The organization of memory for familiar songs

Investigated the organizing principles in memory for familiar songs in 2 experiments. It was hypothesized that individuals do not store and remember each song in isolation. Rather, there exists a rich system of relationships among tunes that can be revealed through similarity rating studies and memory tasks. One initial assumption was the division of relations among tunes into musical (e.g., tempo, rhythm) and nonmusical similarity. In Exp I, 20 undergraduates were asked to sort 60 familiar tunes into groups according to both musical and nonmusical criteria. Clustering analyses showed clear patterns of nonmusical similarity but few instances of musical similarity. Exp II, with 16 Ss, explored the psychological validity of the nonmusical relationships revealed in Exp I. A speeded verification task showed that songs similar to each other are confused more often than are distantly related songs. A free-recall task showed greater clustering for closely related songs than for distantly related ones. The relationship between these studies and studies of semantic memory is discussed. Also, the contribution of musical training and individual knowledge to the organization of the memory system is considered. (19 ref) (PsycINFO Database Record (c) 2012 APA, all rights reserved)

The Failure of Silence and the Manipulation of Memory: How Spain's pact of oblivion has failed to rid the country of its troubled past

This thesis is an analysis of Spain’s development from dictatorship to democracy in light of the trauma that it endured during the Spanish Civil War of 1936 – 1939 and the dictatorship of Francisco Franco, which lasted until 1975. Drawing from the work of Maurice Halbwachs and Pierre Nora, this thesis seeks to use the concepts of collective memory and lieux de mémoire to analyze what role memory has played in Spanish society from 1939 to the present day. Theanalysis begins with an overview of the Spanish Civil War and Franco’s ensuing dictatorship in order to establish an understanding of the trauma endured by Spain and its people. Of importance will be the manner in which the presentation of history became manipulated anddistorted under Franco as the dictator sought to control the country’s collective memory. With this background in mind, the thesis then turns to analyze how the memory of Spain’s past has affected the country’s development in two eras: during its transition to democracy in the 1970s and in the present day. Of central importance is the pact of silence that was established during the transition to democracy, which was a tacit agreement among the Spanish people to notdiscuss the past. This pact of silence still clouds Spain’s memory today and affects modern discourse concerning the past. Yet it is clear that Spain has not been reconciled to its past, as the provocation of history inevitably results in tension and controversy. The central contention of this thesis is that the pact of silence that surrounds Spain’s past has not eliminated the trauma of the Civil War and dictatorship, as demonstrated by the controversy stirred up by people, groups and places in the present day. This contention has repercussions for the study of history as a whole, as it indicates that the past cannot be muted in order to achievereconciliation; rather, it suggests that we must engage the past in order to be reconciled to it.

Memory for Tune Titles after Organized or Unorganized Presentation

Two experiments investigated the structure of memory for titles of 54 familiar tunes. The titles were presented in the form of a hierarchy, with nodes labeled by genre (e.g., Rock or Patriotic). Four groups of subjects received logical or randomized titles, and logical or randomized labels. Goodness of label and title structure had equal and additive beneficial effects on recall with a 3-min exposure of the stimuli. With a 4-min exposure, good title structure became a larger contributor to good recall. Clustering analyses suggested that subjects were mentally representing the tune titles hierarchically, even when presentation was random.

Shading Silhouettes of Smaller Ones

I am truly honored to have been given the amazing opportunity to create this original piece, this powerful journey through memory and emotive exploration of the loss of childhood. How do we feel about the loss of our child-self? Could we ever get them back? How long, how deep would one have to dig in the graveyards, the playgrounds of memory, to uncover what was buried there... to un-erase what waserased? shading silhouettes of smaller ones will ultimately encourage a reconnection with the Inner Child hidden inside all of us, as well as an intimate awareness of the adult version of the self by looking back to the smaller ones. The main inspiration for this piece is then of course, Inner Child Work. Most people may not be familiar with this therapeutic exploration of childhood... It wasimportant to me then, to present this concept in an imaginative, theatrical way, as a gift to you - a comprehensive and intensely moving gift. Speaking from experience, working on my Inner Child - my little Bianca - has been the most painful, frightening, yetrewarding and powerful experience within my personal life. Some people spend their entire lives trying to love themselves, to prove themselves, or be accepted. Some are too afraid to look back to where it all began. The characters within this piece will face thatfear... in a regression from the complexities of adulthood to the confusion of adolescence, all the way back to the wonder and bliss of childhood. They will reveal memories, of both joy and pain, love and abandonment, journeying backwards through time - through memory - through a playground - back to the beginning... We will enter a world where a push of a merry-go-round spins us to games of Truth or Dare after a high school dance at 16 - or the slam of a metal fence reminds us of the door Dad slammed in our face at 9 - where the sound of chain links swings us back to scrapping our knee by the sandbox at 5 This piece will attempt to connect everyone, both cast and audience, through a universal understanding and discussion of what it means to grow up, as well as a discovery of WHY we are the way we are - how experiences or relationships from our childhood have shaped our adult lives. We will attempt to challenge your honesty and nerve by inviting you to ask questions of yourselves, your past - to remember what it's like to have the innocence and hope of a child, to engage with and discover your Inner Child, to realize when or why you left them behind, and if you want to this magical part of yourself. It is my hope that you will join us in a collective journey - gather the courage to dig up the little kid you buried so long ago...* The creation, design, choreography, and direction for shading silhouettes of smaller ones mark the culminating experience of a year-long independent study in Theatre.

Hoisting C Structures Into Clay In Device Drivers

This project addresses the unreliability of operating system code, in particular in device drivers. Device driver software is the interface between the operating system and the device's hardware. Device drivers are written in low level code, making them difficult to understand. Almost all device drivers are written in the programming language C which allows for direct manipulation of memory. Due to the complexity of manual movement of data, most mistakes in operating systems occur in device driver code. The programming language Clay can be used to check device driver code at compile-time. Clay does most of its error checking statically to minimize the overhead of run-time checks in order to stay competitive with C's performance time. The Clay compiler can detect a lot more types of errors than the C compiler like buffer overflows, kernel stack overflows, NULL pointer uses, freed memory uses, and aliasing errors. Clay code that successfully compiles is guaranteed to run without failing on errors that Clay can detect. Even though C is unsafe, currently most device drivers are written in it. Not only are device drivers the part of the operating system most likely to fail, they also are the largest part of the operating system. As rewriting every existing device driver in Clay by hand would be impractical, this thesis is part of a project to automate translation of existing drivers from C to Clay. Although C and Clay both allow low level manipulation of data and fill the same niche for developing low level code, they have different syntax, type systems, and paradigms. This paper explores how C can be translated into Clay. It identifies what part of C device drivers cannot be translated into Clay and what information drivers in Clay will require that C cannot provide. It also explains how these translations will occur by explaining how each C structure is represented in the compiler and how these structures are changed to represent a Clay structure.