Recognition of Distorted Melodies

White, Benjamin W.

doi:10.2307/1419120

Cited by 105 publications

(67 citation statements)

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“…The first phase consisted of a melody identification task. Unlike past research, which has used either novel melodies (Halpern, 1984) or transformed versions of familiar melodies (Hébert & Peretz, 1997;Schulkind, 1999;White, 1960), the current experiment used unaltered versions of familiar melodies. The target melodies were presented on a note-by-note basis until identification was achieved.…”

Section: Methodsmentioning

confidence: 99%

“…1993; Hébert & Peretz, 1997;Maylor, 1991;Schulkind, 1999;Schulkind, Hennis, & Rubin, 1999;White, 1960). The ease with which melody identification is achieved suggests that listeners retain a great deal of information about the music they know.…”

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confidence: 99%

“…Some researchers have addressed this issue by assessing melody identification after selectively altering one or another aspect of familiar melodies (Hébert & Peretz, 1997;Schulkind, 1999;White, 1960). Although these studies demonstrate that both pitch and temporal manipulations influence identification, two aspects of this method limit the generalizability of their conclusions.…”

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confidence: 99%

“…First, the manipulations used in these experiments were fairly gross. A common manipulation involved preserving the pitch pattern while equating the duration of every note (Hébert & Peretz, 1997;Schulkind, 1999;White, 1960), or preserving the temporal pattern while equating the pitch of every note (Hébert & Peretz, 1997;White, 1960). Second, this approach assumes that manipulating one aspect of the melody (e.g., rhythm) will have negligible effects on the perception of other musical features.…”

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confidence: 99%

See 3 more Smart Citations

Musical Features That Facilitate Melody Identification: How Do You Know It's “Your” Song When They Finally Play It?

2003

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JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.. University of California Press Duke UniversityWhat information do listeners use to "Name that Tune"? This question was investigated in a two-phase experiment. In Phase 1, the participants heard familiar melodies that were played on a note-by-note basis until they were identified. In Phase 2, each note of the melody was analyzed along a variety of musical dimensions. Multiple regression analyses determined which musical characteristics predicted identification performance. Identification was most strongly associated with notes located at phrase boundaries, notes that completed alternating sequences of rising and falling pitches, and metrically accented notes. As well, identification peaked after listeners heard moderate amounts of information (i.e., 5-7 notes). The data suggest that melody identification is a holistic, all-ornone process and that parallels can be drawn between melody and spoken word identification. Implications for current theories, future research, and the relationship between music perception and melody identification are discussed.

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Section: Methodsmentioning

confidence: 99%

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confidence: 99%

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confidence: 99%

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confidence: 99%

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Musical Features That Facilitate Melody Identification: How Do You Know It's “Your” Song When They Finally Play It?

2003

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“…We do not know precisely what is the essential information that has to be encoded in order for the problem to be solved by human listeners. Nevertheless, it seems relevant the knowledge gained about the sensitivity or insensitivity to certain melodic transformations, for example [17,87]. In addition, when the cover is highly similar in terms of timbre, it seems that this cue can do the job to help us to identify the song even using very short snippets of it [71].…”

Section: Introductionmentioning

confidence: 99%