Concrete and abstract concepts in school age children

The aim of this study is to highlight what kind of information distinguishes abstract and concrete conceptual knowledge in different aged children. A familiarity-rating task has shown that 8-year-olds judged concrete concepts as very familiar while abstract concepts were judged as much less familiar with ratings increasing substantially from age 10 to age 12, according to literature showing that abstract terms are not mastered until adolescence (Schwanenflugel, 1991). The types of relation elicited by abstract and concrete concepts during development were investigated in an association production task. At all considered age levels, concrete concepts mainly activated attributive and thematic relations as well as, to a much lesser extent, taxonomic relations and stereotypes. Abstract concepts, instead, elicited mainly thematic relations and, to a much lesser extent, examples and taxonomic relations. The patterns of relations elicited were already differentiated by age 8, becoming more specific in abstract concepts with age.

Portfolio of compositions with commentaries 2012-2015

This writing forms part of a portfolio of works which gathers together notations and recordings made between 2012 and 2015. The writing divides into four chapters. The first chapter undertakes an examination of abstraction. From the proposition obtained therein, that it is possible to extend within abstraction beyond a correspondence between its terms and concrete manifestations, I ask in what way abstraction may be considered to function therefrom. The second chapter performs an analysis of radical music notations from the nineteenth, twentieth, and twenty-first centuries. The central analysis identifies what is essentially an evolution of what I call ''figuration'' throughout three non-chronological phases of Christian Wolff's notations. The chapter closes by questioning what form of understanding might yet be pursued in respect of this work given (a) its nature, and (b) the nature of our inquiry. The third chapter reflects on some of the philosophical problematics raised in the preceding chapters, at the same time as it prepares for those that follow in the final chapter. The final chapter is a record of the development of my thought appertaining to my compositional work. It sets out two case studies (prepared piano and postcard notations) before proceeding to a selected set of commentaries. Finally, the notion of the functioning of written and acoustical ''marks'' developed in the preceding commentaries is generalised as I develop an aesthetics of scriptural experience.