Estimating the strength of genetic selection against heritable g in a sample of 3520 Americans, sourced from MIDUS II

Evidence for the Scarr–Rowe Effect on Genetic Expressivity in a Large U.S. Sample

Using the continuous parameter estimation model (CPEM), a large genotyped adult sample of the population of Wisconsin, USA (the Wisconsin Longitudinal Study) is examined for evidence of the Scarr–Rowe effect, a gene × environment (G×E) interaction that reduces the heritability of IQ among those with low socioeconomic status (SES). This method allows the differential expressivity of polygenic scores predictive of both educational attainment and IQ (EA3) on the phenotype of IQ to be directly operationalized throughout the full range of these variables. Utilizing a parental SES factor-weighted composite as a measure of childhood SES, evidence for the Scarr–Rowe effect was found, that is, the genetic expressivity of EA3 on IQ increased with increasing parental SES (β = 0.08, p = 4.71×10−10, df = 6,255). The effect was found for both the male and female samples separately, β(males) = 0.08, p = 5.27×10−5, df = 3,018; β(females) = 0.08, p = 1.93×10−6, df = 3,236. The effects were furthermore robust to removing outlying values of parental SES and to log-transforming the SES variable. The results are similar to those produced using a more conventional two-way interaction model, with IQ predicting the EA3 × log of parental SES interaction after the main effects; however, CPEM allows for greater model degrees of freedom, thus is better powered to detect the effect when it is small in magnitude (CPEM β = 0.05, p = 6.69×10−5 vs. two-way interaction β = 0.02, pone-tailed = .045, in both models log parental SES is used).

Repeated Listening Increases the Liking for Music Regardless of Its Complexity: Implications for the Appreciation and Aesthetics of Music

Psychological and aesthetic theories predict that music is appreciated at optimal, peak levels of familiarity and complexity, and that appreciation of music exhibits an inverted U-shaped relationship with familiarity as well as complexity. Because increased familiarity conceivably leads to improved processing and less perceived complexity, we test whether there is an interaction between familiarity and complexity. Specifically, increased familiarity should render the music subjectively less complex, and therefore move the apex of the U curve toward greater complexity. A naturalistic listening experiment was conducted, featuring 40 music examples (ME) divided by experts into 4 levels of complexity prior to the main experiment. The MEs were presented 28 times each across a period of approximately 4 weeks, and individual ratings were assessed throughout the experiment. Ratings of liking increased monotonically with repeated listening at all levels of complexity; both the simplest and the most complex MEs were liked more as a function of listening time, without any indication of a U-shaped relation. Although the MEs were previously unknown to the participants, the strongest predictor of liking was familiarity in terms of having listened to similar music before, i.e., familiarity with musical style. We conclude that familiarity is the single most important variable for explaining differences in liking among music, regardless of the complexity of the music.