Where does imitation collide?

In counterpoint, imitation is the device by which one voice restates a melodic figure just announced by another, entering after a delay at the same or a different pitch, as in a canon or the exposition of a fugue. Fux's The study of counterpoint (1725) codified the practice, and Jeppesen's Counterpoint anatomizes how sixteenth-century polyphony wove such restatements into independent but related lines. The referent is a time-staggered repetition of a musical subject across voices, described by the interval and time of entry, not a learner copying a model, sharing only the idea of copying.[1][2]

Unit

A restatement of a melodic subject in another voice, offset in time

Recovery means

Not applicable

Measured by

Identified by the pitch interval and time delay between a subject and its restatement in another voice

In psychology, imitation is learning a behavior by observing and reproducing the actions of a model, rather than through direct reinforcement of one's own trials. Bandura, Ross, and Ross's 1961 Transmission of aggression through imitation of aggressive models (the Bobo doll study) showed children spontaneously copying modeled aggression, and Bandura's Social learning theory built the mechanism into a general account of observational learning. The referent is an acquisition process in a learner, measured by the match between modeled and reproduced behavior, a different construct from a contrapuntal restatement, joined only by the act of copying.[3][4]

Unit

A learner's reproduction of a behavior observed in a model

Recovery means

Not applicable

Measured by

Assessed by the fidelity and frequency of modeled behaviors reproduced by the observer