ABSTRACT
The musicians’ results arrange the extracts quite well in proximity to one another their “schema” of proximities, but extract 12 (the only extract from section 4) is as a function of the sections determined during hearing. Outside the tree we can see extracts 1 and 12, alone representing sections 1 and 4 respectively and appearing in isolation, and extracts 13, 14 and 15, all coming out of the last section, grouped together. The non-musicians also detach the initial and final sections of the work in mixed up with the extracts from sections 2 & 3 which are grouped together by all subjects in an equivalent manner in the centre of the tree: this effect is the result of the formation of an imprint which creates a sort of equivalence between characteristics encountered within a grouping which leads to localisation judgements which are relatively less precise when several extracts occur in the same section of the piece.
