【阅读】12/03起悦读寂静整理（12/13更新，44原始，38考古）

杀鸡杀鸡呀

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杀鸡杀鸡呀

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shakaga

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billyisfragile!

JOURNAL ARTICLE
The Effect of Conceptual Advancement in Jazz Music Selections and Jazz Experience on Musicians' Aesthetic Response
John C. Coggiola
Journal of Research in Music Education
Vol. 52, No. 1 (Spring, 2004), pp. 29-42
Published by: Sage Publications, Inc. on behalf of MENC: The National Association for Music Education
DOI: 10.2307/3345523
https://www.jstor.org/stable/3345523
Page Count: 14

jazz musician, experienced vs. non-experienced listening to complex vs. simple improvised jazz melodies~这一篇我刚才去翻了下JJ，好像version比较少，我就尽力准确多描述一下researcher想看有经验的爵士乐家和菜鸟爵士乐家对不同复杂程度的Jazz即兴创作旋律会有什么反应，而试验中音乐家们对音乐的aesthetic response 是根据一种什么DRI之类的测试measure出来的（这个不重要）。结果显示越复杂难懂，有经验的会Significantly more responsive to the music piece, in comparison to inexperienced ones.

This study is an investigation of what musicians consider to be their aesthetic experience with jazz music selections that vary in level of conceptual advancement (melodic complexity during improvised solos). Music major participants (N = 128) were assigned to either the jazz musician (n = 64) or nonjazz musician (n = 64) group. Data were gathered as participants manipulated the dial of a Continuous Response Digital Interface (CRDI) to indicate the magnitude of their aesthetic responses as they listened to four audio selections. Written responses were collected following each session via a questionnaire. Statistical analysis of group responses indicated a significant difference between the two participant groups only for the most conceptually advanced selection. An analysis of group graphs indicated that jazz musician participants rated this same selection higher: These findings suggest that greater instrumental jazz ensemble experience is related to greater aesthetic interest when listening to a jazz selection containing a high level of conceptual complexity.

A variety of researchers have examined the connections between knowledge of music and aesthetic response. Madsen and Madsen (1970) defined the aesthetic experience and suggested that it “represents the composite emotional and intellectual responsiveness to music which is modified and reinforced over time” (p. 44). Sloboda (1985) suggested that reaching a cognitive stage—one that requires more abstract thought than that experienced while simply attending—is necessary to undergo an affective response while listening to and appreciating music. Boyle and Radocy (1987) described aesthetic response as a combination of perception and cognition of artistic qualities with the feelingful response to these qualities.

The ability to experience an affective response to music, one involving feelings and emotion, as Price (1986) suggested, is a learned behavior that results from repeated interactions with musical stimuli over time. It may be that this repeated behavior, through study, practice, or performance, allows for greater ability to process musical information that may influence a listener’s response to a higher degree. Shaffer and Todd (1994) suggested that the interpretation or performance of music requires “a good working knowledge of the musical intentions of the composer in relation to the conventions and styles of [the] period" (p. 260). Bharucha (1994) suggested that composers base compositional decisions on their knowledge of standard music practices and nontraditional techniques. Campbell (1991) found that, given two groups of listeners, those with experience have the ability to process complex information found in a musical example, while those with less experience may only be able to attend to single components or concepts found at any given time in the same musical selection. Gfeller, Asmus, and Eckert (1991) questioned whether various musical and textural settings influenced the affective responses of subjects having various levels of musical knowledge. Given this body of research, consideration should be given to the possible connections between musical knowledge and aesthetic response. Conceivably, those who possess greater knowledge about and sensitivity toward jazz music may also be those who have a great deal of exposure through study, practice, and performance. In an analysis of listening preferences, Gregory (1994) indicated that perhaps experience with a performing medium during training positively affects the subject’s listening preference of “unfamiliar” music performed via that medium. One interpretation of this statement is that experience or knowledge of jazz through direct exposure via performance opportunities may influence the affective response of subjects who understand this music.


Since examples represent a hierarchy of melodic complexity during improvised solos, and participant groups indicated low familiarity ratings across all musical selections (see Table 2), it seems musically important that the selection representing the highest level of complexity was the only selection that resulted in a significant difference in aesthetic interest between the jazz musician and the nonjazz musician participant groups. This finding may suggest that greater instrumental jazz experience may be related to greater aesthetic responsiveness to a selection possessing a highly advanced level of conceptuality. Considering that the jazz musician participants’ CRDI mean ratings for the three most conceptually advanced selections resulted in mean differences of less than six degrees on a 256—degree scale, this finding may suggest that the presence of improvisation in a musical selection, regardless of its level of conceptual advancement, may result in similar aesthetic response from jazz musicians. It seems this finding also demonstrates, as Price (1986) suggested, the sum result of learned behavior from repeated interactions with musical stimuli over time has the potential to influence affective response. Other factors that may influence a listeners’ affective response to jazz music may include not only familiarity with the musical selection, but also familiarity with the performing artist. Although the design of this study attempted to measure participants’ level of familiarity with each musical selection, it did not measure participants’ familiarity with the selected artists.

第二小节总结了一下前文的finding，然后说previous studies focus on classical music and people's knowledge of the music。也就是说，前人都是研究古典乐对有不同程度音乐知识储备的人来说会不会有所不同，而结果是没有太大区别。但是researcher的这个研究却发现，knowledge也许不能区别反应，但是对于爵士乐来说，经验多少可以很大影响到对于复杂旋律的欣赏/理解。

Results from previous studies (e.g., Lychner, 1995; Madsen et al., 1993), utilizing musician and nonmusician participants, did not indicate a difference in aesthetic response due to knowledge when more familiar classical music selections are used. Although Sloboda (1985) suggested that “untrained musicians have implicit knowledge of that which musicians can talk about explicitly” (p. 5), the participant responses to the Davis selection suggest its level of conceptual advancement might not be implicit for participants with less than three years of instrumental jazz ensemble experience and thus, limiting their magnitude of aesthetic response. Differing affective response findings between musicians and nonmusicians to a compositionally complex musical selection (excerpts from Le Sucre du printemps) utilized in Misenhelter and Price (2001) also support the present study’s results.

billyisfragile!

SCIENTIFIC AMERICAN
November 1987
Volume 257, Issue 5

The Ancestry of the Giant Panda
Is the panda a bear? Is it a raccoon? Or does it actually belong in a family of its own? Molecular analysis provides new insights into this long-standing genealogical problem
By Stephen J. O'Brien


https://forum.chasedream.com/for ... 765&fromuid=1333346

billyisfragile!

JOURNAL ARTICLE
The Early Evolution of the Domestic Dog
Darcy F. Morey
American Scientist
Vol. 82, No. 4 (JULY-AUGUST 1994), pp. 336-347 (12 pages)
Published by: Sigma Xi, The Scientific Research Honor Society
https://www.jstor.org/stable/29775234

先说人们认为狗是人驯化了狼的结果，因为它们脸小什么的balabala，但是其实不是，是因为自然选择。

一般认为现代家养的狗与early dog相比应该具有脸更小、blabla...(后面几个忘了)的特征，而early wolf是被公认为比较接近early dog的物种，但是经过对两者的调查发现early dog和early wolf的区别，同时也颠覆了原来对进化特征的假设，然后解释为什么狗会这么演化

The new population of domestic wolves undoubtedly continued to expand. But at some point the animals began to change physically and behaviorally, evolving toward the form we recognize today as the dog. Early dogs conveniently exhibit consistent morphological changes when compared with wolves. Briefly (and not exhaustively), dogs became smaller overall, and the length of the snout became proportionally reduced. The result was a smaller animal with a shorter face, a steeply rising forehead and proportionally wider cranial dimensions. This general pattern suggests that adult animals retained juvenile characteristics, a phenomenon known as paedomorphosis. Paedomorphic dogs have a somewhat puppylike cranial morphology when compared with adult wolves.

billyisfragile!

2017.8.24-2017.9.14 寂静总结汇总-final（结帖）
https://forum.chasedream.com/thread-1304491-1-1.html
一、 【考古】星星spin
二、 【暂无考古】微生物
三、 【考古】音乐对人的影响
四、 【考古】满意度调查
五、 【考古】信用卡
六、 【考古】寄生虫
七、 【考古】恐龙灭绝
八、 【考古】美国黑人
九、 【补充考古】陨石
十、 【考古】巨型恐龙
十一、【考古】女性与法律保护
十二、【考古】美国debtor和creditor
十三、【考古】外向与内向
十四、【补充原始】黑洞和pluto
十五、【考古】恐龙灭绝和海洋动物
十六、【考古】房贷
十七、【补充考古】跨国公司
十八、【考古】Surveillance system
十九、【考古】seismic map
二十、【考古】Wasp保护树
二十一、【暂无考古】美国capital
二十二、【考古】art endowment
二十三、【考古】羊毛
二十四、【考古】market share
二十五、【考古】scarity adcertising
二十六、【补充重要原始】河水
二十七、【考古】fungus
二十八、【考古】self-determinination
二十九、【考古】salt和rock
三十、   【考古】emission tax
三十一、【考古】没有坑的E星球
三十二、【考古】火蚂蚁
三十三、【暂无考古】女权组织
三十四、【补充考古】陶器
三十五、【考古】dating method
三十六、【考古】姐妹信件
三十七、【考古】南岛语系
三十八、【考古】science city
三十九、【考古】回收
四十、【考古】inventory buttress
四十一、【暂无考古】黑人口述文学
四十二、【考古】阿波罗飞船
四十三、【考古】MM冰河世纪理论
四十四、【暂无考古】疾病防范
四十五、【考古】龙卷风

模考700

bzy! 发表于 2018-12-7 12:26
2017.8.24-2017.9.14 寂静总结汇总-final（结帖）
https://forum.chasedream.com/thread-1304491-1-1.html
...

感谢你！

dreamintepreter

WASP这篇在https://forum.chasedream.com/thread-1329977-1-1.html里更全，主要是一篇英文文章:
背景知识
我的材料：
   词汇：pollination授粉  mimicry  模仿  entice  诱使 怂恿
（感谢CC1990提供jj和文章）
Pollination study comes up with new insights
Dipannita Das, TNN, Nov 5, 2010, 01.43am IST

PUNE: Did you know that inflorescence can deceive its pollinators (beetles and bees) by mimicking an egg-laying site through a nauseating gaseous stench. With this deception, the plants achieve pollination without actually providing any reward to the insects.
      This observation was made in Amorphophallus species(tuberous herbaceous plants), commonly known as corpse flower or elephant foot yam belonging to the Arum family in the northern parts of the Western Ghats and Konkan region, by scientists Sachin A Punekar and K P N Kumaranof the Agharkar Research Institute here. This work is a kind of first from the Indian subcontinent addressing the pollen morphology and pollination ecology of these species.
      Another aspect found in a large number of these species is the process of heating. The spadix (a type of inflorescence) produces 30-45 degree Celsius heat during at least the first night, when flowers become susceptible and pollinators are attracted to it.
      The research paper was published this year in Elsevier research journal Flora Morphology, Distribution, Functional Ecology of Plants and has been recently cited under the top 25 hottest articles under the environmental science theme.The present study, using scanning electron microscope, delves adequately on this topic. It can be utilised as an important tool to distinguish taxa (group of organism) and also to resolve taxonomic problems, Punekar said.
      The inflorescence form的形态 and shape形状 plays a significant role in attracting insects. Amorphophallus have a very strong and obnoxious odour臭味. The odour of each species has a characteristic chemical composition, Punekar said. In many species, the odour is a nauseating gaseous stench. This odour attracts pollinator insects that breed or feed on dung, decaying matter or fungi. 授粉动物会被恶臭吸引，因为他们都是“吃屎长大的”，囧-。-This also results in pollinators meeting their sexual partners and completing their reproductive cycle, he said.
      The study observes five phases of insect trapping in Amorphophallus species, which facilitate pollination.
      The initial phase of attracting beetles from a distance is possibly based on a visual trap resulting from the inflorescence size and form and the frequency of the plant in a particular area. In the second phase, beetles get attracted from a distance by the odour trap, where the appendix emits a stench. In the third phase, most of the insects fall to the bottom of the spathe via a slippery trap provided by the wet appendix.
      During the fourth phase of pollination, the insects, attracted by a food trap, crawl over the pistillate zoneand staminate zone. Here, the visual attraction act as baits.
In the last phase, the trapped insects get shelter from light inside the kettle and meet sexual partners, achieving copulation and sometimes lay their eggs.


In a number of flowering plants, especially orchids, a plant uses mimicry to entice the insect pollinator to visit the flower and successfully pollinate it with no reward of food to the pollinating insect.   

      Many flowers that are dark red or red-purple produce a scent that is similar to the scent of rotting flesh. In this case, the pollinator visits the flower believing that there is a meal or a carcass on which to lay its eggs. Female blowflies will land on these flowers, lay their eggs, and in the process of moving about the flower inadvertently pollinate it. However, when the eggs hatch the maggots die, as there is no rotting flesh to eat. In other cases the duped pollinator lands on the flower and moves around the flower and inadvertently pollinates the flower while trying to find the rotting flesh to eat.

      Besides the need to eat, pollinators need to mate in order to produce the next generation and ensure the continuation of the species. Many orchids take advantage of this innate behavior to reproduce.

      The warty hammer orchid of Western Australia produces a chemical scent that is almost identical to the pheromone that the female thynnine wasp releases when she is sexually receptive. The orchid's labellum (lower lip) is also shaped similarly to the body of the female wasp. The male thynnine wasp grasps the imitation female and tries to fly off with her to mate and in the process crashes into the flower structure containing the pollen and the stigma. Pollen from one orchid is carried to another and pollination occurs. The male thynnine wasp's desire to mate as many times as possible lends to this trait of pollinating the warty hammer orchid.

      Some plants take advantage of the sex drive of specific insects. The Copper Beard Orchid has a floral structure and scent that mimics the female scoliid wasp. The male wasp attempts to mate with the flower (pseudocopulation) and in doing so provides the pollination service as they travel from one orchid to another attempting to mate with other "female wasps."

源文档 <http://www.fs.fed.us/wildflowers/pollinators/plantstrategies/mimicry.shtml>

      In order for the Hammer orchid to be successfully pollinated, the male wasp must be fooled by another individual orchid, where it goes through the same procedure. But this time the pollen is deposited in the stigma, and so that plant has been pollinated.

楼主可以看一下

billyisfragile!

https://www.scientificamerican.com/article/enceladus-secrets/

SPACE
Enceladus: Secrets of Saturn's Strangest Moon
Wrinkled landscapes and spouting jets on Saturn's sixth-largest moon hint at underground waters
By Carolyn Porco on December 1, 2008

于是派出了人造卫星去观察（本观察的是plains of craters），发现它不仅有固体snow，南半球外层还有水蒸气和生物化合物（细节题，compounds和organism替换），这些按理说都应该是heat T产生的，于是科学家开始分析为什么这么小的卫星会产生heat T作用。

When the Voyager 2 spacecraft sped through the Saturnian system more than a quarter of a century ago, it came within 90,000 kilometers of the moon Enceladus. Over the course of a few hours, its cameras returned a handful of images that confounded planetary scientists for years. Even by the diverse standards of Saturn’s satellites, Enceladus was an outlier. Its icy surface was as white and bright as fresh snow, and whereas the other airless moons were heavily pocked with craters, Enceladus was mantled in places with extensive plains of smooth, uncratered terrain, a clear sign of past internally driven geologic activity. At just over 500 kilometers across, Enceladus seemed far too small to generate much heat on its own. Yet something unusual had clearly happened to this body to erase vast tracts of its cratering record so completely.

What it found on this tectonically wracked little world has been a planetary explorer’s dream, and now this tiny outpost tucked deep within a magnificent planetary system clear across the solar system has taken on a significance that belies its diminutive size. Enceladus not only has enough heat to drive surface-altering geologic activity but also is endowed with organic compounds and possibly underground channels or even seas of liquid water. Energy, organics, liquid water: these are the three requisites for life as we know it. In our explorations of this alien and faraway place, we have come face to face with an environment potentially suitable for living organisms. It does not get much better than this.

还有一篇，saturn附近有个E什么的星球还是啥的，说spacecraft反馈回来的E的photograph有一块非常bright的地方，然后就puzzle，然后就想办法调查，结果就是因为E顶部有cloud， 可能是tidal heat产生的， 但是tidal heat的热量不足够，那究竟是为啥呢，哦，原来有water underneath E，然后表面还有ice，然后可以形成pressure从而产生热量（只记得大概，当时也没太看懂，这还有题，问cloud怎么形成的。选项有vaporize， 什么的，反正都有提到water或者liquid

第一个提出的猜想是由于潮汐作用，受土星另一个卫星的影响，E卫星的运行轨道不是正圆形，在土星和另一卫星牵引力下，可能是潮汐导致产生了加热作用。

On Earth, rock contains radioactive substances that produce heat. The same is undoubtedly true on Enceladus. But even all that rock is insufficient to produce the observed heat. The only other plausible source of warmth is tidal heating. Just as the gravity exerted by the sun and Earth’s moon deforms our planet slightly, creating the ocean tides, Saturn’s gravity deforms Enceladus. Enceladus has a noncircular orbit; its distance from Saturn varies. The closer it gets, the more it is deformed. This daily variation gives rise to flexure and internal heating. Gravity may also play a role in forming the surface features. The tiger stripes are angled 45 degrees from the direction to Saturn—an orientation that tidal forces would naturally explain.