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The priming effect on creativity refers to the more effective creation of new uses for the second (vs. first) object in a two-item task. This, along with veridical memory loss in the Deese-Roediger-McDermott (DRM) paradigm, is related to mental fixation, and both can be improved when attention is given to item-specific features. We studied the cognitive mechanism of this priming effect by utilizing the DRM paradigm with a sample of 91 undergraduates recruited from a university in China. We used a two-item task and the DRM paradigm under rapid and slow presentation conditions to verify our hypotheses by dividing words into high false memory (HFM) and low false memory (LFM) lists. The results showed that the veridical memory of the HFM lists was improved under the slow (vs. rapid) condition for individuals in the high priming effect group, but not for those in the low priming effect group. Implications are discussed.

In a descriptive study, participants were asked to recall family members’ dates of birth and describe their recall experience. The recall protocols were analyzed both in terms of the phenomenological method and performance measures. The phenomenological analysis showed that birth date recall was often mediated by referent objects that bore a logical relationship to the target date unit. Performance measures, for their part, revealed a close relationship between the use of a rule-based referent object and the recall accuracy for date of birth. Furthermore, these findings are discussed in relation to the memory for time of events literature, focusing especially on the equivalence and difference of reference objects and on the presence of scale effects.

Goldberg, the author of the \"novelty-routinization\" framework, suggested a new pair of cognitive styles for agent-centered decision-making (DM), context-dependency/independency (CD/CI), quantified by the Cognitive Bias Task (CBT) and supposedly reflecting functional brain hemispheric specialization. To date, there are only three lesion and activation neuroimaging studies on the CBT with the largest sample of 12 participants. The present study is the first to analyze whole-brain functional connectivity (FC) of the dorsolateral prefrontal cortex (DLPFC), involved in contextual agent-centered DM. We compared whole-brain resting-state FC of the DLPFC between CD (n = 24) and CI (n = 22) healthy participants. Additionally, we investigated associations between CD/CI and different aspects of executive functions. CD participants had stronger positive FC of the DLPFC with motor and visual regions; FC of the left DLPFC was more extensive. CI participants had stronger positive FC of the left DLPFC with right prefrontal and parietal-occipital areas and of the left and right DLPFC with ipsilateral cerebellar hemispheres. No sex differences were found. CD/CI had nonlinear associations with working memory. The findings suggest that CD and CI are associated with different patterns of DLPFC FC. While CD is associated with FC between DLPFC and areas presumably involved in storing representations of current situation, CI is more likely to be associated with FC between DLPFC and right-lateralized associative regions, probably involved in the inhibition of the CD response and switching from processing of incoming perceptual information to creation of original response strategies.

This article examines implication and expectation in music, taking as its starting point music-theoretical and music-psychological work ranging from the seminal thinking of Meyer (1956, 1967, 1973) to its development in the theories of Narmour (1990, 1992) and subsequent empirical and theoretical investigation by, for example, Schellenberg (1996, 1997), Von Hippel and Huron (2000) and Aarden (2003). Other psychological approaches, such as those adopted by Jones (1981, 1982, 1992) and Bharucha (1987, 1999), are considered too. The most important contemporary reference point, however, is Huron’s latest extended thinking on expectation (forthcoming), which summarizes, consolidates and develops a wide range of theoretical and empirical work in the field. These diverse perspectives on musical implication and expectation are analysed using the ‘zygonic’ theory of musical understanding recently developed by Ockelford (for example, 1999, 2002, 2004, 2005a, 2005b). This holds that the cognition of structure stems from a sense of derivation arising from the presence of repetition in certain contexts. Using this framework, a new, composite theory of expectation in music is developed, which acknowledges the potential implications of three sources of regularity in music: patterns within groups of notes, and between them - as encoded in short-term memory and long-term, both veridically and schematically. Finally, the phenomenological relevance of the new model to ‘typical’ listening experiences is discussed, and the need for future empirical work is set out.