Auditory–motor learning influences auditory memory for music

Brown, R. Michael; Palmer, Caroline

doi:10.3758/s13421-011-0177-x

Cited by 67 publications

(78 citation statements)

References 35 publications

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“…The difference in N2 amplitudes between the tapping positive and the listening positive conditions could be explained by 'the production effect' (MacLeod et al, 2010). For example, it has been shown that musical melodies played by the subject with normal auditory feedback are better recognized (which was associated with enhanced N2) compared to melodies that were only heard by the subject and not actively produced by them (Brown & Palmer, 2012;Mathias et al, 2015). Thus, this enhanced N2 will in turn lead to stronger memory retention.…”

Section: Discussionmentioning

confidence: 99%

Contingent negative variation (CNV) associated with sensorimotor timing error correction

et al. 2016

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Introduction: Detection and subsequent correction of sensorimotor timing errors is fundamental to adaptive behavior. Using scalp-recorded event-related potentials (ERPs), we sought to find ERP components that are predictive of error correction performance during rhythmic movements.Method: Healthy right-handed participants were asked to synchronize their finger taps to a regular tone sequence (every 600 ms), whilst EEG data were continuously recorded. Data from 15 participants were analyzed. Occasional irregularities were built into stimulus presentation timing: 90 ms before (advances: negative shift) or after (delays: positive shift) the expected time point. A tapping condition alternated with a listening condition in which identical stimulus sequence was presented but participants did not tap.Results: Behavioral error correction was observed immediately following a shift, with a degree of over-correction with positive shifts. Our stimulus-locked ERP data analysis revealed, 1) increased auditory N1 amplitude for the positive shift condition and decreased auditory N1 modulation for the negative shift condition; and 2) a second enhanced negativity (N2) in the tapping positive condition, compared with the tapping negative condition. In response-locked epochs, we observed a CNV (contingent negative variation)-like negativity with earlier latency in the tapping negative condition compared with the tapping positive condition. This CNV-like negativity peaked at around the onset of subsequent tapping, with the earlier the peak, the better the error correction performance with the negative shifts while the later the peak, the better the error correction performance with the positive shifts.Discussion: This study showed that the CNV-like negativity was associated with the error correction performance during our sensorimotor synchronization study. Auditory N1 and N2 were differentially involved in negative vs. positive error correction. However, we did not find 3 evidence for their involvement in behavioral error correction. Overall, our study provides the basis from which further research on the role of the CNV in perceptual and motor timing can be developed.

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Section: Discussionmentioning

confidence: 99%

Contingent negative variation (CNV) associated with sensorimotor timing error correction

et al. 2016

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“…In this scenario, it is as though the vocal tract "remembers" the exact tension associated with each pitch in the representation. However, this possibility remains mostly theoretical, as little evidence of such procedural memory has been presented in the vocal domain thus far(see, e.g., Brown & Palmer, 2012). Also, as Levitin (2013) has recently noted, procedural memory cannot solely account for the accurate pitch reproduction that adults are capable of.…”

Section: Song Memorymentioning

confidence: 98%

The Role of Absolute Pitch Memory in the Oral Transmission of Folksongs

Olthof

Janssen²,

Honing³

2015

EMR

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Absolute Pitch (AP) is the ability to identify or produce isolated tones in the absence of contextual cues or reference pitches. While AP is thought to differ from other human abilities in its bimodal distribution (Takeuchi & Hulse, 1993) -either you have it or you do not -recent evidence suggests that memory for absolute pitch in a melody is actually widespread (Schellenberg & Trehub, 2003). In the current project the Dutch collection of historic audio recordings, Onder de Groene Linde (Grijp, 2008), is used as a source to explore the potential role of AP in the memory of songs transmitted in oral traditions. Since the melodies in this database are grouped by tune family and are available as sound files, they can serve as empirical support for the Absolute Pitch Memory (APM) hypothesis, predicting that these tunes are memorized and transmitted over time and geographical location based on their absolute pitch height. To this end, between-and within-tune family analyses were performed. In the between-tune family analysis, two tune families showed significant inter-recording tonic pitch consistency. The within-tune family analysis further substantialized that effect, while controlling for possible factors of variance such as gender, geographical origin, and lyrics. Together, the results are taken as empirical support that APM plays a significant role in the oral transmission of folksongs.

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“…Findings within the visual domain suggest that the ''mere observation of movements leads to the formation of a lasting specific memory trace in movement representations that resembled that elicited by physical training'' (Stefan et al, 2005, p. 9344). It is also well known that auditory-motor associations acquired while learning to play a piece can be determinant for later auditory recognition (Brown & Palmer, 2012). However, most of the relevant literature focuses on a population of well-trained musicians engaged in expertise-related tasks with their own instrument.…”

mentioning

confidence: 99%

Motor and Audiovisual Learning Consolidate Auditory Memory of Tonally Ambiguous Melodies

Schiavio

Timmers

2016

Music Perception

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THE PRESENT STUDY INVESTIGATED THE ROLE OF motor and audiovisual learning in the memorization of four tonally ambiguous melodies for piano. A total of one hundred and twenty participants divided into three groups -pianists, other musicians (i.e., not pianists), and nonmusicians -learned the melodies through either playing them on a keyboard (playing condition), through performing the melodies on a piano without auditory feedback (silent playing condition), through watching a video with a performer playing the melodies (seeing condition), or through listening to them (control condition). Participants were exposed to each melody four times during the learning phase (in additional to hearing it once during a familiarization phase). This exposure consisted of an alternation between hearing the melody and engaging with the melody in the way determined by the learning condition. Participants in the control group only received the auditory aspect of the learning phase and listened to each melody twice.Memory of the melodies was tested after a 10-minute break. Our results indicate a benefit of motor learning for all groups of participants, suggesting that active sensorimotor experience plays a key role in musical skill acquisition.

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Auditory–motor learning influences auditory memory for music

Cited by 67 publications

References 35 publications

Contingent negative variation (CNV) associated with sensorimotor timing error correction

Contingent negative variation (CNV) associated with sensorimotor timing error correction

The Role of Absolute Pitch Memory in the Oral Transmission of Folksongs

Motor and Audiovisual Learning Consolidate Auditory Memory of Tonally Ambiguous Melodies

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