FRINK Linked Data Fragments server

Matches in SemOpenAlex for { <https://semopenalex.org/work/W1990549302> ?p ?o ?g. }

• W1990549302 endingPage "78" @default.
• W1990549302 startingPage "74" @default.
• W1990549302 abstract "ABSTRACT-The development of music psychology in Britain over the last few decades is outlined from the personal viewpoint of the author, who was actively involved in research and teaching in the field. The important ideas and influential researchers of the period are described, together with their influence on the author's own research interests. More recent developments are also reviewed showing the great broadening of research activity in the whole subject area. I came into Psychology from a scientific background at a time of rising interest in the questions of perception and cognition. Although a keen amateur musician, I decided to specialize in visual perception, inspired by Richard Gregory (no relation), Fergus Campbell, and Horace Barlow at the University of Cambridge. At that time, in the 1960s, psychological studies on vision still had a valuable role to play in advancing knowledge. However, gradually advances in physiological research seemed to be explaining more and more of the phenomena of visual perception, and there remained much less scope for purely psychological studies. I became interested in another developing field at that time, the idea of cerebral dominance. For normal right-handed people the left cerebral hemisphere seemed to control most speech functions, whilst the right hemisphere seemed more associated with spatial processing. Kimura (1964), using the technique of dichotic listening, had demonstrated that the perception of melody was probably also a right hemisphere function. The idea of this dichotomy, language in the left hemisphere, music in the right, first aroused my interest in music psychology. What about the perception of rhythm? This occurs in both music and in language but is probably more fundamental to music. With a graduate student, Lorna Roberts, we asked listeners to adjust the precise timing of brief auditory stimuli presented alternately to the two ears, and concluded that it was the right hemisphere that was involved in rhythm perception (Gregory, Harriman, & Roberts, 1972). A further study using the technique of delayed auditory feedback on rhythmic tapping again suggested right hemisphere involvement (Roberts & Gregory, 1973). At this time the techniques for presenting precisely controlled auditory stimuli required considerable ingenuity. The experiment requiring regular brief pulses of sound used an audiometer controlled by external logic circuits, and delayed auditory feedback was produced by the delay between the record and playback heads of a tape-recorder. My developing interest in this field led to a study of Deutsch 's (1974) auditory illusion. She reported that alternating 2-note chords, presented with one note to each ear, were usually perceived by righthanded listeners as a sequence of high tones to the right ear and low tones to the left ear. With a colleague, Ian Christensen, we studied this with harmonic and dissonant chords, and also varying the relative intensity of the notes (Christensen & Gregory, 1977). For harmonic chords only a single tone was heard, but where it was heard depended critically on which ear received the louder note. For dissonant chords the two individual notes were more often heard. This supported an alternative study by Efron and Yund (1974), which demonstrated that individuals differ in their ear dominance for pitch perception. I spent a sabbatical year in California working with Robert Efron, William Yund, and also Pierre Divenyi, a talented musician working on language. This improved my knowledge of both the theoretical bases of auditory and musical perception, and of the use of computers to control auditory and musical stimuli. My research during this year also led to studies showing that there was no clear relationship between ear dominance and handedness (Gregory, 1982), and that ear dominance was not simply explained by either attentional bias or by hemispheric specialization in the processing of tonal stimuli (Gregory, Efron, Divenyi, & Yund, 1983). …" @default.
• W1990549302 created "2016-06-24" @default.
• W1990549302 creator A5081081175 @default.
• W1990549302 date "2009-01-01" @default.
• W1990549302 modified "2023-09-26" @default.
• W1990549302 title "The development of music psychology in Britain: A personal perspective." @default.
• W1990549302 cites W1523715510 @default.
• W1990549302 cites W1565300607 @default.
• W1990549302 cites W1964538581 @default.
• W1990549302 cites W1965412262 @default.
• W1990549302 cites W1966229038 @default.
• W1990549302 cites W1969140456 @default.
• W1990549302 cites W1976854386 @default.
• W1990549302 cites W1995956627 @default.
• W1990549302 cites W1999058435 @default.
• W1990549302 cites W2007507598 @default.
• W1990549302 cites W2015603390 @default.
• W1990549302 cites W2023899400 @default.
• W1990549302 cites W2031608562 @default.
• W1990549302 cites W2049343712 @default.
• W1990549302 cites W2054209121 @default.
• W1990549302 cites W2073778051 @default.
• W1990549302 cites W2074424647 @default.
• W1990549302 cites W2080400264 @default.
• W1990549302 cites W2085260451 @default.
• W1990549302 cites W2090510719 @default.
• W1990549302 cites W2090620633 @default.
• W1990549302 cites W2110085568 @default.
• W1990549302 cites W2130140970 @default.
• W1990549302 cites W2323526181 @default.
• W1990549302 cites W656971782 @default.
• W1990549302 doi "https://doi.org/10.1037/h0094222" @default.
• W1990549302 hasPublicationYear "2009" @default.
• W1990549302 type Work @default.
• W1990549302 sameAs 1990549302 @default.
• W1990549302 citedByCount "0" @default.
• W1990549302 crossrefType "journal-article" @default.
• W1990549302 hasAuthorship W1990549302A5081081175 @default.
• W1990549302 hasConcept C11171543 @default.
• W1990549302 hasConcept C12713177 @default.
• W1990549302 hasConcept C13553968 @default.
• W1990549302 hasConcept C142362112 @default.
• W1990549302 hasConcept C144024400 @default.
• W1990549302 hasConcept C146902061 @default.
• W1990549302 hasConcept C153349607 @default.
• W1990549302 hasConcept C15744967 @default.
• W1990549302 hasConcept C188147891 @default.
• W1990549302 hasConcept C19417346 @default.
• W1990549302 hasConcept C75630572 @default.
• W1990549302 hasConceptScore W1990549302C11171543 @default.
• W1990549302 hasConceptScore W1990549302C12713177 @default.
• W1990549302 hasConceptScore W1990549302C13553968 @default.
• W1990549302 hasConceptScore W1990549302C142362112 @default.
• W1990549302 hasConceptScore W1990549302C144024400 @default.
• W1990549302 hasConceptScore W1990549302C146902061 @default.
• W1990549302 hasConceptScore W1990549302C153349607 @default.
• W1990549302 hasConceptScore W1990549302C15744967 @default.
• W1990549302 hasConceptScore W1990549302C188147891 @default.
• W1990549302 hasConceptScore W1990549302C19417346 @default.
• W1990549302 hasConceptScore W1990549302C75630572 @default.
• W1990549302 hasIssue "1-2" @default.
• W1990549302 hasLocation W19905493021 @default.
• W1990549302 hasOpenAccess W1990549302 @default.
• W1990549302 hasPrimaryLocation W19905493021 @default.
• W1990549302 hasRelatedWork W1486707901 @default.
• W1990549302 hasRelatedWork W1966319621 @default.
• W1990549302 hasRelatedWork W2095322754 @default.
• W1990549302 hasRelatedWork W2098170879 @default.
• W1990549302 hasRelatedWork W2493906601 @default.
• W1990549302 hasRelatedWork W2508845121 @default.
• W1990549302 hasRelatedWork W2605852498 @default.
• W1990549302 hasRelatedWork W2734499810 @default.
• W1990549302 hasRelatedWork W2748952813 @default.
• W1990549302 hasRelatedWork W3039266826 @default.
• W1990549302 hasVolume "20" @default.
• W1990549302 isParatext "false" @default.
• W1990549302 isRetracted "false" @default.
• W1990549302 magId "1990549302" @default.
• W1990549302 workType "article" @default.