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Prediction is often regarded as a central and domain-general aspect of cognition. This proposal extends to language, where predictive processing might enable the comprehension of rapidly unfolding input by anticipating upcoming words or their semantic features. To make these predictions, the brain needs to form a representation of the predictive patterns in the environment. Predictive processing theories suggest a continuous learning process that is driven by prediction errors, but much is still to be learned about this mechanism in language comprehension. This thesis therefore combined three electroencephalography (EEG) experiments to explore the relationship between prediction and implicit learning at the level of meaning.
Results from Study 1 support the assumption that the brain constantly infers und updates probabilistic representations of the semantic context, potentially across multiple levels of complexity. N400 and P600 brain potentials could be predicted by semantic surprise based on a probabilistic estimate of previous exposure and a more complex probability representation, respectively.
Subsequent work investigated the influence of prediction errors on the update of semantic predictions during sentence comprehension. In line with error-based learning, unexpected sentence continuations in Study 2 ¬– characterized by large N400 amplitudes ¬– were associated with increased implicit memory compared to expected continuations. Further, Study 3 indicates that prediction errors not only strengthen the representation of the unexpected word, but also update specific predictions made from the respective sentence context. The study additionally provides initial evidence that the amount of unpredicted information as reflected in N400 amplitudes drives this update of predictions, irrespective of the strength of the original incorrect prediction.
Together, these results support a central assumption of predictive processing theories: A probabilistic predictive representation at the level of meaning that is updated by prediction errors. They further propose the N400 ERP component as a possible learning signal. The results also emphasize the need for further research regarding the role of the late positive ERP components in error-based learning. The continuous error-based adaptation described in this thesis allows the brain to improve its predictive representation with the aim to make better predictions in the future.
Jüdische Musik
(2021)
The history of the so-called “New Jewish School” in music began in 1908 in St. Petersburg with the founding of the Society for Jewish Folk Music by students from the St. Petersburg Conservatory. The end of this movement came with the invasion of Austria by Nazi Germany in 1938, and the dissolution of the Vienna Society for the Promotion of Jewish Music later that year.
The fascinating and dramatic history of the New Jewish School is the subject of this monograph, which summarizes the author’s years of intensive international archival research. While many other national schools of music – such as the Russian, Czech or Hungarian – were able to develop freely and establish themselves in a favorable cultural environment, the Jewish school was violently suppressed. The reconstruction of its historical development in Russia and, after 1917, increasingly in other Eastern and Central European countries was first presented in German in 2004 and has since served as the basis for rediscovery of the valuable, highly original repertoire of New Jewish School composers. For this English-language publication, the entire book has been thoroughly revised and richly supplemented with extensive additional texts and materials.
Zwischen Bach und Klezmer
(2023)
Aleksandr Veprik (1899–1958)
(2024)
The years 1953 through the 1970s in the Soviet Union have been called the era of the “Jews of silence.” And yet through various types of musical activities, certain parts of the Jewish population in the USSR were able to maintain a collective cultural identity in the public sphere. Captured as a musical community, this collectivity also extended to non-Jewish composers, musicians, and audiences. As such it thematicized, performed, represented, and received Jewishness, through Yiddish theater and songs, art music, and popular music. Concerts and works conceived for the Soviet stages demonstrate that Jewishness mattered, with music taking on new symbolism and becoming imbued with new meaning. This chapter focuses on the presence (and absence) of Jewish music in the public sphere, specifically in the concert hall and other stages in the post-Stalinist Soviet Union.