Catchment to sea connection: Impacts of terrestrial run-off on benthic ecosystems in American Samoa.

Variation in water quality can directly affect the composition of benthic assemblages on coral reefs. Yet, few studies have directly quantified nutrient and suspended particulate matter (SPM) to examine their potential impacts on benthic community structure, especially around high oceanic islands. We assessed the spatio-temporal variation of nutrients and SPM across six sites in American Samoa over a 12-month period and used exploratory path analysis to relate dissolved inorganic nutrients, land use, and natural and anthropogenic drivers to benthic assemblages on adjacent shallow reefs. Multivariate analyses showed clear gradients in nutrient concentrations, sediment accumulation and composition, and benthic structure across watersheds. Instream nutrients and land uses positively influenced reef flat nutrient concentrations, while benthic assemblages were best predicted by wave exposure, runoff, stream phosphate and dissolved inorganic nitrogen loads. Identifying locality-specific drivers of water quality and benthic condition can support targeted management in American Samoa and in other high islands.

The minor third communicates sadness in speech, mirroring its use in music.

There is a long history of attempts to explain why music is perceived as expressing emotion. The relationship between pitches serves as an important cue for conveying emotion in music. The musical interval referred to as the minor third is generally thought to convey sadness. We reveal that the minor third also occurs in the pitch contour of speech conveying sadness. Bisyllabic speech samples conveying four emotions were recorded by 9 actresses. Acoustic analyses revealed that the relationship between the 2 salient pitches of the sad speech samples tended to approximate a minor third. Participants rated the speech samples for perceived emotion, and the use of numerous acoustic parameters as cues for emotional identification was modeled using regression analysis. The minor third was the most reliable cue for identifying sadness. Additional participants rated musical intervals for emotion, and their ratings verified the historical association between the musical minor third and sadness. These findings support the theory that human vocal expressions and music share an acoustic code for communicating sadness.

Varieties of musical experience.

In this paper, we argue that music cognition involves the use of acoustic and auditory codes to evoke a variety of conscious experiences. The variety of domains that are encompassed by music is so diverse that it is unclear whether a single domain of structure or experience is defining. Music is best understood as a form of communication in which formal codes (acoustic patterns and their auditory representations) are employed to elicit a variety of conscious experiences. After proposing our theoretical perspective we offer three prominent examples of conscious experiences elicited by the code of music: the recognition of structure itself, affect, and the experience of motion.