C.P. Frost | University of Wisconsin-Madison (original) (raw)

Papers by C.P. Frost

Psychonomic Bulletin & Review, 2014

Melody recognition entails the encoding of pitch intervals between successive notes. While it has... more Melody recognition entails the encoding of pitch intervals between successive notes. While it has been shown that a whole melodic sequence is better encoded than the sum of its constituent intervals, the underlying reasons have remained opaque. Here, we compared listeners' accuracy in encoding the relative pitch distance between two notes (for example, C, E) of an interval to listeners accuracy under the following three modifications: (1) doubling the duration of each note (C - E -), (2) repetition of each note (C, C, E, E), and (3) adding a preceding note (G, C, E). Repeating (2) or adding an extra note (3) improved encoding of relative pitch distance when the melodic sequences were transposed to other keys, but lengthening the duration (1) did not improve encoding relative to the standard two-note interval sequences. Crucially, encoding accuracy was higher with the four-note sequences than with long two-note sequences despite the fact that sensory (pitch) information was held constant. We interpret the results to show that re-forming the Gestalts of two-note intervals into two-note "melodies" results in more accurate encoding of relational pitch information due to a richer structural context in which to embed the interval.

Melody recognition entails the encoding of pitch intervals between successive notes. While it has... more Melody recognition entails the encoding of pitch intervals between successive notes. While it has been shown that a whole melodic sequence is better encoded than the sum of its constituent intervals, the underlying reasons have remained opaque. Here, we compared listeners' accuracy in encoding the relative pitch distance between two notes (for example, C, E) of an interval to listeners accuracy under the following three modifications: (1) doubling the duration of each note (C -E -), (2) repetition of each note (C, C, E, E), and (3) adding a preceding note (G, C, E). Repeating (2) or adding an extra note (3) improved encoding of relative pitch distance when the melodic sequences were transposed to other keys, but lengthening the duration (1) did not improve encoding relative to the standard two-note interval sequences. Crucially, encoding accuracy was higher with the four-note sequences than with long two-note sequences despite the fact that sensory (pitch) information was held constant. We interpret the results to show that re-forming the Gestalts of two-note intervals into two-note "melodies" results in more accurate encoding of relational pitch information due to a richer structural context in which to embed the interval.

Previous studies have identified neurons throughout the rat limbic system that fire as a function... more Previous studies have identified neurons throughout the rat limbic system that fire as a function of the animal's head direction (HD). This HD signal is particularly robust when rats locomote in the horizontal and vertical planes, but is severely attenuated when locomoting upside-down . Given the hypothesis that the HD signal represents an animal's sense of directional heading, we evaluated whether rats could accurately navigate in an inverted (upside-down) orientation. The task required the animals to find an escape hole while locomoting inverted on a circular platform suspended from the ceiling. In Experiment 1, Long-Evans rats were trained to navigate to the escape hole by locomoting from either one or four start points. Interestingly, no animals from the 4-start point group reached criterion, even after 29 days of training. Animals in the 1-start point group reached criterion after about six training sessions. In Experiment 2, probe tests revealed that animals navigating from either 1-or 2-start points utilized distal visual landmarks for accurate orientation. However, subsequent probe tests revealed that their performance was markedly attenuated when navigating to the escape hole from a novel start point. This absence of flexibility while navigating upside-down was confirmed in Experiment 3 where we show that the rats do not learn to reach a place, but instead learn separate trajectories to the target hole(s). Based on these results we argue that inverted navigation primarily involves a simple directional strategy based on visual landmarks.

Psychonomic Bulletin & Review, 2014

Melody recognition entails the encoding of pitch intervals between successive notes. While it has... more Melody recognition entails the encoding of pitch intervals between successive notes. While it has been shown that a whole melodic sequence is better encoded than the sum of its constituent intervals, the underlying reasons have remained opaque. Here, we compared listeners' accuracy in encoding the relative pitch distance between two notes (for example, C, E) of an interval to listeners accuracy under the following three modifications: (1) doubling the duration of each note (C - E -), (2) repetition of each note (C, C, E, E), and (3) adding a preceding note (G, C, E). Repeating (2) or adding an extra note (3) improved encoding of relative pitch distance when the melodic sequences were transposed to other keys, but lengthening the duration (1) did not improve encoding relative to the standard two-note interval sequences. Crucially, encoding accuracy was higher with the four-note sequences than with long two-note sequences despite the fact that sensory (pitch) information was held constant. We interpret the results to show that re-forming the Gestalts of two-note intervals into two-note "melodies" results in more accurate encoding of relational pitch information due to a richer structural context in which to embed the interval.

Melody recognition entails the encoding of pitch intervals between successive notes. While it has... more Melody recognition entails the encoding of pitch intervals between successive notes. While it has been shown that a whole melodic sequence is better encoded than the sum of its constituent intervals, the underlying reasons have remained opaque. Here, we compared listeners' accuracy in encoding the relative pitch distance between two notes (for example, C, E) of an interval to listeners accuracy under the following three modifications: (1) doubling the duration of each note (C -E -), (2) repetition of each note (C, C, E, E), and (3) adding a preceding note (G, C, E). Repeating (2) or adding an extra note (3) improved encoding of relative pitch distance when the melodic sequences were transposed to other keys, but lengthening the duration (1) did not improve encoding relative to the standard two-note interval sequences. Crucially, encoding accuracy was higher with the four-note sequences than with long two-note sequences despite the fact that sensory (pitch) information was held constant. We interpret the results to show that re-forming the Gestalts of two-note intervals into two-note "melodies" results in more accurate encoding of relational pitch information due to a richer structural context in which to embed the interval.

Previous studies have identified neurons throughout the rat limbic system that fire as a function... more Previous studies have identified neurons throughout the rat limbic system that fire as a function of the animal's head direction (HD). This HD signal is particularly robust when rats locomote in the horizontal and vertical planes, but is severely attenuated when locomoting upside-down . Given the hypothesis that the HD signal represents an animal's sense of directional heading, we evaluated whether rats could accurately navigate in an inverted (upside-down) orientation. The task required the animals to find an escape hole while locomoting inverted on a circular platform suspended from the ceiling. In Experiment 1, Long-Evans rats were trained to navigate to the escape hole by locomoting from either one or four start points. Interestingly, no animals from the 4-start point group reached criterion, even after 29 days of training. Animals in the 1-start point group reached criterion after about six training sessions. In Experiment 2, probe tests revealed that animals navigating from either 1-or 2-start points utilized distal visual landmarks for accurate orientation. However, subsequent probe tests revealed that their performance was markedly attenuated when navigating to the escape hole from a novel start point. This absence of flexibility while navigating upside-down was confirmed in Experiment 3 where we show that the rats do not learn to reach a place, but instead learn separate trajectories to the target hole(s). Based on these results we argue that inverted navigation primarily involves a simple directional strategy based on visual landmarks.