Reduced Memory Representations for Music

Large, Edward W.; Palmer, Caroline; Pollack, Jordan

doi:10.1207/s15516709cog1901_2

Cited by 37 publications

(25 citation statements)

References 37 publications

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“…Levitin and Cook (1996) found the recollection of a song's tempo to be extremely similar to that of the song's actual tempo, suggesting that musical memory is absolute (accurate). Similarly, Large et al (1995) gathered evidence for the reductionist mechanism of memory representations, finding that a piece of attended music is often reduced in substance, such that only its musical gist is retained in memory. Finally, in research examining the relation between age and memory for music, Gaudreau and Peretez (1999) observed similar effects of aging on musical memory to those on verbal auditory memory.…”

Section: Memory For Musicmentioning

confidence: 99%

On auditing auditory information: the influence of mood on memory for music

Houston

Haddock

2007

Psychology of Music

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A B S T R AC T Previous research suggests that memory for music possesses a number of similarities to the more frequently studied modalities of verbal and visual memory. The present study addresses a yet uninvestigated factor involved in the memory for music: mood. Specifically, the study explored whether a moodcongruency effect is attained using major and minor keys as memory stimuli. Sixty undergraduate students were placed in a positive, negative, or neutral (i.e. baseline) mood. They were then presented with four major and four minor melodies, and, following a short delay, underwent a recognition task for the melodies. The results showed the presence of a highly significant moodcongruency effect. In a positive mood, melodies in major keys were better recognized than melodies in minor keys, whereas the reverse effect was seen for negative moods. Results are discussed in terms of how these findings relate to previous work on memory for music and linguistics. K E Y W O R D S : affect, memory, mood, music, recognitionOf all the arts, music is perhaps one of the most widely available to us. Entire shops are dedicated solely to the purchase of musical recordings; thousands of radio stations play music 24 hours a day; television shows and films incorporate music to help tell their stories; and live performances, from opera to rock concerts, take place all over the world on a daily basis. Such huge popularity of the art primarily results from the human ability to recognize different types and pieces of music, and to encode them to memory. Musical melodies and structures are not entirely specific to music; research has uncovered links between certain features of music (e.g. melody and tempo) that relate to the production of language. The importance of memory for

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Section: Memory For Musicmentioning

confidence: 99%

On auditing auditory information: the influence of mood on memory for music

Houston

Haddock

2007

Psychology of Music

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“…For example, as early as infancy, listeners can recognize a melody as the same when it is transposed to a different set of frequencies, performed at a different rate or tempo, or performed in a different instrumental timbre or "voice" (Chang & Trehub, 1977;Trehub & Thorpe, 1989). Even music whose pitch or duration content has changed, as in variations on musical themes, permits perceptual constancy (Dowling & Harwood, 1986;Large, Palmer, & Pollack, 1995;Serafine, Glassman & Overbeeke, 1989). Despite the many types of stimulus variability that music displays across performers, rates, timbres, and contexts, music perception is robust and adaptable over a range of physical changes in the acoustic signal.…”

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confidence: 99%

“…Large, Palmer, & Pollack, 1995). Normalization refers to the process of converting or transforming physically different tokens into some common representational format that is the ultimate goal of perceptual analysis, and these standardized representations are stored in memory (Pisoni, 1997).…”

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Episodic Memory for Musical Prosody

Palmer

Jungers

Jusczyk

2001

Journal of Memory and Language

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“…In the field of musicology, structural points in music have been characterized as nodes in "time-span reductions" (Lerdahl and Jackendoff 1983) or in "event hierarchies" (Bharucha 1984). Empirical research has found that structural tones are important elements in musical improvisation (Large, Palmer, and Pollack 1995) and listening (Bigand and Parncutt 1999).…”

Section: Goal-oriented Behaviormentioning

confidence: 99%

Techniques for Generative Melodies Inspired by Music Cognition

Brown

Gifford

Davidson

2015

Computer Music Journal

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This article presents a series of algorithmic techniques for melody generation, inspired by models of music cognition. The techniques are designed for interactive composition, and so privilege brevity, simplicity, and flexibility over fidelity to the underlying models. The cognitive models canvassed span gestalt, preference rule, and statistical learning perspectives; this is a diverse collection with a common thread-the centrality of "expectations" to music cognition. We operationalize some recurrent themes across this collection as probabilistic descriptions of melodic tendency, codifying them as stochastic melody-generation techniques. The techniques are combined into a concise melody generator, with salient parameters exposed for ready manipulation in real time. These techniques may be especially relevant to algorithmic composers, the live-coding community, and to music psychologists and theorists interested in how computational interpretations of cognitive models "sound" in practice.

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Reduced Memory Representations for Music

Cited by 37 publications

References 37 publications

On auditing auditory information: the influence of mood on memory for music

On auditing auditory information: the influence of mood on memory for music

Episodic Memory for Musical Prosody

Techniques for Generative Melodies Inspired by Music Cognition

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