Allusions, Illusions and Delusions (2013) is an eight minute work for full orchestra that blends elements of lyricism with fast kinetic music, orchestral tutti with smaller groupings and solos, and familiar harmonic language with more exotic combinations. The piece begins with a bang, employing a figure that blurs the distinction between major and minor triads. After the ensuing short introduction, the flugelhorn’s lyrical theme becomes the main focus; indeed, elements of this solo line help to shape the entire piece. Following an expansive orchestral tutti built on this theme, the line and the ensemble are broken down and small groups of instruments begin a climb to the fast section of the piece. The longest portion of the score, this fast section takes the listener on a roller coaster ride with sharp turns and many ups and downs. The ride continues building more and more intensity and energy until the climax, marked in the score “huge and bombastic.” As this cacophonous “wall of sound” dies down, four solo strings and a clarinet emerge, recalling moments of the flugelhorn solo. A solo bucket muted trumpet presents a final paraphrase of the theme, bringing the piece to a calm and soothing resolution. Allusions, Illusions and Delusions takes its title from elements of the piece itself and from a number of external influences. The lyrical flugelhorn solo beginning at measure 27, the rapidly changing harmonies of the fast section, polychordal segments (such as the Eb major/d minor simultaneous sonority found in measures 87 through 89), and the climax at J, allude to the sounds of triadic harmonies from common practice tonal music. Aspects of these harmonies also create a sense of illusion: The main melodic and harmonic sounds used in the piece are intervals of seconds and thirds, and their inversions. By using minor seconds simultaneously as melodic and harmonic intervals, the quality of a triad or chord is often blurred, fooling the listener into thinking that they are hearing a triad, when five or more notes might actually be present. Delusion refers to the way a listener might react to the music. Often listeners invent a story to go along with a piece of music as a way for them to organize and understand the musical journey that they are experiencing. When there is no extra-musical idea tied to the piece at all, as in this instance, listeners might well be deluding themselves.

Thesis (Ph. D.)--University of Michigan, 1931. / Bibliography: p. 89-91.

Thesis (Ph. D.)--University of Chicago, Dept. of Mathematics, December 2003. / Includes bibliographical references. Also available on the Internet.

This thesis is concerned with the various factors determining the apparent migration of targets during rapid serial visual presentation (RSVP). This migration effect occurs when an observer reports a target as being present in a scene other than the one in which it was actually presented, usually the immediately preceding or following scene - the "host" scene. An experimental technique was developed based on Intraub's (1985;1989) work on these migration errors, and an improved computer-based system was developed. This allowed flexibility in the manipulation of experimental variables and also used a recognition memory paradigm to identify targets. Ten experiments were completed in total which examined three major issues concerning RSVP: contextual effects, low-level cues and the effects of apparent contrast. Using the newly developed software, Intraub's original results were replicated and extended. Manipulation of contextual information surrounding a host scene showed that the direction of apparent target migration, to the scene either succeeding or preceding the host scene, could be influenced by using a pre- or post-host bias in the visual context. For example, preceding an outdoor host-scene with another outdoor scene and following it with an indoor scene led to more migration errors to the preceding scene, i.e. there was a tendency for errors to be biased to structurally similar scenes. In another set of experiments, it was found that low-level binding cues could effectively aid the cohesiveness of host and target and thus reduce the number of migration errors. Furthermore, in a third set of experiments evidence that the direction of migration errors could be influenced by the apparent contrast of the search target was found. Higher apparent contrast could produce a predominance of pre-host migration errors. However, caution is called for in the interpretation of this final set of results since they are somewhat ambiguous and need further clarification. Taken as a whole the results found in these experiments have shown that an overall presentation rate of 8.33 Hz, subjects are able to effectively grasp the gist of the background to the target.

Thesis (Ph.D.) - University of Queensland, 2004. / Includes bibliography.

Diss.--Universität Basel. / Bibliography: l. [1]-[3]

No description available.

The process of making judgments and formulating convictions is a vital function performed by all human beings. Successful accomplishment of such tasks usually involves the integration of interoceptive cues (i.e. past experience, feeling states, etc.) with exteroceptive, or objective, information. Often, personal idiosyncracies determine the relative amount of flexibility with which convictions or opinions are held, regardless of contradictory information.

Thèse numérisée par la Direction des bibliothèques de l'Université de Montréal.

No description available.