Mammography self-evaluation online test for screening readers: an Italian Society of Medical Radiology (SIRM) initiative

Author(s):  
Beniamino Brancato ◽  
Francesca Peruzzi ◽  
Calogero Saieva ◽  
Simone Schiaffino ◽  
Sandra Catarzi ◽  
...  
2021 ◽  
Vol 11 (12) ◽  
pp. 1592
Author(s):  
Devin Inabinet ◽  
Jan De La Cruz ◽  
Justin Cha ◽  
Kevin Ng ◽  
Gabriella Musacchia

The perception of harmonic complexes provides important information for musical and vocal communication. Numerous studies have shown that musical training and expertise are associated with better processing of harmonic complexes, however, it is unclear whether the perceptual improvement associated with musical training is universal to different pitch models. The current study addresses this issue by measuring discrimination thresholds of musicians (n = 20) and non-musicians (n = 18) to diotic (same sound to both ears) and dichotic (different sounds to each ear) sounds of four stimulus types: (1) pure sinusoidal tones, PT; (2) four-harmonic complex tones, CT; (3) iterated rippled noise, IRN; and (4) interaurally correlated broadband noise, called the “Huggins” or “dichotic” pitch, DP. Frequency difference limens (DLF) for each stimulus type were obtained via a three-alternative-forced-choice adaptive task requiring selection of the interval with the highest pitch, yielding the smallest perceptible fundamental frequency (F0) distance (in Hz) between two sounds. Music skill was measured by an online test of musical pitch, melody and timing maintained by the International Laboratory for Brain Music and Sound Research. Musicianship, length of music experience and self-evaluation of musical skill were assessed by questionnaire. Results showed musicians had smaller DLFs in all four conditions with the largest group difference in the dichotic condition. DLF thresholds were related to both subjective and objective musical ability. In addition, subjective self-report of musical ability was shown to be a significant variable in group classification. Taken together, the results suggest that music-related plasticity benefits multiple mechanisms of pitch encoding and that self-evaluation of musicality can be reliably associated with objective measures of perception.


1982 ◽  
Vol 46 (4) ◽  
pp. 221-226 ◽  
Author(s):  
LS Forehand ◽  
WF Vann ◽  
DA Shugars

2015 ◽  
Vol 25 (2) ◽  
pp. 78-84 ◽  
Author(s):  
Holly C. Smith

Development of self-evaluation skills in student clinicians is a crucial element of clinical education. This article reviews pertinent information regarding supervisors' responsibilities related to teaching supervisees to self-evaluate. Previously identified methods of facilitating these skills are discussed. The use of video self-analyses paired with self-evaluation rubrics is explored.


Author(s):  
Eva Walther ◽  
Claudia Trasselli

Abstract. Two experiments tested the hypothesis that self-evaluation can serve as a source of interpersonal attitudes. In the first study, self-evaluation was manipulated by means of false feedback. A subsequent learning phase demonstrated that the co-occurrence of the self with another individual influenced the evaluation of this previously neutral target. Whereas evaluative self-target similarity increased under conditions of negative self-evaluation, an opposite effect emerged in the positive self-evaluation group. A second study replicated these findings and showed that the difference between positive and negative self-evaluation conditions disappeared when a load manipulation was applied. The implications of self-evaluation for attitude formation processes are discussed.


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