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No description available.

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This study examines the effects of performance feedback on negotiator emotions, interpersonal influence, negotiator behavior, and negotiation outcomes. A model based on the role of emotions in dyadic negotiation is proposed that comprises relationships amongst variables before, during, and after negotiation. This model is based on four major elements: namely, cognitive appraisal, emotional specificity, emotional flux, and interpersonal influence, and their influence on negotiator behavior and negotiation outcomes. / A 2 x 4 x 4 (Negotiation Role x Feedback Conditions for the Negotiator x Feedback Conditions for the Counterpart) experimental study was designed to examine the effects of performance feedback during negotiation in a simulation based on an employment contract negotiation. The experiment consisted of two negotiation tasks that were completed sequentially. The emotions of the participants were manipulated after Task 1 by providing them four types of performance feedback in Task 1. These feedbacks were based on two valences (success or failure) and two agency attributes (other locus of responsibility or self locus of responsibility). / Four hundred and fourteen participants from executive and academic programs at a Pakistani university took part in this study. The data were analyzed using general linear models, linear multiple regressions, and Pearson correlational analysis to test: (1) the arousal of negotiator emotions after Task 1 as a result of appraisal of the performance feedback, (2) the influence of negotiator emotions on negotiator behavior during Task 2, (3) the interpersonal influence of counterpart emotions and behavior during Task 2 on negotiator behavior in Task 2, (4) the effect of negotiator behavior in Task 2 on negotiation outcomes, (5) the effect of negotiation outcomes on post-negotiation emotions and the desire for future interaction. / The results supported the hypothesized relationships in the proposed model. The treatment effect was successful in producing the four factors of emotions: namely, anger, guilt-shame, gratitude, and pride-achievement emotions, corresponding to the four types of performance feedback. The negotiator behavior was predicted by these emotions along with counterpart emotions and behavior according to the proposed model. The negotiation outcomes were related to negotiator and counterpart behaviors. Negotiator satisfaction was the main predictor of post-negotiation emotions and the desire for future interaction, although economic negotiation outcomes played some role as well.

This thesis investigates implicit memory for music, as measured by repetition priming: a processing benefit for previously encountered items. Although repetition priming has been documented in many domains, including language, visual perception, and environmental sounds, it has not yet been demonstrated in music, a domain replete with pitch repetition. A novel methodology is presented in which participants sang back the final tone of a short melody. Experiments presented in Chapter 2 show that participants were faster to sing back a target tone when it was a repetition of a previous melodic tone than when it was not, and this effect was greatest when the repetition was closest to the target. These studies also showed a benefit for expected tonic tones, which were manipulated independently of the repetition effect. Chapter 3 presents a new analysis method for measuring response latencies in sung tones. A time-frequency representation that optimizes the tradeoff between time and frequency for each point in time yielded a measurement of singers' time to reach a target frequency, which takes into account both speed and accuracy of the vocal productions. The time-frequency measurement, applied to the data presented in Chapter 2, showed longer times to reach target frequency for higher pitches, as well as larger effects of tonal priming than were attained through traditional response latency measures. The experiments in Chapter 4 examine the time course of the effects of repetition and tonality. The singing-back paradigm used in Chapter 2 also was used with the additional manipulation of stimulus tempo. These studies implicated interference rather than decay as the cause of the decreased repetition priming effect. Stimulus tempo manipulations showed separate time courses for repetition and tonal priming. Together, these studies provide the first evidence of repetition priming in music, document its interaction with other factors including tonality and pitch height, and describe its time course. The findings are discussed in terms of sensory and cognitive theories of priming.