The Nature of Mental Concepts

Markman, Arthur B.; Rein, Jonathan R.

doi:10.1093/oxfordhb/9780195376746.013.0021

Cited by 40 publications

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“…Markman and Rein, 2013). Hence, even Barrett (2006), a dimensional theorist of rang, appears to have accepted that “core affect” in terms of only two dimensions is insufficient to account for human emotions.…”

Section: Does Musical Expression Involve Categories or Dimensions?mentioning

confidence: 99%

What does music express? Basic emotions and beyond

Juslin¹

2013

Front. Psychol.

109

147

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Numerous studies have investigated whether music can reliably convey emotions to listeners, and—if so—what musical parameters might carry this information. Far less attention has been devoted to the actual contents of the communicative process. The goal of this article is thus to consider what types of emotional content are possible to convey in music. I will argue that the content is mainly constrained by the type of coding involved, and that distinct types of content are related to different types of coding. Based on these premises, I suggest a conceptualization in terms of “multiple layers” of musical expression of emotions. The “core” layer is constituted by iconically-coded basic emotions. I attempt to clarify the meaning of this concept, dispel the myths that surround it, and provide examples of how it can be heuristic in explaining findings in this domain. However, I also propose that this “core” layer may be extended, qualified, and even modified by additional layers of expression that involve intrinsic and associative coding. These layers enable listeners to perceive more complex emotions—though the expressions are less cross-culturally invariant and more dependent on the social context and/or the individual listener. This multiple-layer conceptualization of expression in music can help to explain both similarities and differences between vocal and musical expression of emotions.

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Section: Does Musical Expression Involve Categories or Dimensions?mentioning

confidence: 99%

What does music express? Basic emotions and beyond

Juslin¹

2013

Front. Psychol.

109

147

View full text Add to dashboard Cite

show abstract

“…However, given the same situation, we can clearly say that the whole situation of a cat hunting a mouse is a schema-governed category ( Gick and Holyoak, 1983 ; Markman and Stilwell, 2001 ; Gentner and Kurtz, 2005 ). The schema-governed categories interconnect relations and objects that those relations take as arguments ( Markman and Rein, 2013 ). Depending on the complexity of the schema, it can contain much larger sets of interconnected relations.…”

Section: Introductionmentioning

confidence: 99%

Relation-Based Categorization and Category Learning as a Result From Structural Alignment. The RoleMap Model

Petkov

Petrova

2019

Front. Psychol.

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Relational categories are structure-based categories, defined not only by their internal properties but also by their extrinsic relations with other categories. For example, predator could not be defined without referring to hunt and prey. Even though they are commonly used, there are few models taking into account any relational information. A category learning and categorization model aiming to fill this gap is presented. Previous research addresses the hypothesis that the acquisition and the use of relational categories are underlined by structural alignment. That is why the proposed RoleMap model is based on mechanisms often studied as the analogy-making sub-processes, developed on a suitable for this cognitive architecture. RoleMap is conceived in such a way that relation-based category learning and categorization emerge while other tasks are performed. The assumption it steps on is that people constantly make structural alignments between what they experience and what they know. During these alignments various mappings and anticipations emerge. The mappings capture commonalities between the target (the representation of the current situation) and the memory, while the anticipations try to fill the missing information in the target, based on the conceptual system. Because some of the mappings are highly important, they are transformed into a distributed representation of a new concept for further use, which denotes the category learning. When some knowledge is missing in the target, meaning it is uncategorized, that knowledge is transferred from memory in the form of anticipations. The wining anticipation is transformed into a category member, denoting the act of categorization. The model’s behavior emerges from the competition between these two pressures – to categorize and to create new categories. Several groups of simulations demonstrate that the model can deal with relational categories in a context-dependent manner and to account for single-shot learning, challenging most of the existing approaches to category learning. The model also simulates previous empirical data pointing to the thematic categories and to the puzzling inverse base-rate effect. Finally, the model’s strengths and limitations are evaluated.

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Musical Emotions Explained

Juslin¹

2019

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The emotional power of music has been much examined and discussed. Based on new research, this book takes a close look at how music expresses and arouses emotions, and how it becomes an object of aesthetic judgments. It asks: can music really arouse emotions? If so, which emotions? How, exactly, does music arouse such emotions? Why do listeners often respond with different emotions to the same piece of music? Are emotions to music different from other emotions? Why do we respond to fictive events in art as if they were real, even though we know they are not? What is it that makes a performance of music emotionally expressive? Music is often regarded as consisting of abstract sequences of notes, which are devoid of meanings. This book argues that this is not true. Adopting an evolutionary perspective, the book shows how psychological mechanisms from our ancient past engage with meanings in music at multiple levels of the brain to evoke a broad variety of affective states — from startle responses to profound aesthetic emotions. Finally, it asks: but why do these mechanisms respond to music?

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The Nature of Mental Concepts

Cited by 40 publications

References 0 publications

What does music express? Basic emotions and beyond

What does music express? Basic emotions and beyond

Relation-Based Categorization and Category Learning as a Result From Structural Alignment. The RoleMap Model

Musical Emotions Explained

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