Affective consequences in adults and children of repeated exposure to auditory stimuli.

Heingartner, Alex; Hall, Joan V.

doi:10.1037/h0036121

Cited by 76 publications

(54 citation statements)

References 10 publications

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“…This frequency-affect relation has been confirmed in many subsequent studies (Gilliland & Moore, 1924;Heingartner & Hall, 1974;Johnson, Kim, & Risse, 1985;Krugman, 1943;Lieberman & Walters, 1968;Moore, 1914;Mull, 1957;Verveer, Barry, & Bousfield, 1933;Washburn, Child, & Abel, 1927;Wilson, 1979; but see Brickman, Redfield, Harrison, &Crandall, 1972, andHeyduk, 1975, for negative results) for a large variety of music. Mere exposure effects on affect judgments have been obtained with classical music (both tonal and atonal: see, e.g., Gilliland & Moore, 1924;Mull, 1957),jazz (see, Copyright 1998 Psychonomic Society, Inc. 884 e.g., Verveer et aI., 1933), Korean (Johnson et aI., 1985), and Pakistani (Heingartner & Hall, 1974) music, as well as random tone sequences (Wilson, 1979). It is worth noting that all these studies used very few excerpts (on average, 4.6, ranging from 1 to 9 stimuli).…”

Section: The Mere Exposure Effect For Musicmentioning

confidence: 51%

Exposure effects on music preference and recognition

1998

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Section: The Mere Exposure Effect For Musicmentioning

confidence: 51%

Exposure effects on music preference and recognition

1998

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“…That mere repeated presentation of a musical selection increases its liking is a well-known phenomenon (see Heingarter & Hall, 1974, for a critical review of earlier studies as well as convincing supporting evidence). This exposure effect on preference is best conceptualized as ah implicit memory effect (Greve & Bauer, 1990).…”

Section: Exposure Effects On Preferences For Musicmentioning

confidence: 97%

Can We Lose Memory for Music? A Case of Music Agnosia in a Nonmusician

Peretz

1996

Journal of Cognitive Neuroscience

104

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A follow-up study of a patient, C.N., with a severe auditory agnosia limited to music is reported. After bilateral temporal lobe damage, C.N., whose cognitive and speech functions are otherwise normal, is totally unable to identify or to experience a sense of familiarity with musical excerpts that were once highly familiar to her. However, she can recognize the lyrics that usually accompany the songs. She can also identify familiar sounds, such as animal cries. Thus, her agnosia appears highly specific to music. The functional nature of her deficit has been investigated through various perceptual tasks. She was initially severely impaired in processing pitch sequential structure but has always enjoyed normal processing of temporal structure. This selective disturbance for sequential pitch information can hardly account for her tune agnosia since processing of pitch variations has dramatically improved over the years. This recovery was not accompanied by any signs of improvement in music recognition, which remains extremely poor. Moreover, the fact that she has never been able to hum tunes from memory argues for a basic memory disturbance. Thus, she was tested here with a series of tests aiming at assessing her memory for familiar and unfamiliar music. The results show that C.N. has now recovered most perceptual skills and that despite a transient ability to exhibit knowledge of familiar music under restricted circumstances, she is markedly impaired at naming a tune and at judging its familiarity, as well as at memorizing familiar as well as novel music. This deficit was found to be not only modality-specific but music-specific as well. The findings suggest the existence of a perceptual memory that is specialized for music and that can be selectively damaged so as to prevent most forms of recognition ability.

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“…Music preferences are also influenced by familiarity. Liking for unfamiliar pieces typically increases as a function of exposure (e.g., Heingartner & Hall, 1974;Meyer, 1903;Peretz, Gaudreau, & Bonnel, 1998b;Verveer, Barry, & Bousfield, 1933), as does liking for visual art (e.g., Cutting, 2003). More provocatively, mere exposure (Zajonc, 1980)*even when listeners have no explicit memory for previously encountered stimuli*also increases liking for music and music-like stimuli (Johnson, Kim, & Risse, 1985;Szpunar, Schellenberg, & Pliner, 2004;Thompson, Balkwill, & Vernescu, 2000;Wilson, 1979).…”

mentioning

confidence: 95%