Melodic expectancies among children and adults were examined. In Experiment 1, adults, 11-year-olds, and 8-year-olds rated how well individual test tones continued fragments of melodies. In Experiment 2, 11-, 8-, and 5-year-olds sang continuations to 2-tone stimuli. Response patterns were analyzed using 2 models of melodic expectancy. Despite having fewer predictor variables, the 2-factor model (E. G. Schellenberg, 1997) equaled or surpassed the implication-realization model (E. Narmour, 1990) in predictive accuracy. Listeners of all ages expected the next tone in a melody to be proximate in pitch to the tone heard most recently. Older listeners also expected reversals of pitch direction, specifically for tones that changed direction after a disruption of proximity and for tones that formed symmetric patterns.

Children 4-12 years of age (N = 160) were recorded (audio and video) as they sang two versions of a familiar song, once in an attempt to make an adult listener happy and once to make her sad. Coding of gestural, vocal, linguistic and musical devices revealed that children used all of these means to portray contrastive emotions. Regardless of age or singing skill, children relied primarily on expressive devices used in interpersonal communication (e.g. tempo, facial expression) and made relatively little use of music-specific devices (e.g. legato). Moreover, they used a greater variety of expressive devices in their sad performances than in their happy performances. Finally, age-related changes reflected the influence of maturity, socialisation and musical knowledge.

We investigated how the audience member’s physiological reactions differ as a function of listening context (i.e., live versus recorded music contexts). Thirty-seven audience members were assigned to one of seven pianists’ performances and listened to his/her live performances of six pieces (fast and slow pieces by Bach, Schumann, and Debussy). Approximately 10 weeks after the live performance, each of the audience members returned to the same room and listened to the recorded performances of the same pianists’ via speakers. We recorded the audience members’ electrocardiograms in listening to the performances in both conditions, and analyzed their heart rates and the spectral features of the heart-rate variability (i.e., HF/TF, LF/HF). Results showed that the audience’s heart rate was higher for the faster than the slower piece only in the live condition. As compared with the recorded condition, the audience’s sympathovagal balance (LF/HF) was less while their vagal nervous system (HF/TF) was activated more in the live condition, which appears to suggest that sharing the ongoing musical moments with the pianist reduces the audience’s physiological stress. The results are discussed in terms of the audience’s superior attention and temporal entrainment to live performance.

Akt is activated by growth factors to regulate various aspects of vascular smooth muscle cell function. Plateletderived growth factor (PDGF) and insulin-like growth factor-1 activated Akt in vascular smooth muscle cells with a rapid reduction of total Akt protein that lasted for several hours. The downregulation of Akt required phosphatidylinositol 3-kinase activity, but not intrinsic Akt activity. The downregulation of Akt was abrogated by MG-132, a proteasome inhibitor, but not by inhibitors of calpain or cathepsins. Akt was found in ubiquitin immune complex after PDGF treatment. Proteasome-dependent degradation of Akt may provide a counter-regulatory mechanism against overactivation of Akt.