Perceptual motor coupling in obvious and non-obvious domains / tonality and contour in music cognition

我在知觉-动作耦合方面的研究强调婴儿和儿童如何在更大的认知、社会和潜在的文化发展背景下，将知觉系统产生的信息与运动动作联合收割机结合起来。在这个框架内，我的研究集中在各种明显和不明显的应用领域。明显的领域与多通道感知和运动发展有关，包括婴儿识别自己身体位置和四肢在空间中运动的能力（多通道感知和自我发展），视觉如何用于保持平衡（姿势控制），我们如何能够成功地通过混乱的世界（视觉引导运动）。非显而易见的应用领域包括婴儿如何感知和使用工具产生适当的动作，以及他们如何理解他们在世界上相对于重要地标和期望物体的位置（空间定向和婴儿搜索）。总的来说，这项研究支持婴儿协调感知系统信息（视觉和听觉）与他们如何移动的观点，以及这种感知运动协调如何修改或被一般认知和社会功能修改。我在音乐认知方面的工作重点是成年人如何能够理解他们在听各种形式的音乐时通常会遇到的复杂音高结构。这部作品通常强调两种互补的音高结构--音乐调性的概念，即围绕一个中心参考音的所有可能音符的结构，以及旋律轮廓的概念，其中涉及音高的上升和福尔斯的模式，人们通常在旋律中听到。这两个过程已经正式建模，这些模型目前正在扩展到包括节奏和韵律信息，以及在其适用性的其他方面的音高信息，如谐波结构。总的来说，这项研究提供了关于成年人如何感知、回应、记忆和潜在地表演复杂音乐信息的见解。

My research in perception-action coupling emphasizes how infants and children combine information arising from perceptual systems with motor action, within the larger cognitive, social, and potentially cultural contexts of development. Within this framework my research has focused on a variety of obvious and non-obvious domains of application. The obvious areas are related to intermodal perception and motor development, and include infants' abilities to recognize their own body position and the movement of their limbs in space (intermodal perception and the development of the self), how vision is employed in keeping one's balance (postural control), how it is we are able to successfully move through a cluttered world (visually-guided locomotion). The non-obvious domains of application include how infants perceive and produce appropriate actions with tools, and how they understand where they are in the world relative to important landmarks and desired objects (spatial orientation and infant search). Generally, this research supports the idea that infants coordinate perceptual system information (vision and hearing) with how they're moving, and how such perceptual-motor coordination modifies, or is modified by, general cognitive and social functioning. My work in musical cognition focuses on how it is that adults are able to understand the complex pitch structures they typically encounter when listening to various forms of music. This work has typically emphasized two complementary pitch structures - the idea of musical tonality, which is the structuring of all of the possible notes one could hear around a central reference tone, and the idea of melodic contour, which involves the patterns of rises and falls in pitch that one typically hears in a melody. Both of these processes have been formally modeled, and these models are currently being extended to incorporate both rhythmic and metrical information, as well in terms of their applicability to other aspects of pitch information, such as harmonic structure. In general, this research provides insights into how it is that adults perceive, respond to, remember, and potentially perform, complex musical information.