XXIII Congresso da Associao Nacional de Pesquisa e Ps-Graduao em Msica Natal 2!

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Applying Gestalt Principles on the Identification of Melodic Phrases
Jos Fornari
NICS - UNICAMP e-mail: tutifornari@gmail.com
Abstract# $%is &or' (resents an em(irical stud) &it% listeners on t%e sonic as(ects o* melod)+ &%ic% is
%ere considered as one o* t%e *undamental elements o* music, -tarting *rom a .i.liogra(%ical researc%+
t%is &or' aimed to de*ine &%ic% as(ects com(ound and are common to an) melodic e/ent and+ t%us+ to
*ind out t%eir relations%i( &it% its (erce(tual as(ects, 0or t%at+ Gestalt t%eor) &as %ere ta'en as a
(ossi.le *orm to understand t%e automatic (erce(tual (rocessing o* melodic as(ects, In t%is &or' an
e1(eriment &as conducted+ &it% t%e (artici(ation o* 2 /olunteers+ t%at aimed to (in(oint some as(ects
o* t%e correlation .et&een melod)+ music (erce(tion and music cognition,
Keywords: music cognition+ gestalt+ melod)
1. Introduction
Music and its *undamental elements+ suc% as %armon)+ r%)t%m and melod)+ %a/e
.een o.3ects o* stud) and anal)sis o* man) studies, $%is *act can .e o.ser/ed in t%e large
amount o* &or's co/ering to(ics in t%is area+ *rom music (erce(tion to music t%eor)+ suc% as
seen+ *or e1am(le+ in t%e seminal &or's o* 4ermann /on 4elm%olt5 and Arnold -c%oen.erg,
$%ese studies %el(ed to esta.lis% 6and sometimes .rea'ing *ormer7 standards in man) as(ects
o* sound (erce(tion and music+ co/ering great lengt%s o* %uman 'no&ledge+ *rom (%)sics
6acoustics7+ (s)c%o(%)sics 6(s)c%oacoustics7+ music (s)c%olog) 6music cognition7 and
aest%etics, 4o&e/er+ t%ere is still no consensus among di**erent *ields on t%e de*inition o*
.asic musical elements suc% as &%at+ in *act+ constitutes melod) 6GA8I9IA+ 2"+ (,!27,
$%is &or' soug%t to stud) some de*initions o* melod)+ &%ic% is %ere considered to
.e t%e most *undamental element o* music, It is seen t%at t%e de*inition o* melod) and its
related elements are not com(letel) clear+ alt%oug% t%e elementar) and *undamental *eatures
o* melod) are immanent in music, -tud)ing t%e related literature+ t%is &or' aimed to get a
closer and clearer de*inition o* &%at is melod)+ as &ell as its related terms+ suc% as# :t%eme:+
:(%rase:+ :moti*: and :musical cells:, $%e goal is t%at+ *rom a more accurate and (ragmatic
understanding o* melod)+ a clearer understanding o* its interaction &it% musical (erce(tion+
cognition and emotion &ill ine/ita.l) *ollo&,
A generic de*inition o* melod)+ *ound in t%e literature+ de*ines it as a succession o*
sounds o* o((osing c%aracter t%at are %armonious+ simultaneous and consistent, 6;I$<N=I+
2># 2?7 6@AN=A8+ 2"# B!C7, 4o&e/er+ a melod) is not 3ust a mere succession o* sounds,
According to 6$<C4+ !?C27 melod) is a succession o* sounds :animated: .) a r%)t%m,
XXIII Congresso da Associao Nacional de Pesquisa e Ps-Graduao em Msica Natal 2!"
$%ere*ore+ r%)t%m is %ere identi*ied as an im(ortant element o* melod)+ since t%is %el(s to
de*ine t%e s%a(e o* a s(eci*ic melod) and+ accordingl)+ a melod) can not .e se(arated *rom its
natural r%)t%m 6APA8 !?C2# 2??7, $%ere*ore+ itDs %ere ta'en into consideration t%at melod)
results *rom t%e interaction o* a succession o* sounds and its r%)t%mic structure,
As 'no&n+ melod) is structured .) su.-com(onents, $%e literature mentions#
:cell:+ :moti*: and :sentence:, ;) :cell: t%e de*inition is# :t%e smallest constituent element o*
t%e musical idea: 6;I$<N=I+ 2># "?7, In t%e melodic conte1t+ cell is de*ined as a structure
com(ounded .) t&o musical r%)t%mic /alues and one (itc% inter/al,
A Emoti*F is created *rom a grou( o* musical cells+ or e/en *rom one single cell
6;I$<N=I+ 2># "?7, $%e moti* is a small (attern o* r%)t%mic or melodic conce(ts t%at
(resents a distinct unit) 6-AM;<-+ 2C+ (, ?!7, -c%oen.erg e1(lains t%e transitions .et&een
musical cells+ &%ic% creates di**erent moti*s+ t%us c%aracteri5ing a melod), ItDs im(ortant to
notice t%at some aut%ors de*ine as :t%eme: &%at is %ere called a Emoti*F, As a *ormal and
unam.iguous de*inition is )et to .e reac%ed+ t%is &or' uses t%e term Emoti*F,
According to -c%oen.erg+ :musical (%rase: is a mono(%onic unit t%at can .e sung
in one single .reat% and t%at (resents some *orm o* (unctuation delimiting its end, $%is
de*inition .ecomes questiona.le &%en one ta'es into account musical melodies (er*ormed .)
musical instruments t%at do not de(end on t%e .reat%ing ca(acit) o* a musician li'e t%e
(iano or /iolin to e1ecute a melodic (%rase, A more accurate de*inition o* E(%raseF+ *or t%e
(ur(oses o* t%is stud)+ ma'es an analog) &it% /er.al language+ &%ic% de*ines musical (%rase
as# :a set o* r%)t%mic sounds+ (resenting com(lete musical sense: 6GA8I9IA+ 2"# !B7,
As *or t%e elucidation o* t%e music score+ or t%e entire melod)+ in its com(lete
musical sense+ t%ere is in t%e -c%en'erian anal)sis a &a) to see' out *or t%e com(leteness o* a
musical (%rase+ &%ic% im(lies in its ca(acit) to .e recogni5ed as a single melodic structure,
-c%enc'er argued t%e+ *or a melod) to %a/e *ull meaning+ it %as to (resent a closure &it% t%e
tonic o* its tonalit) 6PANG4H-$+ 2I# I7, Anding t%e melod) in ot%er notes creates a
tension o* e1(ectation and incom(leteness t%at calls *or resolution, Certain inter/als generate
more tension t%an ot%ers, 0or e1am(le+ &%en t%e melod) is not closed in t%e notes o* its tonic
triads+ it creates t%e sensation t%at t%e sentence is )et to .e com(leted+ &%ereas &%en it is
closed on an) note o* its tonic triad 6A or G+ *or C ma3or7+ it (resents an almost com(lete
sense o* itsel*+ as i* it &as *inis%ed .) t%e tonic,
@egarding t%e co%erence o* musical inter/als 6sequence o* sounds7 o* a melod)+ as
(re/iousl) mentioned+ according to -c%oen.erg+ t%is can .e understood as t%e reac%ing o* an
equili.rium state, A good melod) ma) (rogress as in E&a/es: .eing t%e u(&ard mo/ements
XXIII Congresso da Associao Nacional de Pesquisa e Ps-Graduao em Msica Natal 2!"
com(ensated .) t%e do&n&ard ones+ and great lea(s o* inter/als com(ensated .) small lea(s
in t%e o((osite direction,
-c%oen.erg also introduces t%e conce(t o* :melodious:+ &%ic% is related to t%e
conce(t o* a :singa.le: melod) 6%o& easil) singa.le is a melod)7+ &%ic% leads to re*lect u(on
t%e qualit) o* a melodic e/ent, Ada(ting t%is conce(t to musical instruments+ t%is consists o*#
long notes+ smoot% (assages .et&een di**erent ranges+ more contiguous mo/ements+ a/oiding
augmented and diminis%ed inter/als+ ad%erence to tonalit)+ moderation in t%e usage o*
dissonances 6=H=AJHA+ 2B# !2B7,
2. Gestalt principles
As an attem(t o* dee(ening t%e understanding o* melod) (erce(tion and
identi*ication+ some (rinci(les o* t%e t%eor) o* Gestalt &ere %ere studied, Gestalt is (art o* t%e
;erlin sc%ool o* (s)c%olog) and studies %o& %uman (erce(tion &or's+ not in t%e le/el o*
(s)c%oacoustics 6*or sounds7 .ut %o& t%e mind automaticall) recogni5e and identi*) (atterns+
grou(ing o.3ects and e/ents into one single *orm or common understanding, Gestalt is a
German &ord t%at means E*ormF or Es%a(eF, $%is t%eor) is &idel) a((lied in /isual arts, Its
main (ur(ose is to stud) %o& t%e mind organi5es in*ormation to .uild a mental understanding
.ased on t%e in*ormation gi/en .) a sensor) stimuli+ suc% as data retrie/ed .) /ision andKor
audition, Gestalt (rinci(les attem(ts to s)nt%esi5e .asic com(onents and as(ects *rom sensor)
in*ormation+ organi5ing t%em as to .e understood into one single consistent+ unequi/ocal and
integral &%ole, 0or t%at+ Gestalt t%eor) descri.es > (rinci(les t%at are t%e com(onents o* t%is
automatic mental (rocess o* grou(ing, $%e) are# !7 Pro1imit)+ 27 -imilarit)+ "7 Closure+ 27
Good continuation+ B7 Common *ate+ >7 Good *orm,
$%e (rinci(le o* Pro1imit) descri.es t%e tendenc) o* grou(ing o.3ects or e/ents
t%at are close to eac% ot%er, In terms o* melod)+ it is %ere understood t%at Pro1imit) .et&een
musical notes mig%t re*ers to t%e inter/al .et&een t%em, As triads are com(osed .) inter/als
o* t%irds+ %ere t&o notes are considered to .e close to eac% ot%er &%en t%eir inter/al is equal
or smaller t%an one ma3or t%ird+ or 2 semitones 6P<PPA@+ 2!# I7,
$%e (rinci(le o* -imilarit) descri.es t%e tendenc) o* grou(ing similar musical
(%rases, $%e inter/al or r%)t%m .et&een notes can (ro/ide material to .e com(ared a.out
t%eir similarit)+ t%us im(l)ing its tendenc) o* .eing grou(ed into a single melodic e/ents,
XXIII Congresso da Associao Nacional de Pesquisa e Ps-Graduao em Msica Natal 2!"
$%e (rinci(le o* Closure+ &%en a((lied to melodies+ can .e in*erred as t%e
tendenc) t%at musical e/ents+ &%en addressing to t%e same direction or goal+ tend to .e
grou(ed, It is understood as t%e *inal resolution or cadence o* a melod) t%at+ once resol/ed+
con/e)s t%e sensation o* musical com(leteness, $%is can .e com(ared &it% t%e conce(t o*
com(leteness o* -c%en'er+ as alread) (resented+ &%ic% is t%e idea o* a musical (%rase and its
analog) &it% /er.al language t%at gi/es :meaning: to a melodic idea,
$%e (rinci(le o* Good Continuation (oints to t%e tendenc) o* grou(ing a sequence
o* musical notes as long as t%is structure does not %a/e a :ru(ture: or similar .rea' o*
continuit), In melod)+ t%is onl) occurs &%en (itc% and r%)t%mic /ariations occur smoot%l)
and graduall)+ ot%er&ise+ t%e auditor) (erce(tion &ill automaticall) s(lit t%is structure into
smaller com(onents, $%e conce(t o* :melodious:+ as (resented .) -c%oen.erg+ is %ere related
to t%e (rinci(le o* Good Continuation+ since t%at :melodious: is also de*ined as .eing related
to gradual and smoot% c%anges in t%e melodic structure,
$%e (rinci(le o* Common 0ate descri.es t%e tendenc) o* grou(ing e/ents
according to its contour+ s(eciall) &%en t%eir indi/idual directions are (ointing to t%e same
destination, In terms o* melod)+ t%is (rinci(le can .e o.ser/ed+ *or instance+ &%en t%e
direction o* t%e inter/als *orming a s(eci*ic (art o* melod) are all ascending or all descending
6P<PPA@+ 2!# I7,
$%e (rinci(le o* Good 0orm+ also re*erred .) t%e German &ord EPrgnan!F
6&%ic% can .e translated as EConcisenessF7 is *ormall) introduced .) t%e *ollo&ing statement#
Et%e (s)c%ological organi5ation &ill al&a)s .e as good as t%e (re/ailing conditions allo&, In
t%is de*inition t%e term DgoodD is unde*ined, It em.races (ro(erties suc% as regularit)+
s)mmetr)+ sim(licit) and ot%ers: 6G<00GA+ !?"B7, As suc%+ in t%e melodic conte1t+ t%is
(rinci(le seems to .e related to ot%er conce(ts (re/iousl) (resented %ere+ suc% as
-c%oem.ergDs de*inition o* EMelodiousnessF and t%e -c%en'erian conce(t o* musical
ECom(letenessF, Altoget%er+ t%e) s%all %el( to elucidate t%e conce(t o* t%is (rinci(le+ &%ic%
ma) cause t%e organi5ation o* a (s)c%ological stimuli to .e considered closer to Go**'aDs
conce(t o* EgoodF+ &%ic% necessaril) in/ol/es# regularit)+ s)mmetr) and sim(licit),
In terms o* music+ according to 6@AL;@<HCG+ !??C7 t%e a((lication o* Gestalt
(rinci(les is not restricted to t%e musical structure 6com(osition7 .ut s(reads out to t%e
(erce(tion o* t%e listener and t%e interaction .et&een listeners and melod), 0or t%at+
@e).rouc' (ro(osed an interdisci(linar) a((roac% lin'ing Gestalt t%eor) &it% -emiotics 6t%e
stud) o* signs7 and Neo(ositi/ism 6t%eor) o* 'no&ledge .ased on em(iricism and
mat%ematical *ormalism7+ as a mean to understand (atterns and *orms+ as signs t%at can .e
XXIII Congresso da Associao Nacional de Pesquisa e Ps-Graduao em Msica Natal 2!"
anal)5ed s)ntacticall)+ semanticall) and (ragmaticall),
0or t%at+ an e1(eriment &as %ere (ro(osed+ to em(iricall) /eri*) some o* t%e
Gestalt (rinci(les in melodies, In t%is &or'+ *i/e Gestalt (rinci(les &ere studied# !7 Pro1imit)+
27 -imilarit)+ "7 Closure+ 27 Good continuation+ and B7 Good *orm, $%e (rinci(le o* Common
*ate &as %ere discarded onde t%at+ in t%is e1(eriment+ not t%e entire melod) &as used+ .ut onl)
melodic (%rases &ere anal)5ed+ &%ic% im(lies t%at t%is (rinci(le &ould not aggregate an)
meaning*ul data t%at &ere not alread) co/ered .) ot%er (rinci(les+ suc% as Pro1imit) and
Closure,
3. Measuring Gestalt principles fro elodies
In t%is e1(eriment+ 2 /olunteers (artici(ated, $%eir role &ere sim(l) to listen to a
sequence o* melodic (%rases and 3udge+ to eac% one o* t%em+ t%e amount o* eac% one o* t%e B
selected Gestalt (rinci(les, $%is &as a di/erse grou(+ &it% listeners *rom a &ide range o* age
6*rom !I to BB )ears old7 and di**erent music .ac'ground+ as t%is grou( &as com(ounded o*
musicians and la)(ersons+ o* .ot% genres, $%e) &ere as'ed to listen to a sequence o* !?
melodic (%rases+ e1cer(ted *rom ;ra5ilian *ol'loric traditional songs, $%is &as done in order
to guarantee t%at all (artici(ants 6as all &ere ;ra5ilians7 &ould immediatel) recogni5e t%ese
songs+ so t%ere &ouldnDt .e a di**erence o* 3udgement regarding t%e *act t%at t%e a listener
e/entuall) didnDt 'no& t%ese songs, A*ter t%e session+ eac% listener &as as'ed i* t%e) 'ne& t%e
songs t%at t%e) %ad %earing, All (artici(ants said t%at t%e) &ere a.le to immediatel) recogni5e
eac% one o* t%e !? songs used in t%e e1(eriment, All songs &ere (la)ed as a single
mono(%onic melodic line+ in t%e same musical instrument 6/i.ra(%one7+ &it%out singing+
accom(animent or r%)t%m, $%e e1(eriment &as guided .) a monitor t%at e1(lained eac% one
o* t%e B (rinci(le to .e 3udged+ *or eac% listener+ and annotate t%e results+ *or eac% song, 0or
eac% session+ t%ere &ere !? 1 B M ?B measurements, In order to ma'e it easier *or eac%
listener to understand t%e Gestalt (rinci(les+ in same (rinci(les+ a ne& nomenclature &as
used, 0or instance+ t%e (rinci(le o* -imilarit)+ &as e1(lained as -el*--imilarit)+ &%ic% im(lies
t%at t%e listener %as to 3udge t%e similarit) &it%in t%e melodic line t%at is currentl) 3udging,
$%e (rinci(le o* Closure &as %ere re*erred as EClarit)F+ &%ic% is eas) *or t%e listener to
understand i* t%e melod) t%at %e or s%e is 3udging is eas) to .e understood and memori5ed,
$%e (rinci(le o* Good Continuation &as e1(lained as ECom(le1it)F+ as it is %ere understood
as related to t%e e1istence o* :ru(tures: or similar .rea' o* continuit) in inter/als and
XXIII Congresso da Associao Nacional de Pesquisa e Ps-Graduao em Msica Natal 2!"
r%)t%ms, 0inall)+ t%e (rinci(le o* Good 0orm &as de*ined as E=ensit)F+ as it is %ere
understood t%at EconcisenessF is related to t%e sensation o* densit), $%e *ollo&ing ta.le s%o&s
t%e results o* t%ese measurements, Aac% one o* t%em &as graded in an integer scale *rom ! to
B+ &%ere ! re(resents t%e lac' or t%e smallest amount o* a (rinci(le+ in t%e melod)+ and B is
t%e ma1imum amount o* t%e same (rinci(le, $%e mean /alue is "+ normall) attri.uted .) t%e
listeners &%en t%e) &erenDt sure a.out %o& muc% o* a (rinci(le &as *ound &it%in t%e melod)+
or &%en t%e) 3udged t%at suc% (rinci(le &%ere graded in .et&een its e1tremes,
!abela 1# Means o* t%e measurements o* *i/e Gestalt (rinci(les gi/en .) 2 /olunteers+ *or eac% one
o* t%e !? anal)5ed songs,
"ong Pro#iity "elf$"iilarity
%losure &
%larity
Good continuation &
%ople#ity
Good for &
'ensity
! "+C "+>B 2+BB 2+2 2+!
2 "+I "+CC 2+>B 2+2B 2+"
" "+! "+B 2+2 !+BC N !+?B N
2 "+B "+?2B 2+B2 2+"B 2+22B
B "+B "+" "+?B 2+22B 2+BCB
> "+2B "+C2 2+" 2+I 2+>2B
C 2+?2 N 2+I N "+2C "+C "
I "+2B "+?2 2+C O 2+C2B 2+I
? "+!2 "+2CB "+? N "+2B O "+2 O
! "+22 "+? 2+BB 2+22 2+"2
!! "+2B "+I2 2+!2 "+!2 2+IB
!2 "+"2 "+>2 2+2C 2+2 2+!B
!" "+!CB "+>B 2+!2 2+>C 2+?2
!2 "+> O 2+!2B O 2+2C 2+IC 2+?2
!B "+"2 "+C "+2C 2+?B 2+CC
!> "+"C 2 2+"C 2+?2 2+I
!C "+" 2+C 2+2C 2+?C 2+IB
!I "+2 "+IB 2+B 2+?C "+2 O
!? "+"B "+> 2+2C "+2 2+I
Min. 2+?2 2+I "+2C !+BC !+?B
Ma#. "+> 2+!2 2+C "+2B "+2
Mean "+22 "+C! 2+2C 2+>> 2+>2
(. 'iscussion and %onclusion
In general+ t%e e1(eriment occurred smoot%l) and &it%out an) ma3or (ro.lem,
$%e usage o* gra(%ic logos to signal to t%e /olunteers eac% (rinci(le+ relating t%eir sonic
essence &it% /isual s)m.ols+ seems to %a/e %el(ed to im(ro/e t%e understanding o* t%e
/olunteers directing t%eir attention to &%at t%e) s%ould .e 3udging, $%e scale o* t%e grades+
XXIII Congresso da Associao Nacional de Pesquisa e Ps-Graduao em Msica Natal 2!"
restricted .et&een ! 6lo&7 to B 6%ig%7 *or eac% (rinci(le+ also seems to %el( to narro&
mis3udgments .) e1cessi/e resolution, As said+ t%is e1(eriment anal)5ed !? songs o*
;ra5ilian *ol' melodies, $%e /ideo used *or t%e 3udgement o* t%e !? songs is a/aila.le in t%e
*ollo&ing lin'# %tt(#KK)outu,.eKP1'P'n>cqBc,
$%e *irst (rinci(le 6Pro1imit)7+ s%o&ed t%e lo&est a/erage 62,?27 *or t%e cli( C
and t%e %ig%est a/erage 6",>7 *or t%e cli( !2, As o.ser/ed in t%e lin' 6a.o/e7 t%at song %as
se/eral 3um(s o* inter/als and 3oint mo/ements t%at occur &it%in an octa/e o* range+ &%ile t%e
song !2 %as *e&er 3um(s o* inter/als and (racticall) occurs &it%in an inter/al range o* a
*ourt%,
$%e second (rinci(le 6-el*--imilarit)7+ %ad t%e lo&est a/erage 62,I7 in t%e song C
and %ig%est a/erage 62,!27 in t%e song !2, $%is seems to .e due to t%e *act t%at song C %as a
ternar) r%)t%mic structure+ ranging .et&een quarter notes and eig%t% notes+ &%ile song !2 is
more %omogeneous+ &it% a .inar) r%)t%mic structure+ *ormed onl) .) eig%t% notes,
$%e t%ird (rinci(le 6Closure K Clarit)7+ (resented t%e lo&est a/erage 6",?7 in song
I+ and t%e %ig%est a/erage 62,C7 in song ?, <ne (ossi.ilit) *or suc% an occurrence ma) .e
related to t%e *act t%at t%e song I %as larger 3um(s o* inter/als and a greater r%)t%mic
/ariation, <n t%e ot%er %and+ song I %as a /er) regular structure+ .ot% in terms o* inter/als and
as &ell as in terms o* r%)t%m,
$%e *ourt% (rinci(le 6Good continuation K Com(le1it)7+ (resents t%e lo&est
a/erage 6!,BC7 in song "+ and as %ig%er a/erage 6",2B7 in song ?, It is o.ser/ed an in/erse
(ro(ortion &it% t%e t%ird (rinci(le 6Clarit)7, 0rom t%is o.ser/ation+ it can .e in*erred t%at
(er%a(s greater clarit) o* melodic (%rase is related to its lo&ering o* its com(le1it), In t%is
case+ t%e same relations%i( o* direct (ro(ortionalit) a((ears to occur .et&een t%is and t%e
*i*t% (rinci(le,
$%e *i*t% and *inal (rinci(le 6=ensit)7 also (resented t%e lo&est a/erage 6!,?B7 in
song "+ and t%e %ig%est a/erage 6",27 in song ?+ as &ell as in song !C, As stated a.o/e+ it
seems t%at t%is (rinci(le is directl) (ro(ortional to t%e *ort% (rinci(le+ &%ic% ma) %a/e
occurred .ecause o* t%e di**icult) o* e1(laining to t%e /olunteers t%e di**erence .et&een
=ensit) and Com(le1it)+ or .ecause t%at+ in *act+ t%ere is an interde(endence o* t%e (erce(tual
(rocess o* t%ese t&o melodic as(ects,
P%en anal)5ing su.-grou(s o* /olunteers+ it &as *ound less /ariation .et&een t%e
scores assigned among t%ose &%o %ad some sort o* musical training, It ma) .e due to t%e *act
t%at /olunteers &it% musical training ma) naturall) %a/e a .etter understanding and+ t%us+ a
greater consensus on t%e musical de*inition o* suc% (rinci(les, Com(aring t%e grou( o*
XXIII Congresso da Associao Nacional de Pesquisa e Ps-Graduao em Msica Natal 2!"
/olunteers &%o claimed to %a/e a (redilection *or t%is st)le o* music 6*ol' songs7+ &it% t%e
grou( t%at declared to disli'e t%is genre+ a consensus occurred onl) on t%e (rinci(les o*
Pro1imit) and =ensit), $%is ma) .e a (ossi.le indicator o* t%e in*luence o* socio-cultural
conte1t in t%e 3udgment o* listeners+ as de*ended .) Me)er in QIR and @e).rouc' in QCR,
). Ac*nowledgeents
$%e aut%or &ant to ac'no&ledge t%e contri.ution gi/en .) t%e (artici(ation o* all
/olunteers &%o (artici(ated in t%is e1(eriment+ &it%out &%om t%is &ouldnDt .e (ossi.le+ as
&ell as 0la/ia ;assi+ t%e monitor t%at accom(anied t%e e1(eriment and collected t%e data as
(art o* %er tec%nical training stage s(onsored .) 0APA-P+ (rocess 2!K>C2"-C,
+eferences
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t%
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