In this new volume in the Oxford Psychology Series, the author presents a highly readable account of the cognitive unconscious, focusing in particular on the problem of implicit learning. Implicit learning is defined as the acquisition of knowledge that takes place independently of the conscious attempts to learn and largely in the absence of explicit knowledge about what was acquired. One of the core assumptions of this argument is that implicit learning is a fundamental, "root" process, one that lies at (...) the very heart of the adaptive behavioral repertoire of every complex organism. The author's goals are to outline the essential features of implicit learning that have emerged from the many studies that have been carried out in a variety of experimental laboratories over the past several decades; to present the various alternative perspectives on this issue that have been proposed by other researchers and to try to accommodate these views with his own; to structure the literature so that it can be seen in the context of standard heuristics of evolutionary biology; to present the material within a functionalist approach and to try to show why the experimental data should be seen as entailing particular epistemological perspectives; and to present implicit processing as encompassing a general and ubiquitous set of operations that have wide currency and several possible applications. Chapter 1 begins with the core problem under consideration in this book, a characterization of "implicit learning" as it has come to be used in the literature. Reber puts this seemingly specialized topic into a general framework and suggests a theoretical model based on standard heuristics of evolutionary biology. In his account, Reber weaves a capsule history of interest in and work on the cognitive unconscious. Chapter 2 turns to a detailed overview of the experimental work on the acquisition of implicit knowledge, which currently is of great interest. Chapter 3 develops the evolutionary model within which one can see learning and cognition as richly intertwining issues and not as two distinct fields with one dominating the other. Finally, Chapter 4 explores a variety of entailments and speculations concerning implicit cognitive processes and their general role in the larger scope of human performance. (shrink)

The goal of this study is to reintegrate the theory of generative grammar into the cognitive sciences. Generative grammar was right to focus on the child's acquisition of language as its central problem, leading to the hypothesis of an innate Universal Grammar. However, generative grammar was mistaken in assuming that the syntactic component is the sole course of combinatoriality, and that everything else is “interpretive.” The proper approach is a parallel architecture, in which phonology, syntax, and semantics are autonomous generative (...) systems linked by interface components. The parallel architecture leads to an integration within linguistics, and to a far better integration with the rest of cognitive neuroscience. It fits naturally into the larger architecture of the mind/brain and permits a properly mentalistic theory of semantics. It results in a view of linguistic performance in which the rules of grammar are directly involved in processing. Finally, it leads to a natural account of the incremental evolution of the language capacity. Key Words: evolution of language; generative grammar; parallel architecture; semantics; syntax. (shrink)

69 Thompson-Schill, S.L. _et al. _(1997) Role of left inferior prefrontal cortex 59 Buckner, R.L. _et al. _(1996) Functional anatomic studies of memory in retrieval of semantic knowledge: a re-evaluation _Proc. Natl. Acad._ retrieval for auditory words and pictures _J. Neurosci. _16, 6219–6235 _Sci. U. S. A. _94, 14792–14797 60 Buckner, R.L. _et al. _(1995) Functional anatomical studies of explicit and 70 Baddeley, A. (1992) Working memory: the interface between memory implicit memory retrieval tasks _J. Neurosci. _15, 12–29 and cognition (...) _J. Cogn. Neurosci. _4, 281–288 61 Bäckman, L. _et al. _(1997) Brain activation in young and older adults 71 Petrides, M. (1994) Frontal lobes and behavior _Curr. Opin. Neurobiol._ during implicit and explicit retrieval _J. Cogn. Neurosci. _9, 378–391. (shrink)

Implicit learning is the process through which we become sensitive to certain regularities in the environment (1) in the absence of intention to learn about those regularities (2) in the absence of awareness that one is learning, and (3) in such a way that the resulting knowledge is difficult to express.

How do listeners learn about the statistical regularities underlying musical harmony? In traditional Western music, certain chords predict the occurrence of other chords: Given a particular chord, not all chords are equally likely to follow. In Experiments 1 and 2, we investigated whether adults make use of statistical information when learning new musical structures. Listeners were exposed to a novel musical system containing phrases generated using an artificial grammar. This new system contained statistical structure quite different from Western tonal music. (...) Our results suggest that learners take advantage of the statistical patterning of chords to acquire new musical structures, similar to learning processes previously observed for language learning. (shrink)

The vast majority of experimental studies of music to date have explored music in terms of the processes involved in the perception and cognition of complex sonic patterns that can elicit emotion. This paper argues that this conception of music is at odds both with recent Western musical scholarship and with ethnomusicological models, and that it presents a partial and culture‐specific representation of what may be a generic human capacity. It argues that the cognitive sciences must actively engage with the (...) problems of exploring music as manifested and conceived in the broad spectrum of world cultures, not only to elucidate the diversity of music in mind but also to identify potential commonalities that could illuminate the relationships between music and other domains of thought and behavior. (shrink)

Experimental investigations of cross-cultural music perception and cognition reported during the past decade are described. As globalization and Western music homogenize the world musical environment, it is imperative that diverse music and musical contexts are documented. Processes of music perception include grouping and segmentation, statistical learning and sensitivity to tonal and temporal hierarchies, and the development of tonal and temporal expectations. The interplay of auditory, visual, and motor modalities is discussed in light of synchronization and the way music moves via (...) emotional response. Further research is needed to test deep-rooted psychological assumptions about music cognition with diverse materials and groups in dynamic contexts. Although empirical musicology provides keystones to unlock musical structures and organization, the psychological reality of those theorized structures for listeners and performers, and the broader implications for theories of music perception and cognition, awaits investigation. (shrink)

Much of what we know and love about music is based on implicitly acquired mental representations of musical pitches and the relationships between them. While previous studies have shown that these mental representations of music can be acquired rapidly and can influence preference, it is still unclear which aspects of music influence learning and preference formation. This article reports two experiments that use an artificial musical system to examine two questions: (1) which aspects of music matter most for learning, and (...) (2) which aspects of music matter most for preference formation. Two aspects of music are tested: melody and harmony. In Experiment 1 we tested the learning and liking of a new musical system that is manipulated melodically so that only some of the possible conditional probabilities between successive notes are presented. In Experiment 2 we administered the same tests for learning and liking, but we used a musical system that is manipulated harmonically to eliminate the property of harmonic whole-integer ratios between pitches. Results show that disrupting melody (Experiment 1) disabled the learning of music without disrupting preference formation, whereas disrupting harmony (Experiment 2) does not affect learning and memory but disrupts preference formation. Results point to a possible dissociation between learning and preference in musical knowledge. (shrink)

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)

Following in a psychological and musicological tradition beginning with Leonard Meyer, and continuing through David Huron, we present a functional, cognitive account of the phenomenon of expectation in music, grounded in computational, probabilistic modeling. We summarize a range of evidence for this approach, from psychology, neuroscience, musicology, linguistics, and creativity studies, and argue that simulating expectation is an important part of understanding a broad range of human faculties, in music and beyond.

Implicit learning is a core process for the acquisition of a complex, rule‐based environment from mere interaction, such as motor action, skill acquisition, or language. A body of evidence suggests that implicit knowledge governs music acquisition and perception in nonmusicians and musicians, and that both expert and nonexpert participants acquire complex melodic, harmonic, and other features from mere exposure. While current findings and computational modeling largely support the learning of chunks, some results indicate learning of more complex structures. Despite the (...) body of evidence, more research is required to support the cross‐cultural validity of implicit learning and to show that core and more complex music theoretical features are acquired implicitly. (shrink)

The cognition of music, like that of language, is partly rooted in enculturative processes of implicit and incidental learning. Musicians and nonmusicians alike are commonly found to possess detailed implicit knowledge of musical structure which is acquired incidentally through interaction with large samples of music. This paper reports an experiment combining the methodology of artificial grammar learning with musical acquisition of melodic structure. Participants acquired knowledge of grammatical melodic structures under incidental learning conditions in both experimental and untrained control conditions. (...) Subsequent analysis indicates a large effect of unsupervised online learning in the experimental and control group throughout the course of the testing phase suggesting an effective ongoing learning process. Musicians did not outperform nonmusicians, indicating that musical expertise is not advantageous for the learning of a new, unfamiliar melodic system. Confidence ratings suggest that participants became aware of the knowledge guiding their classification performance despite the incidental learning conditions. (shrink)