Musical stem completion: Humming that note

This study looked at how people store and retrieve tonal music explicitly and implicitly using a production task. Participants completed an implicit task (tune stem completion) followed by an explicit task (cued recall). The tasks were identical except for the instructions at test time. They listened to tunes and were then presented with tune stems from previously heard tunes and novel tunes. For the implicit task, they were asked to sing a note they thought would come next musically. For the explicit task, they were asked to sing the note they remembered as coming next. Experiment 1 found that people correctly completed significantly more old stems than new stems. Experiment 2 investigated the characteristics of music that fuel retrieval by varying a surface feature of the tune (same timbre ordifferent timbre) from study to test and the encoding task (semantic or nonsemantic). Although we did not find that implicit and explicit memory for music were significantly dissociated for levels of processing, we did find that surface features of music affect semantic judgments and subsequent explicit retrieval

Implicit knowledge and memory for musical stimuli in musicians and non-musicians.

The phoneme monitoring task used by Bigand, Tillmann, Poulin, D’Adamo and Madurell (2001) is a musical priming paradigm that demonstrates that both musicians and non-musicians have gained implicit understanding of prevalent harmonic structures. Little research has focused on implicit music learning in musicians and non-musicians. This current study aimed to investigate whether the phoneme monitoring task would identify any implicit memory differences between musicians and non-musicians. It focuses on both implicit knowledge of musical structure and implicit memory for specific musical sequences. Thirty-two musicians and non-musicians (19 female and 13 male) were asked to listen to a seven-chord sequence and decide as quickly as possible whether the final chord ended on the syllable /di/ or /du/. Overall, musicians were faster at the task, though non-musicians made more gains through the blocks of trials. Implicit memory for musical sequence was evident in both musicians and non-musicians. Both groups of participants reacted quicker to sequences that they had heard more than once but showed no explicit knowledge of the familiar sequences

Spoken word recognition of novel words, either produced or only heard during learning

This document is the Accepted Manuscript Version of the following article: Tania S. Zamuner, Elizabeth Morin-Lessard, Stephanie Strahm, and Michael P. A. Page, 'Soke word recognition of novel words, either produced or only heard during learning', Journal of Memory and Language, Vol. 89, August 2016, pp. 55-67, doi: 10.1016/j.jml.2015.10.003. Under embargo. Embargo end date: 1 December 2017. This manuscript version is made available under the CC-BY-NC-ND 4.0 license http://creativecommons.org/licenses/by-nc-nd/4.0/Psycholinguistic models of spoken word production differ in how they conceptualize the relationship between lexical, phonological and output representations, making different predictions for the role of production in language acquisition and language processing. This work examines the impact of production on spoken word recognition of newly learned non-words. In Experiment 1, adults were trained on non-words with visual referents; during training, they produced half of the non-words, with the other half being heard-only. Using a visual world paradigm at test, eye tracking results indicated faster recognition of non-words that were produced compared with heard-only during training. In Experiment 2, non-words were correctly pronounced or mispronounced at test. Participants showed a different pattern of recognition for mispronunciation on non-words that were produced compared with heard-only during training. Together these results indicate that production affects the representations of newly learned words.Peer reviewedFinal Accepted Versio

Unforgettable film music: The role of emotion in episodic long-term memory for music

<p>Abstract</p> <p>Background</p> <p>Specific pieces of music can elicit strong emotions in listeners and, possibly in connection with these emotions, can be remembered even years later. However, episodic memory for emotional music compared with less emotional music has not yet been examined. We investigated whether emotional music is remembered better than less emotional music. Also, we examined the influence of musical structure on memory performance.</p> <p>Results</p> <p>Recognition of 40 musical excerpts was investigated as a function of arousal, valence, and emotional intensity ratings of the music. In the first session the participants judged valence and arousal of the musical pieces. One week later, participants listened to the 40 old and 40 new musical excerpts randomly interspersed and were asked to make an old/new decision as well as to indicate arousal and valence of the pieces. Musical pieces that were rated as very positive were recognized significantly better.</p> <p>Conclusion</p> <p>Musical excerpts rated as very positive are remembered better. Valence seems to be an important modulator of episodic long-term memory for music. Evidently, strong emotions related to the musical experience facilitate memory formation and retrieval.</p

Major memory for microblogs

Online social networking is vastly popular and permits its members to post their thoughts as microblogs, an opportunity that people exploit, on Facebook alone, over 30 million times an hour. Such trivial ephemera, one might think, should vanish quickly from memory; conversely, they may comprise the sort of information that our memories are tuned to recognize, if that which we readily generate, we also readily store. In the first two experiments, participants' memory for Facebook posts was found to be strikingly stronger than their memory for human faces or sentences from books-a magnitude comparable to the difference in memory strength between amnesics and healthy controls. The second experiment suggested that this difference is not due to Facebook posts spontaneously generating social elaboration, because memory for posts is enhanced as much by adding social elaboration as is memory for book sentences. Our final experiment, using headlines, sentences, and reader comments from articles, suggested that the remarkable memory for microblogs is also not due to their completeness or simply their topic, but may be a more general phenomenon of their being the largely spontaneous and natural emanations of the human mind.</p