Studies of the visual capacity of neurological patients have provided evidence for a dissociation between the perceptual report of a visual stimulus and the ability to direct spatially accurate movements toward that stimulus. Some patients with damage to the parietal lobe, for example, are unable to reach accurately towards visual targets that they unequivocally report seeing. Conversely, some patients with extensive damage to primary visual cortex can make accurate pointing movements or saccades toward a stimulus presented in their 'blind' scotoma. But in investigations of visuomotor control in patients with visual disorders, little consideration has been given to complex acts such as manual prehension. Grasping a three-dimensional object requires knowledge not only of the object's spatial location, but also of its form, orientation and size. We have examined a patient with a profound disorder in the perception of such object qualities. Our quantitative analyses demonstrate strikingly accurate guidance of hand and finger movements directed at the very objects whose qualities she fails to perceive. These data suggest that the neural substrates for the visual perception of object qualities such as shape, orientation and size are distinct from those underlying the use of those qualities in the control of manual skills.

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Past studies of the kinematics of human prehension have shown that varying object size affects the maximum opening of the hand, while varying object distance affects the kinematic profile of the reaching limb. These data contributed to the formulation of a theory that the reaching and grasping components of human prehension reflect the output of two independent, though temporally coupled, motor programs (Jeannerod 1984). In the first experiment of the present study, subjects were required to reach out and grasp objects, with or without on-line, visual feedback. Object size and distance were covaried in a within-subjects design, and it was found that both grip formation and reach kinematics were affected by the manipulation of either variable. These data suggest that the control mechanisms underlying transport of the limb and grip formation are affected by similar task constraints. It was also observed that when visual feedback was unavailable after movement onset subjects showed an exaggerated opening of their hands, although grip size continued to be scaled for object size. The question remained as to whether the larger opening of the hand during no-feedback trials reflected the lack of opportunity to fine-tune the opening of the hand on-line, or the adoption of a strategy designed to increase tolerance for initial programming errors. To address this question, a second experiment was carried out in which we manipulated the predictability of visual feedback by presenting feedback and no-feedback trials in a random order. In contrast to the situation in which feedback and no-feedback trials were presented in separate blocks of trials (Exp. 1), in the randomly-ordered series of trials presented in Exp. 2, subjects always behaved as if they were reaching without vision, even on trials where visual feedback was continuously available. These findings suggest that subjects adopt different strategies on the basis of the predictability of visual feedback, although there is nothing to suggest that this takes place at a conscious, or voluntary, level. The results of both experiments are consistent with the notion of a hierarchically-organized motor control center, responsible for optimizing performance under a variety of conditions through the coordination of different effector systems and the anticipation of operating constraints.

The present research addresses whether music training acts as a mediator of the recall of spoken and sung lyrics and whether presentation rate is the essential variable, rather than the inclusion of melody. In Experiment 1, 78 undergraduates, half with music training and half without, heard spoken or sung lyrics. Recall for sung lyrics was superior to that for spoken lyrics for both groups. In Experiments 2 and 3, presentation rate was manipulated so that the durations of the spoken and the sung materials were equal. Withpresentation rate equated, there was no advantage for sung over spoken lyrics. In all the experiments, those participants with music training outperformed those without training in all the conditions. The results suggest that music training leads to enhanced memory for verbal material. Previous findings of melody's aiding text recall may be attributed to presentation rate.

INTEREST IN STUDYING THE EFFECTS of extensive music training on nonmusical perceptual and cognitive abilities has grown in recent years. Here, we present evidence that formal music instruction is associated with superior verbal and visual memory. Participants included 15 highly trained pianists and 21 individuals with little or no formal music training. The groups were comparable in terms of age, gender distribution, and socioeconomic status. Musicians showed superior immediate and delayed recall of word lists and greater use of a semantic clustering strategy during initial list-learning than nonmusicians. They also exhibited superior learning, delayed recall, and delayed recognition for visual designs. Group differences in delayed free recall of both words and designs persisted after controlling statistically for estimated Full Scale IQ. These results suggest that extensive music training is associated with a generalized enhancement of auditory and visual memory functions.