Auditory Imagery
Auditory imagery refers to the mental representation of sounds, often used in literature to evoke sensory experiences for the reader. It involves creating vivid auditory sensations through descriptive language, allowing the reader to "hear" the sounds being described. This technique can enhance the reader's immersion in the text and contribute to a more engaging and memorable reading experience.
3 Key excerpts on "Auditory Imagery"
eBook - ePubAttention, Perception and Memory
An Integrated Introduction
- Elizabeth Styles(Author)
- 2004(Publication Date)
- Psychology Press(Publisher)
...However, as there are neuropsychological patients who can understand speech but not produce it, this theory cannot be entirely correct. In a noisy environment auditory perception is supported by the redundancy in language that allows us to fill in missing information using top-down processes from memory. These same processes allow the segregation of words from continuous speech. The phonological loop of working memory is responsible for holding phonological information, which fades unless recirculated by articulatory contol processes that are used to maintain it. Self-assessment questions (Solutions) Can you explain the events in the scenario at the start of the chapter in terms of what you have learnt in this chapter? What are the major differences between the visual and the auditory environment? What is the invariance problem? How does the phonological loop account for phonemic confusability? Further reading Baddeley, A. D. (1997) Human Memory: Theory and practice. Hove, UK: Psychology Press. A useful source for auditory memory. Harley, T. A. (1995) The Psychology of Language: From data to theory. Hove, UK: Psychology Press. For the psychology of language. Moore, B. C. J. (1994) Hearing. In: R. L. Gregory and A. M. Colman (Eds) Sensation and Perception. Harlow, UK: Longman. For a short overview of hearing. Moore, B. C. J. (1989) An Introduction to the Psychology of Hearing. London: Academic Press. For full coverage of the psychology of hearing. Sloboda, J. A. (1999) The Musical Mind. Oxford: Oxford University Press. If the psychology of music is your interest....
eBook - ePubAural Education
Reconceptualising Ear Training in Higher Music Learning
- Monika Andrianopoulou(Author)
- 2019(Publication Date)
- Routledge(Publisher)
...In direct references to the believed importance of ‘aural training’, many writers emphasise its role in promoting musical understanding (Dos Santos & Del Ben, 2004; Klonoski, 1998, 2006; Scandrett, 2005), particularly of an explicit type involving ‘identification’, ‘formal knowledge’ and ‘analysis’ (Klonoski, 2006; Musumeci, 2000; Øye, 2013; Reitan, 2009; Scandrett, 2005). It is seen as a means for developing both aural awareness and music literacy (Ilomäki, 2011), ultimately aiming to create bridges between a ‘figural’, holistic, implicit mode of knowledge, to a more analytical, technical, ‘formal’ type (Musumeci, 2000). Several authors regard the skill of aural imaging – also called ‘inner hearing’, ‘pitch internalisation’, ‘thinking in music’ and ‘auralizing’ in the literature (Gordon, 2004; Karpinski, 2000a; Winters, 1970) –, as central to music-making in general and to ‘aural studies’ in particular, its conscious practice within ‘aural training’ rendering the course particularly beneficial to the student musician (Dos Santos & Del Ben, 2004; Drew, 1940; Karpinski, 2000a; Klonoski, 1998, 2000; McNeil, 2000; Priest, 1993; Reitan, 2009; Tovey, 1936). Some authors view musical imagery as having an abstract, immaterial character (e.g. Blake, 2010; Humphries, 2008; Tovey, 1936), while others underline its (instrument-related) kinaesthetic and overall bodily component as a vital part of ‘aural training’ (Dos Santos & Del Ben, 2004; McNeil, 2000; Priest, 1993; Prosser, 2000; Reitan, 2009). On the whole, the goals of ‘aural training’ are multifarious, encompassing, as Reitan (2009) notes, both concrete skills and wider abilities. The development of musical understanding and awareness, referred to by many authors in relation to both listening and reading, could be seen as a broad, general aim of the course. ‘Aural skills’ textbooks largely coincide with the broader pedagogical literature in their descriptions of the value and aims of their proposed methods...
eBook - ePubThe Cerebral Computer
An Introduction To the Computational Structure of the Human Brain
- Robert J. Baron(Author)
- 2013(Publication Date)
- Psychology Press(Publisher)
...Recent work by Langacker (1982, 1986) is highly relevant, although he does not attempt to relate his notions to the underlying neural substrate. Also see Chafe (1970), Jackendoff (1983) and Johnson-Laird (1983). VISUAL AND AUDITORY EXPERIENCES Chapters 6 through 10 showed, in principle at least, how the brain represents visual and auditory experiences. Each sensory system forms multiple high-resolution representations of its sensory stimulus, which make explicit particular features of the sensory field. These high-resolution representations preserve the essential topologies of the receptor surfaces. High-resolution representations are transformed by the attention networks into low-resolution canonical storage representations, which become part of our memories of experience. The visual and auditory storage representations are called canonical because all related representations are similar. As a consequence, the memory locations are able to compare current experiences with past experiences and generate strong similarity signals for all related experiences. The access control system can then recall information from an activated memory location, one that contains related information. SYMBOLIC TOKENS, NAMING, AND IMAGING Symbolic thought and language require the frequent conversion between sensory and symbolic representations. When we describe a scene with a dog, the token “dog” may come to mind. If the dog is brown, the token “brown” may come to mind. Naming is the process of obtaining the symbolic representation of the word or words describing an object or concept (e.g., “dog,” “brown”) regardless of the modality or submodality of the concept to be named...
