A taxonomy of part‐whole or meronymic relations is developed to explain the ordinary English‐speaker's use of the term “part of” and its cognates. The resulting classification yields six types of meronymic relations: 1. component‐integral object (pedal‐bike), 2. member‐collection (ship‐fleet), 3. portion‐mass (slice‐pie), 4. stuff‐object (steel‐car), 5. feature‐activity (paying‐shopping), and 6. place‐area (Everglades‐Florida). Meronymic relations ore further distinguished from other inclusion relations, such as spatial inclusion, and class inclusion, and from several other semantic relations: attribution, attachment, and ownership. This taxonomy is then used to explain cases of apparent intransitivity in merological syllogisms, and standard form syllogisms whose premises express different inclusion relations. The data suggest that intransitivities arise due to equivocations between different types of semantic relations. These results are then explained by means of the relation element theory which accounts for the character and behavior of semantic relations in terms of more primitive relational elements. The inferential phenomena observed are then explained by means of a single principle of element matching.

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This study examined how readers establish the meaning of a new word from the sentence context during silent reading. Readers' eye movements were monitored while they read pairs of sentences containing a target word, context, and a word related to the target word. The target word varied in familiarity (high, low, or novel). The context varied in informativeness about the meaning of the target word (informative or neutral). The amount of time readers spent on the context depended on both the familiarity of the target word and the informativeness of the context. Readers spent additional time on the related word only when the context was neutral and the target was novel. These results indicate that readers were able to determine which areas of text were relevant and used the information to infer a meaning for the novel word.

People move to music and coordinate their movements with others spontaneously. Does music enhance spontaneous coordination? We compared the influence of visual information (seeing or not seeing another person) and auditory information (hearing movement or music or hearing no sound) on spontaneous coordination. Pairs of participants were seated side by side in rocking chairs, told a cover story, and asked to rock at a comfortable rate. Both seeing and hearing the other person rock elicited spontaneous coordination, and effects of hearing amplified those of seeing. Coupling with the music was weaker than with the partner, and the music competed with the partner's influence, reducing coordination. Music did, however, function as a kind of social glue: participants who synchronized more with the music felt more connected.

An experienced cello soloist recorded her practice as she learned and memorized the Prelude from J.S. Bach’s Suite No. 6 for solo cello and gave 10 public performances over a period of more than three years. She described the musical structure, decisions about basic technique (e.g., bowing), interpretation (e.g., dynamics), and five kinds of performance cues she attended to during performance (expressive, interpretive, intonation, and basic technique separately for left and right hand). The 38 hours of practice provide the most comprehensive empirical account to date of preparation of a new piece of music for performance. The cellist repeatedly took the piece apart section-by-section and then re-integrated the sections into practice performances in each of five stages: exploration, smoothing out, listening, reworking and preparation for performance. The location of starts, stops and repetitions identified the changing focus of practice in each stage. The cellist organized her practice around the musical structure, developed interpretation before working on technique and practised memory retrieval at each stage. When she wrote out the score from memory, better recall of expressive and structural performance cues showed that they served as landmarks in a hierarchical memory retrieval organization.