Leibniz-Institut für Wissensmedien, Schleichstraße 6, 72076, Tübingen, Germany.
Department of Psychology, University of Tübingen, Tübingen, Germany.
Psychol Res. 2019 Jul;83(5):894-906. doi: 10.1007/s00426-017-0898-y. Epub 2017 Jul 25.
In recent research, a systematic association of musical pitch with space has been described in the so-called Spatial-Pitch-Association-of-Response Codes-effect (SPARC). Typically, high pitch is associated with upper/right and low pitch with lower/left space. However, a theoretical classification of these associations regarding their experiential sources is difficult. Therefore, we applied a theoretical framework of numerical cognition classifying similar Space-Associated Response Codes (SARC) effects according to their groundedness, embodiedness and situatedness. We tested these attributes with a group of non-musicians and with a group of highly skilled cello players playing high tones with lower hand positions (i.e., reverse SPARC alignment) in a standard SPARC context of a piano and a reversed SPARC context of a cello. The results showed that SPARC is grounded, in general. However, for cello player SPARC is also situated and embodied. We conclude that groundedness, embodiedness and situatedness provide general characteristics of mapping cognitive representations to space.
在最近的研究中，人们在所谓的空间-音高对应反应代码效应（SPARC）中描述了音乐音高与空间之间的系统关联。通常，高音与上方/右侧相关，低音与下方/左侧空间相关。然而，由于这些关联的经验来源难以进行理论分类，因此，我们应用了数值认知理论框架，根据其基础、具身和情境对类似的空间对应反应代码（SARC）效应进行分类。我们用一组非音乐家和一组高水平的大提琴演奏者进行了测试，这些演奏者在钢琴的标准 SPARC 环境和大提琴的反向 SPARC 环境中用较低的手部位置演奏高音（即反向 SPARC 对齐）。结果表明，SPARC 通常是基于基础的。然而，对于大提琴演奏者来说，SPARC 也是情境化和具身化的。我们得出结论，基础、具身和情境提供了将认知表示映射到空间的一般特征。
