RESUMO
Research on abstract concepts (AC) suggests that while some AC are enacted indirectly and occasionally, others are largely grounded in our sensory-motor and affective experience, and the opportunities to enact them are countless, which would allow us to acquire them without supervision. From this, the following question arises: do embodiment and repeated exposure suffice to dispense with supervision in abstract concepts acquisition (ACA)? In the present study, this question was addressed in the context of tonal music cognition, which demands a high level of abstraction, and via musical materials that participants had frequently heard and sung. Specifically, highly trained, moderately trained, and untrained participants (24 each) were given 12 well-known melodic fragments ending on tones instantiating 6 different scale degrees (2 times each) and asked to group (round 1) or pair (round 2) those fragments whose last tone conveyed the same (or a similar enough) level of stability or rest. If embodiment and repeated exposure suffice for ACA, then one would expect a scale degree-based grouping strategy regardless of participants' training level. Results showed that only highly trained participants systematically grouped stimuli ending on the same scale degree, particularly in round 2; moderately trained participants' performance was mixed, and tonality's influence on untrained participants was negligible. Further, moderately trained and untrained participants performed inconsistently, discarding in round 2 almost all of the pairs formed in round 1. These findings are integrated with previous findings on the effect of language, affect, and category type on conceptualization to account for why and when ACA requires supervision.