Influence of melodic "context" on recognition memory for pitch.

Hoshino, Etsuko

doi:10.4992/jjpsy.56.132

The Japanese Journal of Psychology

1985

DOI: 10.4992/jjpsy.56.132

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Influence of melodic "context" on recognition memory for pitch.

Etsuko Hoshino¹

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1992

2001

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Cited by 4 publications

(2 citation statements)

References 7 publications

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“…Their interpretation was that musically less related chords would disrupt the schematic coding of the sequence, and therefore sequences containing such chords were remembered less well. Similar results were reported in other experiments with chords (see Krumhansl, 1990, for a review) and tones (e.g., Hoshino, 1985). According to this view, the musically unrelated prime chord has a disruptive effect on the processing of the target chord in priming experiments.…”

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confidence: 86%

Priming effects on musical chord identification: Facilitation or disruption?

Arao

Gyoba

2001

Jpn Psychol Res

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The present study examined whether priming effects on chord identification are facilitative or disruptive, by employing a control (no-prime) condition in addition to a relatedprime condition and an unrelated-prime condition. According to the activation hypothesis, which predicts a facilitative effect of musically related chords, responses are expected to be faster in the related-prime condition than in the control condition. In contrast, according to the schema hypothesis, which supposes a disruptive effect of musically unrelated chords, responses are expected to be slower in the unrelated-prime condition than in the control condition. No facilitative effect was found in the related-prime condition, whereas a marked disruptive effect was found in the unrelated-prime condition. The disruptive effect was more pronounced in the major-chord condition than in the minor-chord condition, and more salient at an interonset interval of 1 s than at 3 s or 7 s. These results are interpreted in terms of the schema hypothesis.

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supporting

confidence: 86%

Priming effects on musical chord identification: Facilitation or disruption?

Arao

Gyoba

2001

Jpn Psychol Res

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“…These stimuli were chosen by 20 university students using the scale of "Tonality-feeling" described in Hoshino (1985), and Hoshino andAbe (1981, 1984).…”

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confidence: 99%

Finger tapping strategy for pitch encoding of melodies

Mikumo

1994

Jpn. Psychol. Res

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This study was designed to investigate whether linger tapping (analogous to the piano playing) is an effective strategy for pitch encoding in the processing of melodies. Twelve female undergraduates highly trained in music were instructed to make recognition judgments of melodies following a retention interval (Inter Stimulus Interval). They were also instructed to memorize the melodies during the 1St by employing a tapping strategy. There was a blank interval in Experiment I and an interfering melody in Experiment 2. The findings from these experiments suggest that: (a) Tapping may be an effective strategy for pitch encoding of melodies, especially when there are interfering melodies. ("b) During a longer ISI, if the subjects made an effort to repeat the tapping in order not to forget the standard series, then repeating the tapping many times could help the subjects elaborate on the encoding of melodies. Computer records of the tapping of each finger support these findings.

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Encoding Strategies for Tonal and Atonal Melodies

Mikumo¹

1992

Music Perception

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In this experiment, strategies of pitch encoding in the processing of melodies were investigated. Twenty-six students who were highly trained in music and twenty-six who were less well trained were instructed to make recognition judgments concerning melodies after a 12-sec retention interval. During each retention interval, subjects were exposed to one of four conditions (pause, listening to an interfering melody, shadowing nonsense syllables, and shadowing note names). Both the standard and the comparison melodies were six-tone series that had either a high- tonality structure ("tonal melody") or a low-tonality structure ("atonal melody"). The results (obtained by Newman-Keuls method) showed that recognition performance for the musically highly trained group was severely disrupted by the note names for the tonal melodies, while it was disrupted by the interfering melody for the atonal melodies. On the other hand, for the musically less well trained group, whose recognition performance was significantly worse than that of the highly trained group even in the Pause condition, there were no significant differences in disruptive effects between the different types of interfering materials. These findings suggest that the highly trained group could use a verbal (note name) encoding strategy for the pitches in the tonal melodies, and also rehearsal strategies (such as humming and whistling) for the atonal melodies, but that subjects in the less well trained group were unable to use any effective strategies to encode the melodies.

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Influence of melodic "context" on recognition memory for pitch.

Cited by 4 publications

References 7 publications

Priming effects on musical chord identification: Facilitation or disruption?

Priming effects on musical chord identification: Facilitation or disruption?

Finger tapping strategy for pitch encoding of melodies

Encoding Strategies for Tonal and Atonal Melodies

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