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- What does that tell us about how music is represented in the brain?
- Which aspects ‘go together’ and which are separate?
- What does it tell us about how we remember/identify music?
- What does that tell us about the relationship between music and language?
- What does that tell us about the origins of musical behavior?
- How did musical behavior evolve?
- What does that tell us about nature vs. nurture?
- What does that tell us about how musical expertise is acquired?
- What does that tell us about how expertise influences perception, memory, etc.?
- In other words, how are experts different from novices?
- What does that tell us about how we communicate through music?
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- (Same questions as above)
- What is the next logical experiment we should run?
- Is this theory compatible with other theories we have discussed?
- How does it improve upon earlier theories? Or not?
- Is this theory compatible with your intuitions?
- Is this theory specific to the kinds of stimuli that were used?
- How well does it apply to music in the real world?
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Caution: be careful when critiquing an experimental design. If your 'fix' wouldn't change the outcome of the experiment, it might not be a flaw. For example: they only had college students in the experiment. OK, why would you expect a different population to perform differently and what would that difference tell you about music cognition? |
- It failed to control for an important variable.
- It did not include an important variable.
- It confounded two important variables.
- The subject population was too restricted/not restricted enough.
- Its operational definition of a key construct was flawed.
- The theory that the experiment was designed to support will not generalize to other situations because...
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