Action and perception: Neural indices of learning in infants

Early human development offers a unique perspective in investigating the potential cognitive and social implications of action and perception. Specifically, during infancy, action production and action perception undergo foundational developments. One essential component to examine developments in action processing is the analysis of others’ actions as meaningful and goal-directed. Little research, however, has examined the underlying neural systems that may be associated with emerging action and perception abilities, and infants’ learning of goal-directed actions. The current study examines the mu rhythm—a brain oscillation found in the electroencephalogram (EEG)—that has been associated with action and perception. Specifically, the present work investigates whether the mu signal is related to 9-month-olds’ learning of a novel goal-directed means-end task. The findings of this study demonstrate a relation between variations in mu rhythm activity and infants’ ability to learn a novel goal-directed means-end action task (compared to a visual pattern learning task used as a comparison task). Additionally, we examined the relations between standardized assessments of early motor competence, infants’ ability to learn a novel goal-directed task, and mu rhythm activity. We found that: 1a) mu rhythm activity during observation of a grasp uniquely predicted infants’ learning on the cane training task, 1b) mu rhythm activity during observation and execution of a grasp did not uniquely predict infants’ learning on the visual pattern learning task (comparison learning task), 2) infants’ motor competence did not predict infants’ learning on the cane training task, 3) mu rhythm activity during observation and execution was not related to infants’ measure of motor competence, and 4) mu rhythm activity did not predict infants’ learning on the cane task above and beyond infants’ motor competence. The results from this study demonstrate that mu rhythm activity is a sensitive measure to detect individual differences in infants’ action and perception abilities, specifically their learning of a novel goal-directed action.

MUSICAL EXOTICISM EXPLORED IN PIANO WORKS FROM THE EIGHTEENTH CENTURY THROUGH THE EARLY TWENTIETH CENTURY

Musical exoticism is the evocation of a culture different from that of the composer. It occurs anytime a composer tries to conjure up the music of a country not his own. Although there have been studies of exoticism in the piano works of an individual composer, namely Debussy, there has not been a comprehensive study of musical exoticism in the piano literature as a whole. Upon chronological examination of the piano repertoire, general trends exhibiting exoticism become evident. The first general trend is the emergence of the Turkish style (alia turca) in the eighteenth century. Turkish style soon transmuted to the Hungarian-Gypsy style (all 'ongarese or style hongrois). [In Beethoven's Op. 129, it is alia ingharese.] Composers often alternated between the two styles even in the same composition. By the late nineteenth century, style hongrois was firmly entrenched in the musical language of Austro-German composers, as seen in the works of Brahms. In the nineteenth century, composers turned to the Middle East, North Africa and Spain for inspiration. In particular are several compositions emulating Spanish dance music, culminating in the Spanish works of Debussy and Ravel. The gamelans from Indonesia and objects from the Far East of Japan and China, brought by advances in trade and transportation, captivated the imagination of composers at the turn of the twentieth century. Also in the early twentieth century, composers tried emulating dance and jazz music coming from the Americas, such as the cakewalk, minstrelsy, and the blues. One sees the ever widening sphere of exotic inspiration for western music composers: from the Turkish invasions to the traveling Gypsies of Hungary; to the captivating dance rhythms, soulful cante jondo sections, and guitar flourishes of Spain; expanding further to the far reaches of Asia and the jazzy rhythms of the Americas. This performance dissertation consists of three recitals presented at the University of Maryland, and is documented on compact disc recordings which are housed within the University of Maryland Library System. The recordings present the music of Balakirev, Beethoven, Brahms, Chopin, Debussy, Haydn, Hummel, Milhaud, Moszkowski, Mozart, Ravel, and Schubert.