In many memory domains, a decrease in recognition performance between the first and second presentation of an object is observed as the number of intervening items increases. However, this effect is not universal. Within the auditory domain, this form of interference has been demonstrated in word and single-note recognition, but has yet to be substantiated using relatively complex musical material such as a melody. Indeed, it is becoming clear that music shows intriguing properties when it comes to memory. This study investigated how the number of intervening items influences memory for melodies. In Experiments 1, 2 and 3, one melody was presented per trial in a continuous recognition paradigm. After each melody, participants indicated whether they had heard the melody in the experiment before by responding "old" or "new." In Experiment 4, participants rated perceived familiarity for every melody without being told that melodies reoccur. In four experiments using two corpora of music, two different memory tasks, transposed and untransposed melodies and up to 195 intervening melodies, no sign of a disruptive effect from the number of intervening melodies beyond the first was observed. We propose a new "regenerative multiple representations" conjecture to explain why intervening items increase interference in recognition memory for most domains but not music. This conjecture makes several testable predictions and has the potential to strengthen our understanding of domain specificity in human memory, while moving one step closer to explaining the "paradox" that is memory for melody.

Directed, intentional imagination is pivotal for self-regulation in the form of escapism and therapies for a wide variety of mental health conditions, such anxiety and stress disorders, as well as phobias. Clinical application in particular benefits from increasing our understanding of imagination, as well as non-invasive means of influencing it. To investigate imagination, this study draws from the prior observation that music can influence the imagined content during non-directed mind-wandering, as well as the finding that relative orientation within time and space is retained in imagination. One hundred participants performed a directed imagination task that required watching a video of a figure travelling towards a barely visible landmark, and then closing their eyes and imagining a continuation of the journey. During each imagined journey, participants either listened to music or silence. After the imagined journeys, participants reported vividness, the imagined time passed and distance travelled, as well as the imagined content. Bayesian mixed effects models reveal strong evidence that vividness, sentiment, as well imagined time passed and distances travelled, are influenced by the music, and show that aspects of these effects can be modelled through features such as tempo. The results highlight music’s potential to support therapies such as Exposure Therapy and Imagery Rescripting, which deploy directed imagination as a clinical tool.

There is an uncountable number of different ways of characterizing almost any given realworld stimulus. This necessitates finding stimulus features that are perceptually relevant -that is, they have distinct and independent effects on the perception and cognition of the stimulus. Here, we provide a theoretical framework for empirically testing the perceptual relevance of stimulus features through their association with recognition, memory bias, and aesthetic evaluation. We deploy this framework in the auditory domain to explore the perceptual relevance of three recently developed mathematical characterizations of periodic temporal patterns: balance, evenness, and interonset interval entropy. By modelling recognition responses and liking ratings from 177 participants listening to a total of 1,252 different musical rhythms, we obtain very strong evidence that all three features have distinct effects on the memory for, and the liking of, musical rhythms. Interonset interval entropy is a measure of the unpredictability of a rhythm derived from the distribution of its durations. Balance and evenness are both obtained from the discrete Fourier transform (DFT) of periodic patterns represented as points on the unit circle, and we introduce a teleological explanation for their perceptual relevance: the DFT coefficients representing balance and evenness are relatively robust to small random temporal perturbations and hence are coherent in noisy environments. This theory suggests further research to explore the meaning and relevance of robust coefficients such as these to the perception of patterns that are periodic in time and, possibly, space.