The purpose of this study was to investigate the relationships between music training and musical complexity and focus of attention to melody or harmony. Participants ( N= 192) were divided into four groups: university jazz majors ( n= 64), other university music majors ( n= 64), high school instrumentalists ( n= 32), and junior high instrumentalists ( n= 32). The musical complexity variable consisted of four levels of melodic complexity and four levels of harmonic complexity each paired for a total of 16 possible combinations all heard by each participant. Each trial consisted of a melodic complexity/harmonic complexity pairing performed by the same performer on jazz piano. Subjects indicated their overall perceived focus of attention for melody or harmony either during or immediately after they listened. A four-factor ANOVA was conducted with two between-subjects factors (order and music-training groups) and two within-subjects factors (melodic complexity and harmonic complexity). Significant differences were found for focus of attention for both melodic complexity and harmonic complexity. Significant interactions occurred between music training and focus of attention. Overall, data showed that as music training increases, so does harmonic focus of attention. March 11, 2005 October 4, 2005

A BSTR AC T This paper examines changing attitudes towards women with learning dif® culties within the culture of normalisation. It builds on earlier critiques of the normalisation principle and, whilst welcoming these, argues the case for looking at women in particular. The authors review literature on sex education for people with learning dif® culties to illustrate the ways in which gender has been ignored and women' s sexuality has been treated. W riting from their perspective as lesbian fem inists, they explore the oppressive nature of sex education in a culture that places a premium on normality. T he paper ends with a discussion of alternative ways for women with learning dif® culties to gain a sense of identity and belonging.

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This project represents an initial investigation into utilizing the two-dimensional Continuous Response Digital Interface (CRDI) to track listener perceptions related to the possible relationships between focus of attention to musical elements and perceived musical tension. The two-dimensional CRDI software creates an environment in which the listener can track their perceptions on two planes simultaneously. Volunteer undergraduate and graduate music majors (N = 60) listened to Mozart's Variations (12) for Piano in C Major on 'Ah vous dirai-je maman', K 265 while manipulating a computer mouse. The cursor on the screen could be moved horizontally along a continuum to indicate focus of attention to either melody or harmony while simultaneously moving along a vertical axis tracking the amount of musical tension being perceived by the listener. Overall, as listeners attended more to harmony, their perception of tension appeared to increase. As they attended more to the melody, their perception of tension appeared to decrease with some exceptions that may relate to other musical elements. Further research using this technology is recommended.

This study is a replication and extension of a previous study to investigate the effect of musical complexity on nonmusicians' focus of attention to melody or harmony. The research questions addressed were as follows: (a) Is there a difference in focus of attention among levels of melodic complexity and harmonic complexity? (b) Is there a significant difference in focus of attention between melodic complexity and harmonic complexity? (c) Is there a significant difference between focus of attention responses and perceived focus of attention to melody or harmony? Participants ( N = 126) were drawn from university nonmusic majors attending a large, comprehensive university in the Midwest. The music complexity variable consisted of four levels of melodic complexity and four levels of harmonic complexity each paired for a total of 16 possible combinations. Participants indicated their overall perceived focus of attention for melody and harmony. Significant differences were found for demonstrated focus of attention and perceived focus of attention. Overall, data showed that nonmusicians tend to focus attention on melodic elements. Implications for the findings and further research are discussed.