Publications

Abstract

Jerome Seymour “Jerry” Bruner was born on October 1, 1915, in New York City. He began his academic career as psychology professor at Harvard University; he ended it as University Professor Emeritus at New York University (NYU) Law School. What happened at both ends and in between is the subject of the richly variegated remembrances that follow. On June 5, 2016, Bruner died in his Greenwich Village loft at age 100. He leaves behind his beloved partner Eleanor Fox, who was also his distinguished colleague at NYU Law School; his son Whitley; his daughter Jenny; and three grandchildren.

Bruner’s interdisciplinarity and internationalism are seen in the remarkable variety of disciplines and geographical locations represented in the following tributes. The reader will find developmental psychology, anthropology, computer science, psycholinguistics, cognitive psychology, cultural psychology, education, and law represented; geographically speaking, the writers are located in the United States, Canada, the United Kingdom, and the Netherlands. The memories that follow are arranged in roughly chronological order according to when the writers had their first contact with Jerry Bruner.

Abstract

PHD thesis, defended at the University of Leiden

Abstract

Firstly, theories are reviewed on the explanation of tonal consonance as the singular nature of tone intervals with frequency ratios corresponding with small integer numbers. An evaluation of these explanations in the light of some experimental studies supports the hypothesis, as promoted by von Helmholtz, that the difference between consonant and dissonant intervals is related to beats of adjacent partials. This relation was studied more fully by experiments in which subjects had to judge simple-tone intervals as a function of test frequency and interval width. The results may be considered as a modification of von Helmholtz's conception and indicate that, as a function of frequency, the transition range between consonant and dissonant intervals is related to critical bandwidth. Simple-tone intervals are evaluated as consonant for frequency differences exceeding this bandwidth. whereas the most dissonant intervals correspond with frequency differences of about a quarter of this bandwidth. On the base of these results, some properties of consonant intervals consisting of complex tones are explained. To answer the question whether critical bandwidth also plays a rôle in music, the chords of two compositions (parts of a trio sonata of J. S. Bach and of a string quartet of A. Dvorák) were analyzed by computing interval distributions as a function of frequency and number of harmonics taken into account. The results strongly suggest that, indeed, critical bandwidth plays an important rôle in music: for a number of harmonics representative for musical instruments, the "density" of simultaneous partials alters as a function of frequency in the same way as critical bandwidth does.