meaning of tonal synchrony in func7on of an intersubjec7ve crea7on between mother and infant. The results suggest that periods of tonality and non- tonality within vocal interac7ons are related with the degree of shared engagement between both partners and thus might embody signals of relaxa7on and tension at a pre- reflec7ve level which can be mutually exchanged. Almost 90% of the TIPs promoted a posi7ve climate within the dyad resul7ng in a very fast increase of shared engagement (M =.32s, SD =.67), versus 38% of the non- tonal interac7on periods (ntips). Frequent use of this promo7ng mechanism was related with significantly less nega7ve infant engagement (r = -.627, p<.05), significantly longer periods of high degree of shared engagement (r =.663, p<.001) and a significantly faster 7me to reach this posi7ve climate (r = -.727, p<.001). ntips were significantly related with periods of low degree of shared engagement (r =.603, p<.05) and nega7ve engagement of the infant (r =.692, p<.001). It is suggested that tonality within the vocal interac7ons between mother and infant might be a way to repair a mismatch in their synchronized processes.

64 Richard Widdess Presenter of Orienta0on Paper 5: Music, meaning and culture Richard is Professor of Musicology in the Department of Music, School of Oriental and African Studies, University of London. He studies the musical tradi7ons of India and Nepal, with regard to history, analysis of performance, orality, ethnography and cogni7on. [Abstract] Ethnomusicologists have long held that the structures, prac7ces and meanings of music are culturally determined; that understandings predicated on the music of one culture are therefore inadequate to account for music in other, s7ll less all, cultures; and that the significance of music can only be understood in rela7on to its specific cultural context. Ethnomusicological approaches to musical meaning have acknowledged affec7ve responses, but have located meaning with reference to culture- specific concepts, func7ons, social dynamics and historical trajectories of music, as well as in embodied experience and metaphorical accounts of it. Such cultural factors can be seen to interact in complex ways with the structural and stylis7c features of music, to endow the floa7ng inten7onality of music (Cross) with specific, but oven mul7- layered and fluctua7ng meanings. Cogni7ve anthropology, furthermore, suggests (a) that the mental processes enabling skilled real- 7me tasks such as music are, and must be, non- linguis7c in nature; and (b) that homologies between musical structures and pa_erns in other cultural domains may cons7tute cultural models that embody founda7onal social and other cultural meanings.

65 Ghofur Woodruff Poster: Millikan, meaning and music s content problem Ghofur recently submi}ed his Ph.D. under the supervision of Dr Ian Cross. Ghofur s thesis inves7gates musical meaning from a naturalist perspec7ve, focusing on how theories of human and non- human vocal communica7on can elucidate our auditory engagement with music. Other research interests include music cogni7on, metric theory, the music of Igor Stravinsky, and the philosophy of language and mind. As a performer, Ghofur plays electric guitar and bass in a number of rock ensembles and has extensive experience as a chorister. [Abstract] Ruth Millikan s naturalist theory of meaning, bioseman0cs, is one of the most comprehensive and robust accounts of meaning in contemporary philosophy (Millikan, 1984, 1989). A cross between Wi_genstein s theory of meaning- as- use and Darwin s theory of natural selec7on, bioseman7cs defines the meaning of a sign in terms of its historical adap7ve value in media7ng its users in rela7on to their environment; the benefit of producing and responding to signs accounts for the reproduc7on of signs and this in turn shapes their content. Millikan s theory applies to signs which are selected for through evolu7onary processes and to signs acquired through ontogene7c and cultural processes. The ques7on of whether music is bioseman7c is by no means straigh orward as music s meaning is generated at a number of func7onally dis7nct levels through a variety of processes (Cross, ). At one level, music serves a mul7tude of context- specific social func7ons which benefits its users, which accounts for music s con7nued reproduc7on (DeNora 2000), and which is thus conceivably bioseman7c. However, when it comes to tracing the fine- grained and low- level effects of music s auditory signs, it is by no means clear that such content is shaped by its adap7ve value arising in the context of music s performance or history: the values generated by music s context- specific outcomes are not commensurate with the content of its low- level auditory effects. For instance, although the character of a tonic pitch or chord is that of stability (Krumhansl, 1990) there is no stable world affair to which Con7nued

66 music users are rou7nely adapted by tokens of a tonic in the context of music s performance which could confer that character upon the tonic. I have termed the problem of tracing the content of music s fine- grained auditory effects as music s content problem, which poses an interes7ng challenge to musicologists and philosophers alike interested in the problem of meaning in music. References Cross, I. ( ). The evolu7onary nature of musical meaning. Musicae Scien0ae, Special issue. Krumhansl, C.L. (1990). The cogni0ve founda0ons of musical pitch. Oxford: Oxford University Press. Millikan, R.G. (1984). Language, thought and other biological categories: New founda0ons for realism. Cambridge, Mass.: MIT Press. Millikan, R.G. (1989). Bioseman7cs. The Journal of Philosophy, 86(6),

67 MaWhew Woolhouse Synchrony and interpersonal percep0on on the dance floor (with Tidhar and Cross) Ma_hew is a Research Fellow in Music Cogni7on at Wolfson College, Cambridge. Prior to coming to Cambridge, Ma_hew received a GGSM from the Guildhall School of Music, London, where he studied musical composi7on and piano. In 2003 he received a dis7nc7on from the Faculty of Music in Cambridge for his Masters degree, and in 2007 he completed his Ph.D. Current projects include researching (1) the cogni7ve processes underpinning the historical development of Western music, (2) music, dance and social bonding, (3) music downloading, and (4) musical syntax and metre. Ma_hew lectures on music and science, teaches keyboard skills, and supervises courses on analysis, harmony and counterpoint, tonal composi7on, and fugue. His published work focus partly on interval cycle proximity, a perceptual grouping mechanism associated with the phenomenon of tonal a_rac7on. In addi7on to work as an accompanist, Ma_hew is an ac7ve composer whose music is regularly performed within Cambridge, as well as further afield. [Abstract] See entry under Tidhar

68 Marcel Zentner Respondent and Workshop presenter: Synchronized coordina0on of movement to music in infants: es0ma0on of accuracy and inten0on (with Eerola) Marcel obtained his PhD from the University of Zurich in He moved to Harvard University to carry out postdoctoral research for two years before joining the Emo7on research group at the University of Geneva. There he became a research professor at the psychology department in He held this appointment for six years, interrupted by a term as visi7ng scholar at UC Berkeley, before moving to the University of York. His interests are at the cross- roads of personality, emo7on and music. [Abstract] See entry under Eerola

69 Other awendees at seminar 2: Emma BirkeW Aston University, Psychology Emma Birke_ is currently in the second year of a PhD exploring Timing and Dyslexia. Her current projects examine the performance characteris7cs of 7ming deficits in par7cipants with dyslexia as well as the impact of task parameters on 7ming performance. This work also considers the effect of co- morbidity (such as co- occuring ADHD) on 7ming performance. Emma has previously completed a Masters degree in Cogni7ve Neuroscience and a BSc in Human Psychology, and has experience working with children with au7sm and severe learning difficul7es. Paula Bishop- Liebler - Royal College of Music, London bishop_liebler@yahoo.com Paula is in the final stages of a doctorate at the Ins7tute of Educa7on, University of London, inves7ga7ng interac7ons between music and dyslexia within conservatoire level musicians. As part of her PhD she is collabora7ng with Prof. Usha Goswami from Cambridge University and Assistant Prof. Nadine Gaab from Harvard University exploring the temporal processing skills of musicians with and without dyslexia and non- musicians with dyslexia. In addi7on to her doctoral studies Paula is a specialist teacher and assessor. She works in a variety of ins7tu7ons such as the Royal College of Music, Guildhall School of Music and Drama, Kent University, the Dyslexia Teaching Centre in Kensington and the Royal Academy of Music. Daniel Cameron Goldsmiths, Psychology danielcameron01@gmail.com Daniel has studied music at the University of Toronto, neuroscience at the University of Winnipeg and is now a candidate in Goldsmiths' Music, Mind and Brain MSc programme. Informed by his experience as a drummer and percussionist, His research interests include the neurophysiology of auditory- motor entrainment, rhythmic expectancy, and the biological basis of rhythm as an aesthe7c and affec7ve device.

70 Nia Cason - Goldsmiths College London, Psychology ps901nc@gold.ac.uk Nia is an MSc student of the 'Music, Mind & Brain' course at Goldsmiths College, University of London. She has a BSc in Neuroscience and teaches piano. She is interested in whether rhythmic features of one's na7ve language are reflected in rhythmic grouping preferences. She is currently inves7ga7ng rhythmic grouping preferences of na7ve Turkish and na7ve English speakers, and will also be exploring rhythmic characteris7cs of Turkish and Bri7sh music. Jane Ginsborg Royal Northern College of Music Jane.Ginsborg@rncm.ac.uk Jane was a professional singer before she became a psychologist. She holds BA (Hons) degrees in music (York) and psychology (OU); she undertook her PhD research at Keele University. She was a lecturer at Manchester, a post- doctoral researcher at Sheffield and Senior Lecturer in Psychology at Leeds Metropolitan University. She is now Associate Dean of Research at the Royal Northern College of Music, having been a Research Fellow there since She has published widely on expert musicians' prepara7on for performance, collabora7ve music making and musicians health. She won the Bri7sh Voice Associa7on's Van Lawrence Award in 2002 for her research on singers' memorizing strategies. Current research projects include an AHRC- funded inves7ga7on, with colleagues at the University of Liverpool, of interac7ve performance for musicians with hearing impairments. Andrew Goldman Cambridge University, CMS ajg91@cam.ac.uk Andrew holds a BMus in piano performance and a BA in Neuroscience from the University of Southern California, LA. He is currently studying for an MPhil in Musicology with Ian Cross in the Centre for Music & Science. David Greatrex Cambridge University, CMS dcg32@cam.ac.uk David is currently studying an MPhil at the Cambridge CMS under the supervision of Dr Ian Cross. His research interests lie in entrainment, group interac7on and interference effects.

71 Guy Hayward - Cambridge University, CMS gdh26@cam.ac.uk Guy is currently in the first year of a PhD supervised by Ian Cross (CMS, Cambridge). His thesis will seek to inves7gate how entrainment influences emo7on in the social context of group chan7ng. Pamela Heaton Goldsmiths, Psychology Pamela is a Professor of Psychology at Goldsmiths. She is a world expert on percep7on and cogni7on in au7sm and has published her research findings in high impact peer reviewed journals. She has a special interest in musical and other talents in au7sm and in 2002 she was awarded the BPS prize for outstanding doctoral research for her thesis on music and au7sm. She ac7vely collaborates with researchers in the UK, Europe and North America. Jana MarDšková - Trnava & Middlesex Universi7es, Psychology j.mar7skova@mdx.ac.uk Jana graduated from the University of Trnava in Slovakia (BSc/MSc) where she studied Psychology. She worked in the Pedagogical- Psychological counselling center in Banska Bystrica and the Center for Au7sm in Bra7slava. She is currently a PhD student at the University of Trnava working on her thesis on communica7on and social interac7on in children with au7sm. She received a grant from the Slovak Academic Informa7on Agency (SAIA) to conduct a part of her study at the University of Vienna. More recently, funding from SAIA enabled her to join Fabia Franco as a Research Assistant on projects concerning voice, music and emo7on (funded by Nuffield). Iain Morley Oxford University Iain.morley@keble.ox.ac.uk Iain is a Lecturer in Palaeoanthropology & Human Sciences at the University of Oxford. AVer a first degree in Psychology, his research has subsequently focused on Palaeolithic archaeology and human evolu7on, and has specialised in the evolu7on of human cogni7on. The evolu7onary origins and archaeology of music formed the focus of his PhD at Cambridge, and other areas of interest include the emergence of ritual and religion, and Palaeolithic imagery. He previously taught in the Department of Archaeology at Cambridge, and has also been Director of Studies in Archaeology and Anthropology at Trinity Hall, Cambridge and at Keble College, Oxford.

72 Maria PanagioDdi Sheffield University Maria is a PhD student inves7ga7ng the neurocorrelates of music and drama performance under the supervision of Larry Parson. Jonathan Peelle Cambridge University, MRC peelle@gmail.com Jonathan has a PhD in neuroscience from Brandeis University, and has been at the MRC Cogni7on and Brain Sciences Unit in Cambridge since He is interested in the neurobiology of speech comprehension, using fmri and MEG to study how perceptual and cogni7ve factors interact. Of par7cular interest recently has been the degree to which brain oscilla7ons can track low- frequency (4-8 Hz) informa7on in the speech signal. Michelle Phillips - Cambridge University, CMS michelle.phillips@b7nternet.com Michelle is in the third year of her PhD, working with Dr. Ian Cross. Her work concerns the percep7on of large scale musical form, and the no7on of musical 7me (experience of elapsed dura7on during music listening). She completed her undergraduate and masters degrees (the former in music and German, and the la_er exploring the no7on of musical form in contemporary Austrian literature) at the University of No}ngham. Kate PrenDce Cambridge University, Experimental Psychology kvp20@hermes.cam.ac.uk Kate is a Ph.D student at Cambridge. Her research is inves7ga7ng whether recita7on and memorisa7on of metrical poetry contributes to children's reading development, through its poten7al effect on phonological sensi7vity. Tal- Chen Rabinowitch Cambridge University, CMS tcnr2@cam.ac.uk Tal- Chen studied psychology, musicology and flute performance for her undergraduate studies. She is currently comple7ng her PhD at the CMS in Cambridge. Her work explores the effects of musical group interac7on on children s everyday capacity for empathy, and in par7cular, the emo7onal impact of entrainment and dis- entrainment interac7ons. She is interested in uncovering the cogni7ve mechanisms and processes that underlie musical group interac7on and their relevance to empathy.

73 Barry Ross Cambridge University, CMS Barry is a PhD student at the Centre for Music and Science at the University of Cambridge. He is currently inves7ga7ng musical and linguis7c cogni7on, with an interest in human memory, under the supervision of Dr. Ian Cross and Prof. Sarah Hawkins. He was previously at the University of Stellenbosch (S. Africa). Rachel Smith University of Glasgow r.smith@englang.arts.gla.ac.uk Rachel is a Research Councils UK Academic Fellow in Sociophone7cs. Her research interests are: speech percep7on, phone7cs (acous7c, linguis7c and social), and psycholinguis7cs. Her doctoral disserta7on was on the role of fine phone7c detail in word segmenta7on. Current research concerns how people learn to perceive new voices and accents; the phone7cs of reduced discourse markers in Dutch; and percep7on of phone7c cues to morphological structure (with Rachel Baker and Sarah Hawkins). She has contributed to a theore7cal approach to speech percep7on, Polysp (developed by Sarah Hawkins) which is informed by Firthian prosodic analysis, and emphasises how the fine phone7c details of speech inform listeners simultaneously about the linguis7c message, the speaker s personal and social a_ributes, and the interpersonal interac7on that is unfolding. Neta Spiro - Cambridge University, Centre for Music & Science ns319@hermes.cam.ac.uk Neta is at the Centre for Music and Science, at the Music Faculty of the University of Cambridge. Her recent research focus has been on the study of the use of music in demen7a care. More broadly, she is interested in the theore7cal underpinnings of the use of music as therapy. Joel Swaine Cambridge University, CMS joelswaine@hotmail.com Joel has a background in commercial music composi7on and produc7on. He completed his Master of Music at the University of Texas in 1997, and was a PhD student with Ian Cross at CMS at Cambridge from He has worked in varying roles at Brunel University, Essex University, Middlesex University and the University of Cambridge. Joel has been developing a theory of musical communica7on which aims to provide a model for future empirical research into the rela7onship between music and emo7on. He is currently developing projects in collabora7on with Fabia Franco.

74 John Verney Cambridge University, Centre for Neuroscience in Educa7on John studied at the Northern School of Music in Manchester, Chester College of Educa7on and Newcastle University. He was awarded a BPhil higher research degree for his disserta7on on composi7on work with young violinists in He was previously an advisory teacher and assistant head of Northumberland County Music Service, and has wri_en ar7cles in music teaching and early years publica7ons on linking music to early literacy and in composi7on. In recent years he has given workshops at conferences and universi7es in the UK, Minnesota, and Switzerland on the use of music to help children with early literacy skills. During his PhD with Professor Goswami, John aims to inves7gate how a teaching strategy pairing music and literacy can enhance performance in rhyme predictability and segmenta7on in children aged 4-5 years old. Maria Witek Oxford University maria.witek@wadh.ox.ac.uk Maria holds a bachelor degree in musicology from the University of Oslo and completed her MA in music psychology at the University of Sheffield in Her MA thesis concerns emo7onal and physiological responses to groove- based music. Since then, she has worked as a research assistant at the Department of Musicology, University of Oslo, for the projects Rhythm in the Age of Digital Reproduc0on and Music, Mo0on and Emo0on. She is now pursuing her doctoral degree as a Clarendon Scholar at the University of Oxford, researching the rela7onship between body movement, pleasure and groove, using methods such as mo7on- capture and fmri. She is also the review editor of Popular Musicology Online.

75 LocaDon map: Mee7ng venue: 11 West Road, CB3 9DP Accommoda7on: Selwyn College, Grange Road, CB3 9DQ Dinner venue: 37 Trumpington Street Accommoda7on: Darwin College, Silver Street, CB3 9EU