Expectancies generated by recent exposure to melodic sequences

Abstract

In four experiments, we examined the effects of exposure to unfamiliar tone sequences on melodic expectancy and memory. In Experiment 1, 30 unfamiliar tone sequences (target sequences) were presented to listeners three times each in random order (exposure phase), and listeners recorded the number of notes in each sequence. Listeners were then presented target and novel sequences and rated how well the final note continued the pattern of notes that preceded it. Novel sequences were identical to target sequences, except for the final note. Ratings were significantly higher for target sequences than for novel sequences, illustrating the influence of exposure on melodic expectancy. Experiment 2 confirmed that without exposure to target sequences, ratings were equivalent for target and novel sequences. In Experiment 3, new listeners were assessed for explicit memory for target sequences following the exposure phase. Recognition of target sequences was above chance, but unrelated to expectancy judgments in Experiment 1. Experiment 4 replicated the exposure effect, using a modified experiment design, and confirmed that the effect is not dependent on explicit memory for sequences. We discuss the idea that melodic expectancies are influenced by implicit memory for recently heard melodic patterns.

Liking and Memory for Musical Stimuli as a Function of Exposure.

“…The stimuli were presented over headphones (Sony MDR-CD370) at a comfortable listening level. The stimuli were 30 sequences of 5 to 9 piano tones from Thompson, Balkwill, and Vernescu (2000). Their research was not designed to test effects of exposure on preference and memory, but a subsidiary finding was higher ratings for previously exposed sequences than for novel sequences, even when the former sequences were not recognized.…”

Liking for happy- and sad-sounding music: Effects of exposure

“…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). Phenomenological experience tells us, however, that increases in liking as a function of exposure cannot be the whole story.…”

Expectancy in melody: Tests of children and adults.

“…In some instances, familiar melodies appear to be processed more globally and schematically than unfamiliar melodies; in other instances, listening to familiar melodies is more analytical than it is with unfamiliar melodies (DeWitt & Samuel, 1990). Structural properties of familiar songs also affect melodic expectancies in childhood (Adachi, 1995), and memory for melodies presented recently affects subsequent melodic expectancies, even when listeners show no evidence of explicit memory for the melodies (Thompson, Balkwill, & Vernescu, 2000). In short, it is clear that melodic expectancies are extremely complex psychological phenomena.…”