Exposure effects on music preference and recognition

Peretz, Isabelle; Gaudreau, Danielle; Bonnel, Anne‐Marie

doi:10.3758/bf03201171

Cited by 213 publications

(220 citation statements)

References 94 publications

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“…These response patterns for our supraliminal stimuli mirror those reported with subliminal exposure (Zajonc, 2001). They also provide support for the proposal that listeners' evaluation of musical stimuli is independent of explicit memory (Peretz, Gaudreau, & Bonnel, 1998). Indeed, the findings are consistent with neuropsychological evidence of general dissociations between cognitive and affective responses to music.…”

Section: Discussionsupporting

confidence: 85%

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Liking and Memory for Musical Stimuli as a Function of Exposure.

Szpunar

Schellenberg

Pliner

2004

Journal of Experimental Psychology: Learning, Memory, and Cogni

149

157

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Three experiments examined changes in liking and memory for music as a function of number of previous exposures, the ecological validity of the music, and whether the exposure phase required focused or incidental listening. After incidental listening, liking ratings were higher for music heard more often in the exposure phase and this association was stronger as ecological validity increased. After focused listening, liking ratings followed an inverted U-shaped function of exposure for the most ecologically valid stimuli (initial increases followed by decreases), but this curvilinear function was attenuated or nonexistent for less valid stimuli. In general, recognition improved as a function of previous exposure for focused listeners, but the effect was attenuated or absent for incidental listeners.

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Section: Discussionsupporting

confidence: 85%

“…and in the auditory domain (Peretz, Gaudreau, & Bonnel, 1998;Wilson, 1979). On the basis of these findings, Zajonc (2001) argued that exposure effects can occur without previous cognitive appraisal, or that "preferences need no inferences" (Zajonc, 1980, p. 151).…”

mentioning

confidence: 99%

Liking and Memory for Musical Stimuli as a Function of Exposure.

Szpunar

Schellenberg

Pliner

2004

Journal of Experimental Psychology: Learning, Memory, and Cogni

149

157

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“…It has been obtained even when the stimuli exposed are not accessible to the participants' awareness, and even prenatally (Zajonc, 2001, abstract). The mere exposure effect (Bornstein, 1989;Zajonc, 1968) has been repeatedly confirmed for music: the more often people are exposed to a particular piece or style of music, the more they like it (e.g., Peretz, Gaudreau, & Bonnel, 1998;Szpunar, Schellenberg, & Pliner, 2004). The popular idea that "familiarity breeds contempt" has not been confirmed in mainstream music psychological studies; an inverted-U function reminiscent of Wundt's (1874) relationship between stimulus intensity/activity/arousal and pleasantness/affect/liking appears to exist for the relationship between liking and subjective complexity, but not for the relationship between liking and exposure or familiarity (North & Hargreaves, 1995).…”

Section: Discussionmentioning

confidence: 92%

Major-Minor Tonality, Schenkerian Prolongation, and Emotion: A commentary on Huron and Davis (2012)

Parncutt

2013

EMR

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On average, melodies in minor keys have smaller intervals between successive tones than melodies in major keys-consistent with the emotional difference between major and minor (Huron, 2008). Huron and Davis (2012) additionally showed that a part of this difference is inherent in the structure of major and minor scales, in combination with typical patterns of transition between scale steps: if one takes a typical major melody and lowers scale steps 3 and 6 by a semitone, then the average interval size is optimally reduced. I present an alternative theory of the origin of major and minor scales/keys and their emotional connotations. Huron's (2006) data on scale-step transitions in typical melodies is consistent with Schenker's (1922Schenker's ( , 1935 idea that a piece of tonal music can be interpreted as a prolongation of its tonic triad (mediated by the Ursatz). The emotional difference between major and minor may ultimately and primarily depend on the third of the tonic triad in the psychological background. Major music may tend toward positive valence simply because emotionally positive music is more common than emotionally negative music, and major triads and keys are more common than minor. Minor music may tend toward negative valence simply because scale degrees 3 and 6 sound lower than expected, consistent with emotional cues in speech (Huron, 2008).Submitted 2012 October 20; accepted 12 December 2012. KEYWORDS: major, minor, emotion, Schenker, prolongation WHY are major and minor scales like they are (with a specific ordering of tones and semitones) and not completely different? Why are major keys associated with positive emotional valence (happiness, contentment, serenity, grace, tenderness, elation, joy, victory, majesty…), and minor with negative emotional valence (sadness, anger, fear, tension, solemnity, lament, tragedy…)? For Meyer (1956), "the minor mode is not only associated with intense feeling in general but with the delineation of sadness, suffering and anguish in particular" (p. 227). Why? One would think that music psychologists would have answered these apparently simple questions by now. Evidently we have not, but things are moving in a promising direction. The contribution by Huron and Davis (2012) is a significant step towards a new explanation, and it also has interesting broader implications. In this extended commentary, I will present a new approach that builds upon their work.Consider first the origin of the ordering of tones and semitones in major and minor scales. I addressed that question in Parncutt (2011a). My basic assumption was that any passage of music in a major or minor key may be considered a Schenkerian prolongation of its tonic triad. I will examine this idea in detail below. For the moment, allow me to quickly consider the relationship between tones of the tonic triad and scale degrees in major-minor tonality (MmT).In Parncutt (2011a), I proposed that scale degrees in major and minor keys may be divided into three categories: the tones of the tonic triad, ...

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“…For example, people retain indexical properties of spoken words, such as voice attributes, when comparing performance between conditions where the same talker and word are presented during the study and test phases, versus a different talker but the same word during the test phase (e.g, Goh, 2005;Goldinger, 1996). Similar findings have also been found with melody recognition, where melodies with the same or a different timbre or format between study and test phases were manipulated (e.g., Lim & Goh, 2012, 2013Peretz, Gaudreau, & Bonnel, 1998). In all cases, the same condition, whether it is talker, timbre, or format, elicited more yes responses (i.e., the stimuli were recognised as previously studied) than did the different (or opposite) condition during recognition, suggesting that these features are retained in memory.…”

mentioning

confidence: 56%

Recognition memory for foreign language lexical stress

Suárez

Goh

2013

Mem Cogn

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This study investigated whether English speakers retained the lexical stress patterns of newly learned Spanish words. Participants studied spoken Spanish words (e.g., DUcha [shower], ciuDAD [city]; stressed syllables in capital letters) and subsequently performed a recognition task, in which studied words were presented with the same lexical stress pattern (DUcha) or the opposite lexical stress pattern (CIUdad). Participants were able to discriminate same-from opposite-stress words, indicating that lexical stress was encoded and used in the recognition process. Word-form similarity to English also influenced outcomes, with Spanish cognate words and words with trochaic stress (MANgo) being recognized more often and more quickly than Spanish cognate words with iambic stress (soLAR) and noncognates. The results suggest that while segmental and suprasegmental features of the native language influence foreign word recognition, foreign lexical stress patterns are encoded and not discarded in memory.Keywords Lexical stress . Auditory word recognition . Bilingualism . Psycholinguistics . Language acquisition Lexical stress refers to the pattern of stressed and unstressed syllables within single words. For example, the word pencil is pronounced with more stress on the first syllable (/′pen/) than on the second syllable (/səl/). The present study employed a recognition memory task to investigate two research questions: first, whether English speakers use foreign lexical stress cues to recognize newly learned Spanish words and, second, the extent to which similarity to English word forms influences the recognition process. Lexical stress cues in English and Spanish

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Exposure effects on music preference and recognition

Cited by 213 publications

References 94 publications

Liking and Memory for Musical Stimuli as a Function of Exposure.

Liking and Memory for Musical Stimuli as a Function of Exposure.

Major-Minor Tonality, Schenkerian Prolongation, and Emotion: A commentary on Huron and Davis (2012)

Recognition memory for foreign language lexical stress

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