Music training and rate of presentation as mediators of text and song recall

The present research addresses whether music training acts as a mediator of the recall of spoken and sung lyrics and whether presentation rate is the essential variable, rather than the inclusion of melody. In Experiment 1, 78 undergraduates, half with music training and half without, heard spoken or sung lyrics. Recall for sung lyrics was superior to that for spoken lyrics for both groups. In Experiments 2 and 3, presentation rate was manipulated so that the durations of the spoken and the sung materials were equal. With presentation rate equated, there was no advantage for sung over spoken lyrics. In all the experiments, those participants with music training outperformed those without training in all the conditions. The results suggest that music training leads to enhanced memory for verbal material. Previous findings of melody's aiding text recall may be attributed to presentation rate.     

The Sound of Silence: Can Imagining Music Improve Spatial Rotation Performance?

We report two experiments exploring whether imagining music improves spatial rotation via increases in arousal and mood levels (Schellenberg 2005). To aid their imagination, participants were given instructions (none, basic or detailed) and lyrics (present or absent). Experiment 1 showed no effect of instructions or lyrics on performance although participants felt that the presence of the lyrics helped. Experiment 2 was identical to Experiment 1 except that the participants were musicians (as evidenced by musical experience and/or qualification). This time there was a significant effect of instructions in that those who received the detailed instructions performed significantly better than the no instruction condition although the presence of lyrics did not help. Further research is required to establish the similarity of the imagination to the traditional arousal and mood effect but the phenomenon may be useful for short-term boosts in spatial rotation activities.     

Background music as noise abatement in open‐plan offices: A laboratory study on performance effects and subjective preferences

Continuous noise is played in many open‐plan offices to partially mask ambient sounds, in particular background speech. With this, the detrimental impact of background sounds on cognitive performance is intended to be reduced as well as subjectively perceived disturbance. Our experiments explored whether background music can achieve the same effects. Besides collecting subjective rating data, we tested cognitive performance using verbal serial recall. This is the standard task for exploring verbal short‐term memory, which is central to human information processing. Either staccato music, legato music or continuous noise was superimposed on office noise. In Experiment 1 (N = 30), only continuous noise reduced the detrimental impact of office noise significantly. Legato music did not qualify in this respect although it did not diminish cognitive performance when presented in isolation in Experiment 2 (N = 20). Subjective ratings in both experiments revealed that most participants would prefer legato music to continuous noise in office environments. Copyright © 2008 John Wiley & Sons, Ltd.     

Semantic priming of familiar songs

We explored the functional organization of semantic memory for music by comparing priming across familiar songs both within modalities (Experiment 1, tune to tune; Experiment 3, category label to lyrics) and across modalities (Experiment 2, category label to tune; Experiment 4, tune to lyrics). Participants judged whether or not the target tune or lyrics were real (akin to lexical decision tasks). We found significant priming, analogous to linguistic associative-priming effects, in reaction times for related primes as compared to unrelated primes, but primarily for within-modality comparisons. Reaction times to tunes (e.g., “Silent Night”) were faster following related tunes (“Deck the Hall”) than following unrelated tunes (“God Bless America”). However, a category label (e.g., Christmas) did not prime tunes from within that category. Lyrics were primed by a related category label, but not by a related tune. These results support the conceptual organization of music in semantic memory, but with potentially weaker associations across modalities.     

The impact of background musical tempo and timbre congruity upon ad content recall and affective response

This study investigated whether the tempo and timbre of background music influenced responses to radio ads. In Experiment 1 (in addition to a no‐music control condition), slow‐ or fast‐tempo background music was superimposed over the same ad. The slow‐tempo music treatment produced significantly higher levels of ad content recall compared to the fast‐tempo music treatment. Musical presence (slow‐ and fast‐tempo treatments combined vs. no‐music) significantly reduced levels of ad content recall. In Experiment 2, when three versions of digitally produced background music timbres were superimposed over a no‐music version of another ad, results revealed positive main effects of timbre congruity upon recall of ad content and affective responses to the ad. Copyright © 2006 John Wiley & Sons, Ltd.     

Can music with prosocial lyrics heal the working world? A field intervention in a call center

Music with lyrics about helping is shown to reduce aggression in the laboratory. This paper tests whether the prosocial lyric effect generalizes to reducing customer aggression in the workplace. A field experiment involved changing the hold music played to customers of a call center. The results of a 3 week study suggested that music significantly affected customers, but not in the way suggested by previous laboratory experiments; compared with days when instrumental background music was played, caller anger and employee exhaustion were lower on days when callers were played popular music with neutral, but not prosocial, lyrics. The findings suggest that music influences customer aggression, but that the prosocial lyric effect may not generalize from the laboratory to the call center.     

The differential effect of background music on memory for verbal and visuospatial information

Background music is a part of our everyday activities. Considerable evidence suggests that listening to music while performing cognitive tasks may negatively influence performance. However, other studies have shown that it can benefit memory when the music played during the encoding of information is also provided during the retrieval of that information, in the so-called context dependent memory effect. Since controversial results may be attributed to the nature of the material to be memorized, the aim of the present study is to compare the potential effect of consistent background music on the immediate and long-term recall of verbal and visuospatial information. Experiment 1 showed that instrumental background music does not benefit nor decrease recall of a list of unrelated words, both at the immediate and the 48-hours-delayed tests. By contrast, Experiment 2 revealed that the same background music can impair immediate and therefore long-term memory for visuospatial information. Results are interpreted in terms of competition for neurocognitive resources, with tasks mostly relying on the same brain hemisphere competing for a limited set of resources. Hence, background music might impair visuospatial memory to a greater extent than verbal memory, in the context of limited capacity cognitive system. In conclusion, the nature of the material to be learnt must be considered to fully understand the effect of background music on memory.     

Social creativity strikes back: improving motivated performance of low status group members by valuing ingroup dimensions

Motivation of stigmatized group members to perform on status‐relevant ‘outgroup’ dimensions can be impaired after ingroup failure. Three experiments examined whether social creativity by valuing ingroup dimensions (dimensions on which an ingroup outperforms an outgroup) can increase motivation and performance on outgroup dimensions. It was hypothesized that under high social identity threat, motivation on the outgroup dimension would benefit from valuing an ingroup dimension. Experiments 1 and 2 show that when social identity threat is increased, low status group members who personally value ingroup dimensions show higher motivation to perform on the outgroup dimension. Experiment 3 shows that the induction of high contextual value of both ingroup and outgroup dimensions improves low status group members' well‐being and motivated performance on the outgroup dimension. Copyright © 2006 John Wiley & Sons, Ltd.     

Genre of Music and Lyrical Content: Expectation Effects

This study was designed to examine whether people's expectations differ regarding how music lyrics affect individual behavior as a function of music genre. Because legislative attention and media publicity have been biased against certain types of popular music (i.e., heavy metal and rap), the authors expected that those genres of music would be viewed more negatively than other genres of popular music, for which there has been little or no negative publicity (i.e., pop and country). Participants (N = 160 college students) rated their perceptions of how the lyrical content of a song would affect listeners' behavior. The authors presented prosocial or antisocial lyrical passages to students (N = 160) under the guise of four musical genres (heavy metal, rap, pop, and country). Participants rated the potential impact of the lyrics on listeners' behavior. Findings indicated that lyrics labeled as heavy metal or rap were perceived as less likely to inspire prosocial behavior but not more likely to inspire antisocial behavior than the same lyrics labeled as country or pop.     

Effects of Task Interruption and Background Speech on Word Processed Writing

Task interruptions and background speech, both part of the everyday situation in office environments, impair cognitive performance. The current experiments explored the combined effects of background speech and task interruptions on word processed writing—arguably, a task representative of office work. Participants wrote stories, in silence or in the presence of background speech (monologues, halfalogues and dialogues), and were occasionally interrupted by a secondary task. Writing speed was comparably low during the immediate period after the interruption (Experiments 1 and 2); it took 10–15 s to regain full writing speed. Background speech had only a small effect on performance (Experiment 1), but a dialogue was more disruptive than a halfalogue (Experiment 2). Background speech did not add to the cost caused by task interruptions. However, subjective measures suggested that speech, just as interruptions, contributed to perceived workload. The findings are discussed in view of attentional capture and interference‐by‐process mechanisms.© 2016 The Authors. Applied Cognitive Psychology published by John Wiley & Sons, Ltd.     

Effects of Aggressive and Nonaggressive Rock Songs on Projective and Structured Tests

The differences between hostility scores on projective and objective tests as a function of listening to aggressive or nonaggressive rock music were studied. While taking the Thematic Apperception Test (Cards 1, 3BM, 4, 9BM, and 10) and the Buss-Durkee (1957) Hostility Scale, subjects (N = 90) randomly assigned to one of three groups listened to a rock song with (a) nonaggressive music and non-aggressive lyrics, (b) aggressive music and nonaggressive lyrics, or (c) aggressive music and aggressive lyrics. TAT stories were scored for aggressive content according to Hafner and Kaplan's (1960) hostility rating scale. Hostility scores did not differ between groups. The findings are congruent with other investigators' reports that subjects do not pay attention to rock lyrics. Previous findings that music affects the emotional quality of TAT stories and hostility scores on the Buss-Durkee scale were not supported.     

Effects of aggressive and nonaggressive rock songs on projective and structured tests

The differences between hostility scores on projective and objective tests as a function of listening to aggressive or nonaggressive rock music were studied. While taking the Thematic Apperception Test (Cards 1, 3BM, 4, 9BM, and 10) and the Buss-Durkee (1957) Hostility Scale, subjects (N = 90) randomly assigned to one of three groups listened to a rock song with (a) nonaggressive music and nonaggressive lyrics, (b) aggressive music and nonaggressive lyrics, or (c) aggressive music and aggressive lyrics. TAT stories were scored for aggressive content according to Hafner and Kaplan's (1960) hostility rating scale. Hostility scores did not differ between groups. The findings are congruent with other investigators' reports that subjects do not pay attention to rock lyrics. Previous findings that music affects the emotional quality of TAT stories and hostility scores on the Buss-Durkee scale were not supported.     

Suppression effects on musical and verbal memory

Three experiments contrasted the effects of articulatory suppression on recognition memory for musical and verbal sequences. In Experiment 1, a standard/comparison task was employed, with digit or note sequences presented visually or auditorily while participants remained silent or produced intermittent verbal suppression (saying "the") or musical suppression (singing "la"). Both suppression types decreased performance by equivalent amounts, as compared with no suppression. Recognition accuracy was lower during suppression for visually presented digits than during that for auditorily presented digits (consistent with phonological loop predictions), whereas accuracy was equivalent for visually presented notes and auditory tones. When visual interference filled the retention interval in Experiment 2, performance with visually presented notes but not digits was impaired. Experiment 3 forced participants to translate visually presented music sequences by presenting comparison sequences auditorily. Suppression effects for visually presented music resembled those for digits only when the recognition task required sensory translation of cues.     

Manual motor reaction while being absorbed into popular music

In three experiments, we investigated the behavioral consequences of being absorbed into music on performance in a concurrent task. We tested two competing hypotheses: Based on a cognitive load account, captivation of attention by the music and state absorption might slow down reactions in the decisional task. Alternatively, music could induce spontaneous motor activity, and being absorbed in music might result in a more autonomous, flow-driven behavior with quicker motor reactions. Participants performed a simple, visual, two-alternative forced-choice task while listening to popular musical excerpts. Subsequently, they rated their subjective experience using a short questionnaire. We presented music in four tempo categories (between 80 and 140 BPM) to account for a potential effect of tempo and an interaction between tempo and absorption. In Experiment 1, absorption was related to decreased reaction times (RTs) in the visual task. This effect was small, as expected in this setting, but replicable in Experiment 2. There was no effect of the music’s tempo on RTs but a tendency of mind wandering to relate to task performance. After slightly changing the study setting in Experiment 3, flow predicted decreased RTs, but absorption alone — as part of the flow construct — did not predict RTs. To sum up, we demonstrated that being absorbed in music can have the behavioral consequence of speeded manual reactions in specific task contexts, and people seem to integrate the music into an active, flow-driven and therefore enhanced performance. However, shown relations depend on task settings, and a systematic study of context is necessary to understand how induced states and their measurement contribute to the findings.     

Effects of background music on phonological short-term memory

Immediate memory for visually presented verbal material is disrupted by concurrent speech, even when the speech is unattended and in a foreign language. Unattended noise does not produce a reliable decrement. These results have been interpreted in terms of a phonological short-term store that excludes non-speechlike sounds. The characteristics of this exclusion process were explored by studying the effects of music on the serial recall of sequences of nine digits presented visually. Experiment 1 compared the effects of unattended vocal or instrumental music with quiet and showed that both types of music disrupted STM performance, with vocal music being more disruptive than instrumental music. Experiment 2 attempted to replicate this result using more highly trained subjects. Vocal music caused significantly more disruption than instrumental music, which was not significantly worse than the silent control condition. Experiment 3 compared instrumental music with unattended speech and with noise modulated in amplitude, the degree of modulation being the same as in speech. The results showed that the noise condition did not differ from silence; both of these proved less disruptive than instrumental music, which was in turn less disruptive than the unattended speech condition. Theoretical interpretation of these results and their potential practical implications for the disruption of cognitive performance by background music are discussed.     

Name or hum that tune: Feeling of knowing for music

This is the first reported research that explores the feeling of knowing (FOK) for musical stimuli. Subjects attempted to recall melodies and titles of musical pieces, made FOK ratings when recall failed, and then had a recognition test. With instrumental music (Experiment 1), more titles were recalled when melodies were given as cues than vice versa. With songs whose lyrics were not presented (Experiment 2), however, more melodies were recalled than were titles. For nonrecalled items, although the overall levels of recognition did not differ, FOK ratings were higher for titles than for melodies in Experiment 1, and the opposite pattern occurred in Experiment 2. In both experiments, the FOK ratings predicted melody recognition more accurately than they did title recognition.     

The Facilitative Effects of Ambiguous Figures on Creative Solution

Empirical studies of creativity emphasize the importance of ambiguity advantage in idea generation and creative problem‐solving. This study examined whether ambiguous figures could directly induce a mind‐set that would transfer to the creative problem‐solving. In Experiment 1, we examined whether presentation of ambiguous figures would influence participants' performance in alternative uses tasks, and the results showed that prior exposure to ambiguous figures significantly enhanced participants' performance in the dimension of fluency, flexibility, and originality than those exposed to non‐ambiguous figures; in general uses tasks, there were no significant difference in the reaction time and originality between the ambiguous figure condition and non‐ambiguous figure condition. In Experiment 2, the facilitative effect of ambiguous figures on creative thinking was further examined with creative story generation tasks that demand more mental effort and increased cognitive load. Results showed that creativity of stories generated in ambiguous figure condition was scored significantly higher than those in non‐ambiguous figure condition. The current research extends our understanding of the facilitative effect of ambiguous figures on creative problem‐solving.     

The effect of auditory versus visual violent media exposure on aggressive behaviour: The role of song lyrics, video clips and musical tone

Five decades of research have shown clear links between exposure to violent visual media and subsequent aggression, however there has been little research that directly compares the effects of exposure to violent visual versus auditory media, or which has experimentally tested the effect of violent song lyrics with musical ‘tone’ held constant. In the current study 194 participants heard music either with or without lyrics, and with or without a violent music video, and were then given the chance to aggress using the hot sauce paradigm. Musical tone was held constant across groups, and a fifth (control) group had no media exposure at all. Experimental groups, on average, were significantly more aggressive than controls. The strongest effect was elicited by exposure to violent lyrics, regardless of whether violent imagery accompanied the music, and regardless of various person-based characteristics. Implications for theories of media violence and models of aggression are discussed.     

Working memory components of the Corsi blocks task

A computerized version of the Corsi blocks task (Milner, 1971) was assessed for standard forward‐recall order (Experiments 1 and 3) and for reversed‐recall order (Experiments 2 and 3) either in a single‐task or in a dual‐task design combined with articulatory suppression, matrix‐tapping, random‐interval generation or fixed‐interval generation as concurrent tasks during the encoding stage. Concurrent performance of the matrix‐tapping task impaired memory performance for short as well as for longer block sequences. The random‐interval generation task, which loads executive processes, impaired memory performance mainly at intermediate‐ and longer‐sequence lengths, while fixed‐interval generation, which is presumed to put no load on executive processing, did not show any effect. Articulatory suppression did not impair memory performance on forward‐recall order, but it impaired memory for longer sequences in the backward‐recall condition in Experiment 2, but not in Experiment 3. The results are discussed within the context of the working‐memory model of Baddeley and Hitch (1974).     

Can preference for background music mediate the irrelevant sound effect?

Research suggests that listening to background music prior to task performance increases cognitive processes, such as attention and memory, through the mechanism of increasing arousal and positive mood. However, music preference has not been explored with regard to a more common and realistic scenario of concurrent music and cognition, namely the ‘irrelevant sound effect’ (ISE). To examine this, serial recall was tested under quiet, liked and disliked music sound conditions as well as steady‐state (repetition of ‘3’) and changing‐state speech (random digits 1–9). Results revealed performance to be poorer for both music conditions and the changing‐state speech compared to quiet and steady‐state speech conditions. The lack of difference between both music conditions suggests that preference does not affect serial recall performance. These findings are discussed within the music and cognition and auditory distraction literatures. Copyright © 2010 JohnWiley & Sons, Ltd.