Geometry of Dirac Operators

Let $M$ be a compact, oriented, even dimensional Riemannian manifold and let $S$ be a Clifford bundle over $M$ with Dirac operator $D$. Then \[ \textsc{Atiyah Singer: } \quad \text{Ind } \mathsf{D}= \int_M \hat{\mathcal{A}}(TM)\wedge \text{ch}(\mathcal{V}) \] where $\mathcal{V} =\text{Hom}_{\mathbb{C}l(TM)}(\slashed{\mathsf{S}},S)$. We prove the above statement with the means of the heat kernel of the heat semigroup $e^{-tD^2}$. The first outstanding result is the McKean-Singer theorem that describes the index in terms of the supertrace of the heat kernel. The trace of heat kernel is obtained from local geometric information. Moreover, if we use the asymptotic expansion of the kernel we will see that in the computation of the index only one term matters. The Berezin formula tells us that the supertrace is nothing but the coefficient of the Clifford top part, and at the end, Getzler calculus enables us to find the integral of these top parts in terms of characteristic classes.

Short and Long Term Representation of an Unfamiliar Tone Distribution

We report on a study conducted to extend our knowledge about the process of gaining a mental representation of music. Several studies, inspired by research on the statistical learning of language, have investigated statistical learning of sequential rules underlying tone sequences. Given that the mental representation of music correlates with distributional properties of music, we tested whether participants are able to abstract distributional information contained in tone sequences to form a mental representation. For this purpose, we created an unfamiliar music genre defined by an underlying tone distribution, to which 40 participants were exposed. Our stimuli allowed us to differentiate between sensitivity to the distributional properties contained in test stimuli and long term representation of the distributional properties of the music genre overall. Using a probe tone paradigm and a two-alternative forced choice discrimination task, we show that listeners are able to abstract distributional properties of music through mere exposure into a long term representation of music. This lends support to the idea that statistical learning is involved in the process of gaining musical knowledge.