Wilson et al. focus on one class of AGL tasks: the cognitively demanding task of detecting non‐adjacent dependencies (NADs) among items. They provide a typology of the different types of NADs in natural languages and in AGL tasks. A range of cues affect NAD learning, ranging from the variability and number of intervening elements to the presence of shared prosodic cues between the dependent items. These cues, important for humans to discover non‐adjacent dependencies, are also found to facilitate NAD learning (...) in several nonhuman animal species. (shrink)

Empirical advances have been made in understanding how human language, in its combinatorial complexity and unbounded expressivity, may have evolved from the communication systems present in our evolutionary ancestors. However, a number of cognitive processes and neurobiological mechanisms that support language may not have evolved specifically for communication, but rather from abilities that support perception and cognition more generally. We review recent evidence from comparative behavioural and neurobiological studies on structured sequence learning in human and nonhuman primates. These studies support (...) the notion that certain sequence learning abilities are evolutionarily conserved and engage corresponding inferior frontal brain regions across the species, regions also involved in processing language in humans. Alongside the cross-species similarities is evidence for human specialisations, illuminating the likely evolutionary pathways towards language in modern humans. We argue that cognitive abilities that were in place for animals to learn combinatorial relationships in the sensory world were available and co-opted for language in humans. (shrink)

Wilson et al. focus on one class of AGL tasks: the cognitively demanding task of detecting non‐adjacent dependencies (NADs) among items. They provide a typology of the different types of NADs in natural languages and in AGL tasks. A range of cues affect NAD learning, ranging from the variability and number of intervening elements to the presence of shared prosodic cues between the dependent items. These cues, important for humans to discover non‐adjacent dependencies, are also found to facilitate NAD learning (...) in several nonhuman animal species. (shrink)

Perceptual similarity is one of the most fiercely debated topics in the philosophy and psychology of perception. The documented history of the issue spans all the way from Plato – who regarded similarity as a key factor for human perceptual experience and cognition – through to contemporary psychologists – who have tried to determine whether, and if so, how similarity relationships can be established between stimuli both within and across the senses. Recent research on cross-sensory associations, otherwise known as crossmodal (...) correspondences – that is, the existence of observable consensual associations, or mappings, between stimuli across different senses – represents an especially interesting field in which to study perceptual similarity. In fact, most accounts of crossmodal association that have been put forward in the literature to date evoke perceptual similarity as a key explanatory factor mediating the underlying association. At the same time, however, these various accounts raise several important theoretical questions concerning the very nature of similarity, with, for example, the sensory, affective, or cognitive underpinnings of similarity judgements remaining unclear. We attempt to shed light on these questions by examining the various accounts of crossmodal associations that have been put forward in the literature. Our suggestion is that perceptual similarity varies from being phenomenologically-based to conceptually-based. In particular, we propose that the nature of the associations underlying similarity judgements – whether these associations are phenomenologically-, structurally-, emotionally-, or conceptually-based – may be represented in a two-dimensional space with associative strength on one axis, and cognitive penetrability on the other. (shrink)

Summary Music has been primarily conceived as a temporal art. However, over the last two centuries or so, researchers across different disciplines including musicology, psychology, and philosophy, have been intrigued by the spatial nature of music and sounds, using spatial concepts to define music. This paper aims to demonstrate that an understanding of music perception from a temporal perspective inherently implies a certain spatial dimension. To do this, first, I briefly examine some key arguments that lead to conceiving sound perception (...) in temporal terms. At the same time, I highlight some of the limitations of a purely temporal account of sound perception which necessitate the incorporation of spatial considerations into the conceptualization of sound perception. Consequently, I move on to consider prominent spatial accounts of musical sounds that have been elaborated by psychologists, musicologists, and music composers. In conclusion, I discuss some of the challenges arising from the analogy between music and space, whether conceived in perceptual or cognitive terms. (shrink)