Name your favorite musician: Effects of masculine generics and of their alternatives in German

Feminist linguists claim that masculine forms used in a generic sense (e.g. he referring to a doctor irrespective of sex) facilitate the cognitive representation of men compared to women and make women less visible. A number of experimental studies have confirmed this assumption with regard to the English language. Concerning other languages, however, this question has been addressed only in very few studies, although gender is a much more pervasive grammatical category and masculine generics are more prominent in languages such as French, Spanish or German. This paper reports three experiments with native speakers of German which were conducted to determine the influence of different types of German generics on the cognitive inclusion of women. Results indicate that inclusion of women is higher with 'non-sexist' alternatives than with masculine generics, a tendency which was consistent over studies. But the different alternative forms show different effects which also vary depending on the context. These results are discussed with regard to their practical consequences in situations such as nominating women and men for awards, political offices etc.

Sight-reading of violinists: eye movements anticipate the musical flow

When sight-reading a piece of music the eyes constantly scan the score slightly ahead of music execution. This separation between reading and acting is commonly termed eye-hand span and can be expressed in two ways: as anticipation in notes or in time. Previous research, predominantly in piano players, found skill-dependent differences of eye-hand span. To date no study has explored visual anticipation in violinists. The present study investigated how structural properties of a piece of music affect the eye-hand span in a group of violinists. To this end eye movements and bow reversals were recorded synchronously while musicians sight-read a piece of music. The results suggest that structural differences of the score are reflected in the eye-hand span in a way similar to skill level. Specifically, the piece with higher complexity was associated with lower anticipation in notes, longer fixation duration and a tendency for more regressive fixations. Anticipation in time, however, remained the same (approximately 1 s) independently of the score played but was correlated with playing tempo. We conclude that the eye-hand span is not only influenced by the experience of the musician, but also by the structure of the score to be played.