Remembering the melody and timbre, forgetting the key and tempo

Schellenberg, E. Glenn; Habashi, Peter

doi:10.3758/s13421-015-0519-1

Cited by 41 publications

(65 citation statements)

References 57 publications

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“…The present research focused on musical timbre and instrumentation, which has been identified as a particularly important surface feature influencing the ability to remember music (Halpern & Müllensiefen, 2008;Poulin-Charronnat et al, 2004;Schellenberg & Habashi, 2015;Trainor et al, 2004). For example, research shows that participants' long-term memory for music deteriorates significantly when the instrumentation used at the recognitions test phase does not match the one used at the learning phase (Halpern & Müllensiefen, 2008;Poulin-Charronnat et al, 2004).…”

Section: Discussionmentioning

confidence: 99%

False memories in music listening: exploring the misinformation effect and individual difference factors in auditory memory

Anglada-Tort

Baker

Müllensiefen

2018

Memory

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False memories in music listening: Exploring the misinformation effect and individual difference factors in auditory memory The study of false memory has had a profound impact on our understanding of how and what we remember, as shown by the misinformation paradigm (Loftus, 2005). Though misinformation effects have been demonstrated extensively within visual tasks, they have not yet been explored in the realm of non-visual auditory stimuli. Thus, the present study aimed to investigate whether post-event information can create false memories of music listening episodes. In addition, we explored individual difference factors potentially associated with false memory susceptibility in music, including age, suggestibility, personality, and musical training. In two music recognition tasks, participants (N= 151) listened to an initial music track, which unbeknownst to them was missing an instrument. They were then presented with post-event information which either suggested the presence of the missing instrument or did not. The presence of misinformation resulted in significantly poorer performance on the music recognition tasks (d= .43), suggesting the existence of false musical memories. A random forest analysis indicated that none of the individual difference factors assessed were significantly associated with misinformation susceptibility. These findings support previous research on the fallibility of human memory and demonstrate, to some extent, the generality of the misinformation effect to a non-visual auditory domain.

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Section: Discussionmentioning

confidence: 99%

False memories in music listening: exploring the misinformation effect and individual difference factors in auditory memory

Anglada-Tort

Baker

Müllensiefen

2018

Memory

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“…It is also unknown whether tempo changes smaller than 15-20% could impair melody recognition. In previous research, moreover, novel melodies were very short in duration (i.e., 4-10 s; Halpern & Müllensiefen, 2008;Kleinsmith & Neill, 2018), or longer but with a simple structure (AA'BA'- Schellenberg et al, 2014;Schellenberg & Habashi, 2015;AA'-Schellenberg et al, 2017), and much repetition within each melody. Thus, it is an open question whether previous findings would generalize broadly.…”

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confidence: 89%

“…timbre; Schellenberg & Habashi, 2015). For example, it is relatively easy to imagine hearing The Star-Spangled Banner performed on a tuba, at a very low pitch, and at a very slow tempo.…”

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confidence: 99%

“…Changing articulation from legato to staccato can also cause decrements in recognition (Lim & Goh, 2013). Because a change in timbre impairs recognition even when the test phase is a full week after exposure (Schellenberg & Habashi, 2015), timbre may be a particularly memorable surface feature. Our focus here was on the accuracy of implicit memory for key and tempo, which, unlike timbre, vary continuously rather than categorically.…”

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Fine-grained Implicit Memory for Key and Tempo

et al. 2019

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Listeners remember the pitch level (key) and tempo of musical recordings they have heard multiple times. They also have long-term implicit memory for the key and tempo of novel melodies heard for the first time in the laboratory. In previous research, however, the stimulus melodies were simple and repetitive and the changes in key or tempo were large. Here, we tested the limits of implicit memory for the key and tempo of more complex stimulus melodies. Musically trained and untrained listeners heard 12 novel melodies during an exposure phase and 24 (12 old, 12 new) during a subsequent test (recognition) phase. From exposure to test, half of the melodies were transposed up or down (changed in key) (Experiment 1), or sped up or slowed down (Experiment 2), but to varying degrees. Musically trained listeners displayed enhanced recognition, but transposing or changing the tempo of the melodies reduced performance similarly for all listeners. The effect of the key change did not wane as the transposition was reduced from 6 semitones to 1, but recognition in general was worse as the pitch range of the stimulus melodies increased. The magnitude of the tempo change had a very small effect on response patterns, but Bayesian analyses indicated that the observed data were more likely without considering magnitude. The results suggest that musically trained and untrained listeners have implicit memory for key and tempo that is remarkably fine-grained, even for melodies that are heard for the first time in the laboratory, such that small changes in either feature make a melody less recognizable.

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“…Another study, comparing intensity and consonance shows that intensity was the more significant determinant of preference; the effect of dissonance on preference was negligible (Martindale & Moore, 1990). About the importance of pitch, tempo, and timber in a melody, a study shows the timber of melody is more kept in our memory than pitch and tempo, though melody identification is independent of the mentioned surface features (Schellenberg & Habashi, 2015). Although many paper reviews summarize the influential factors on music preferences like tempo, rhythm, pitch, harmony, and loudness (LeBlanc, 1981;North & Hargreaves, 2008), some paper reviews make their endeavors to provide an order for the influential factors on musical preferences.…”

Section: Basic Musical Attributes-basic Layermentioning

confidence: 99%

Graphical Layout of the Musical Preferences Studies: An Overview on How the Studies on Musical Tastes Are Conducted

Tayyebi¹,

Demir²,

Nemutlu³

et al. 2020

ADR

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Various studies have been exploring the numerous determinants form our musical tastes and some review papers classify them in a discursive manner to provide a more holistic understanding of the determinants. This study, as a similar endeavor, depicts the mains determinants of our musical preferences categorized with regards to our musical perception process via a graphical model. After dividing the internal and external factors, the model provides a layer-based structure illustrating both musical taste determinants and modes of investigation. This paper provides three layers of determinants. The basic layer reflects the trace of more fundamental aspects of music on our musical tastes, like tempo as well as aggressive or happy as perceived attributes. The classification layer discusses on the trace of some classes in musical appreciations, like genre and Big Five Model. As lastly, the skimmed layer, as the midst layer, illustrates the newly-developed factors summing up the determinants of our musical taste. The introduced three layers also classify the external determinants of our musical taste. Consequently, this study not only provides a more holistic understanding of the determinants but also reflects the gap among the conducted studies to provide a platform for further investigations.

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Remembering the melody and timbre, forgetting the key and tempo

Cited by 41 publications

References 57 publications

False memories in music listening: exploring the misinformation effect and individual difference factors in auditory memory

False memories in music listening: exploring the misinformation effect and individual difference factors in auditory memory

Fine-grained Implicit Memory for Key and Tempo

Graphical Layout of the Musical Preferences Studies: An Overview on How the Studies on Musical Tastes Are Conducted

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