Some methodological considerations in multiple-cue probability studies.

Hursch, Carolyn J.; Hammond, Kenneth R.; Hursch, Jack L.

doi:10.1037/h0041729

Cited by 295 publications

(117 citation statements)

References 14 publications

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“…These three factors set the upper limit of achievement (Hursch et al, 1964). By analyzing each of them separately, it becomes possible to see how the communicative process could be improved.…”

Section: Lens Model Equationmentioning

confidence: 99%

“…The LME was originally presented in an influential article by Hursch, Hammond, and Hursch (1964) in the context of studies of human judgment. In such studies, the goal was to relate the judge's cognitive system to a statistical description of the judgment task (for a review, see Brehmer, 1994).…”

Section: Lens Model Equationmentioning

confidence: 99%

“…Multiple regression analysis was applied to the relationships between (a) the performer's intention and the cues and (b) the listeners' judgments and the cues. The analyses of performers and listeners were related using C. J. Hm'~h, K. R. Hammond, and J. L. Hursch's (1964) lens model equation. The results indicated that (a) performers were successful at communicating emotions to listeners, (b) performers' cue utilization was well matched to listeners' cue utilization, and (c) cue utilization was more consistent across different melodies than across different performers.…”

mentioning

confidence: 99%

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Cue utilization in communication of emotion in music performance: Relating performance to perception.

Juslin¹

2000

Journal of Experimental Psychology: Human Perception and Perfor

266

309

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This study describes the utilization of acoustic cues in communication of emotions in music performance. Three professional guitarists were asked to perform 3 short melodies to communicate anger, sadness, happiness, and fear to listeners. The resulting performances were analyzed with respect to 5 acoustic cues and judged by 30 listeners on adjective scales. Multiple regression analysis was applied to the relationships between (a) the performer's intention and the cues and (b) the listeners' judgments and the cues. The analyses of performers and listeners were related using C. J. Hm'~h, K. R. Hammond, and J. L. Hursch's (1964) lens model equation. The results indicated that (a) performers were successful at communicating emotions to listeners, (b) performers' cue utilization was well matched to listeners' cue utilization, and (c) cue utilization was more consistent across different melodies than across different performers. Because of the redundancy of the cues, 2 performers could communicate equally well despite differences in cue utilization.

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Section: Lens Model Equationmentioning

confidence: 99%

Section: Lens Model Equationmentioning

confidence: 99%

mentioning

confidence: 99%

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Cue utilization in communication of emotion in music performance: Relating performance to perception.

Juslin¹

2000

Journal of Experimental Psychology: Human Perception and Perfor

266

309

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“…The relations among the different indices of the lens model have been mathematically formulated in terms of the lens model equation (Hursch, Hammond, & Hursch, 1964), which allows one to explain achievement in terms of matching and consistency. The essential point in the present context is that the upper limit of achievement is set by the matching, performer consistency, and listener consistency.…”

Section: Expression Recognitionmentioning

confidence: 99%

Play it again with feeling: Computer feedback in musical communication of emotions.

Juslin

Karlsson

Lindström

et al. 2006

Journal of Experimental Psychology: Applied

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Communication of emotions is of crucial importance in music performance. Yet research has suggested that this skill is neglected in music education. This article presents and evaluates a computer program that automatically analyzes music performances and provides feedback to musicians in order to enhance their communication of emotions. Thirty-six semiprofessional jazz/rock guitar players were randomly assigned to one of 3 conditions: (1) feedback from the computer program, (2) feedback from music teachers, and (3) repetition without feedback. Performance measures revealed the greatest improvement in communication accuracy for the computer program, but usability measures indicated that certain aspects of the program could be improved. Implications for music education are discussed.

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“…Hammond [43] adopted this measure and first introduced the use of multiple linear regression to create a multiple correlation measurement of judgment as a function of fallible or probabilistic cues. Perhaps the most important extension of Brunswik's original theory of probabilistic functioning was the development of the lens model equation [47,99]. The lens model equation (LME) provides a mathematical representation of the lens model and partitions the overall correlation represented by the level of achievement (r Y O ) into correlations related to the "ecological validities" or "trustworthiness" [9,11] of the perceptual cues (that is, their statistical correlation the criterion -the "ev" values in Figure 2), the observer's cue utilizations (the "cu" values in Figure 2), the overall predictability of the environment, and the consistency with which an observer implements his or her perceptual judgment (cue-weighting) strategy.…”

Section: Brunswik's Probabilistic Functionalismmentioning

confidence: 99%

Naturalizing Peirce’s Semiotics: Ecological Psychology’s Solution to the Problem of Creative Abduction

Kirlik

Storkerson

2010

Model-Based Reasoning in Science and Technology

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It is difficult not to notice a curious unrest in the philosophic atmosphere of the time, a loosening of old landmarks, a softening of oppositions, a mutual borrowing from one another on the part of systems anciently closed, and an interest in new suggestions, however vague, as if the one thing sure were the inadequacy of extant school-solutions. The dissatisfactions with these seems due for the most part to a feeling that they are too abstract and academic. Life is confused and superabundant, and what the younger generation appears to crave is more of the temperament of life in its philosophy, even though it were at some cost of logical rigor and formal purity.William James (1904) Abstract. The study of model-based reasoning (MBR) is one of the most interesting recent developments at the intersection of psychology and the philosophy of science. Although a broad and eclectic area of inquiry, one central axis by which MBR connects these disciplines is anchored at one end in theories of internal reasoning (in cognitive science), and at the other, in C.S. Peirce's semiotics (in philosophy). In this paper, we attempt to show that Peirce's semiotics actually has more natural affinity on the psychological side with ecological psychology, as originated by James J. Gibson and especially Egon Brunswik, than it does with non-interactionist approaches to cognitive science. In particular, we highlight the strong ties we believe to exist between the triarchic structure of semiotics as conceived by Peirce, and the similar triarchic stucture of Brunswik's lens model of organismic achievement in irreducibly uncertain ecologies. The lens model, considered as a theory of creative abduction, provides a concrete instantiation of at least one, albeit limited, interpretation of Peirce's semiotics, one that we believe could be quite fruitful in future theoretical and empirical investigations of MBR in both science and philosophy.

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Some methodological considerations in multiple-cue probability studies.

Cited by 295 publications

References 14 publications

Cue utilization in communication of emotion in music performance: Relating performance to perception.

Cue utilization in communication of emotion in music performance: Relating performance to perception.

Play it again with feeling: Computer feedback in musical communication of emotions.

Naturalizing Peirce’s Semiotics: Ecological Psychology’s Solution to the Problem of Creative Abduction

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