The dominant theory of what people can learn implicitly is that they learn chunks of adjacent elements in sequences. A type of musical grammar that goes beyond specifying allowable chunks is provided by serialist or 12‐tone music. The rules constitute operations over variables and could not be appreciated as such by a system that can only chunk elements together. A series of studies investigated the extent to which people could implicitly (or explicitly) learn the structures of serialist music. We found (...) that people who had no background in atonal music did not learn the structures, but highly selected participants with an interest in atonal music could implicitly learn to detect melodies instantiating the structures. The results have implications for both theorists of implicit learning and composers who may wish to know which structures they put into a piece of music can be appreciated. (shrink)

The representation of physics problems in relation to the organization of physics knowledge is investigated in experts and novices. Four experiments examine the existence of problem categories as a basis for representation; differences in the categories used by experts and novices; differences in the knowledge associated with the categories; and features in the problems that contribute to problem categorization and representation. Results from sorting tasks and protocols reveal that experts and novices begin their problem representations with specifiably different problem categories, (...) and completion of the representations depends on the knowledge associated with the categories. For, the experts initially abstract physics principles to approach and solve a problem representation, whereas novices base their representation and approaches on the problem's literal features. (shrink)