The role of familiarity in episodic memory and metamemory for music

Participants heard music snippets of varying melodic and instrumental familiarity paired with animal-name titles. They then recalled the target when given either the melody or the title as a cue, or they gave name feeling-of-knowing (FOK) ratings. In general, recall for titles was better than it was for melodies, and recall was enhanced with increasing melodic familiarity of both the cues and the targets. Accuracy of FOK ratings, but not magnitude, also increased with increasing familiarity. Although similar ratings were given after melody and title cues, accuracy was better with title cues. Finally, knowledge of the real titles of the familiar music enhanced recall but had, by and large, no effect on the FOK ratings.     

Memory for things forgotten.

As previous research has shown, items not recalled on an initial memory task are not simply forgotten. Often, some can be recalled on a later, second task. Further, subjects can generally predict, in terms of feeling-of-knowing (FOK) ratings, which items will be subsequently recalled. Two experiments were carried out to assess both second-task performance and FOK accuracy for unrecalled items as a function of two factors, encoding manipulations (levels of processing in Experiment 1, study time in Experiment 2) and the nature of the second task (explicit or implicit cued stem completion). Results indicate that although levels of processing affected explicit second-task performance more than implicit second-task performance, it increased FOK accuracy in both types of tasks. Study time, however, affected FOK accuracy only in the explicit second task. Apparently, only when subjects were able to do some elaborative processing on the items did their FOK ratings reflect information relating to factors that drive performance on implicit tasks.     

Feeling-of-knowing for songs and instrumental music

We explored the differences between metamemory judgments for titles as well as for melodies of instrumental music and those for songs with lyrics. Participants were given melody or title cues and asked to provide the corresponding titles or melodies or feeling of knowing (FOK) ratings. FOK ratings were higher but less accurate for titles with melody cues than vice versa, but only in instrumental music, replicating previous findings. In a series of seven experiments, we ruled out style, instrumentation, and strategy differences as explanations for this asymmetry. A mediating role of lyrics between the title and the melody in songs was also ruled out. What emerged as the main explanation was the degree of familiarity with the musical pieces, which was manipulated either episodically or semantically, and within this context, lyrics appeared to serve as an additional source of familiarity. Results are discussed using the Interactive Theory of how FOK judgments are made.     

Maximum key-profile correlation (MKC) as a measure of tonal structure in music

Tonal structure is musical organization on the basis of pitch, in which pitches vary in importance and rate of occurrence according to their relationship to a tonal center. Experiment 1 evaluated the maximum key-profile correlation (MKC), a product of Krumhansl and Schmuckler’s key-finding algorithm (Krumhansl, 1990), as a measure of tonal structure. The MKC is the maximum correlation coefficient between the pitch class distribution in a musical sample and key profiles,which indicate the stability of pitches with respect to particular tonal centers. The MKC values of melodies correlated strongly with listeners’ ratings of tonal structure. To measure the influence of the temporal order of pitches on perceived tonal structure, three measures (fifth span, semitone span, and pitch contour) taken from previous studies of melody perception were also correlated with tonal structure ratings. None of the temporal measures correlated as strongly or as consistently with tonal structure ratings as did the MKC, and nor did combining them with the MKC improve prediction of tonal structure ratings. In Experiment 2, the MKC did not correlate with recognition memory of melodies. However, melodies with very low MKC values were recognized less accurately than melodies with very high MKC values. Although it does not incorporate temporal, rhythmic, or harmonic factors that may influence perceived tonal structure, the MKC can be interpreted as a measure of tonal structure, at least for brief melodies.     

Feeling of knowing for names in response to faces

Participants were asked to recall the names when shown photographs of faces in both a semantic task (Experiment 1) and an episodic task (Experiments 2 and 3). When recall failed, feeling of knowing (FOK) ratings were solicited. In addition, participants reported on the strategies that they used to make their ratings, whether they could recall other pieces of information (the target-accessibility strategy, e.g., Koriat, A. (1993). How do we know that? The accessibility model of the feeling of knowing. Psychological Review, 100, 609–639) or whether the faces simply looked familiar (the cue-familiarity strategy, e.g., Schwartz, B. L., & Metcalfe, J. (1992). Cue familiarity but not target accessibility enhances feeling of knowing ratings. Journal of Experimental Psychology: Learning, Memory, and Cognition, 18, 1074–1083). In all experiments, FOK ratings were fairly accurate in that participants were successful in predicting their performance on a subsequent recognition test. More importantly, participants reported using the cue-familiarity strategy more often, although they gave higher FOK ratings when they reported using the target-accessibility strategy. The FOK ratings that were given using the two strategies were equally accurate.     

Revelation effect in metamemory

Test items are more likely to be judged as previously studied if they need to be discovered before the recognition decision. In the present experiments, this revelation effect was extended to metamemory judgments. Participants studied word pairs and then tried to recall the second word of each pair when given the first word as a cue. In Experiment 1, a fragment of the target was either gradually increased in size or held constant, and in Experiment 2, sometimes an anagram of the cue was given instead of the cue itself. Thus, for some items, there was a revelation task before a recall attempt. If recall failed, the participants gave feeling-of-knowing (FOK) ratings. In both experiments, the participants gave higher FOK ratings after a revelation task, even though the items that these FOKs referred to remained unrecalled. Analyses showed a criterion shift but no differences in sensitivity.     

Do alcoholic Korsakoff's syndrome patients acquire affective reactions?

In this study we report two experiments that investigate the acquisition of affective reactions. In Experiment 1, unfamiliar melodies were played to Korsakoff's syndrome patients and alcoholic and nonalcoholic control subjects who were matched with them according to age and education. Following a retention interval of 5 min, subjects received a preference test on old and new melodies. Korsakoff's syndrome patients showed the same increase in preference for old melodies as a consequence of prior exposures as control subjects did, but their recognition of melodies was significantly impaired in comparison with controls. In Experiment 2, the same subjects saw photographs of two men. Fictional biographical information depicted one as a "good guy" and the other as a "bad guy." After a retention interval of approximately 20 days, Korsakoffs recalled virtually none of the biographical information; however, 78% preferred the good guy, and impression ratings were less favorable for the bad guy. Korsakoff patients developed preferences and impressions even though they did not have voluntary access to the information on which the preferences were based. However, their impression ratings were less extreme than those of controls. The pattern of results of the two studies is discussed in terms of Johnson's (1983) MEM model of memory.     

The role of symmetry in the good continuation ratings of two-part tonal melodies

Subjects heard a series of two-part melodies, in which each part was a random sequence of eight pitches (Experiment 1) or five pitches(Experiment 2) from the diatonic scale. The task was to rate each melody on how well the second part followed the first. It was predicted that the presence of symmetry between the two parts would increase the perception of good continuation. In Experiment 1, two symmetrical relat/lons—(itinversion) and (itretrograde)—yielded melodies that were more highly rated than the control melodies, which consisted of nominally (itdifferent) parts. A third symmetry, the (itretrograde inversion), did not enhance good continuation ratings. In Experiment 2, inversions and retrograde inversions were compared with control melodies, using shorter sequences and pitches with equal durations. Again, inversions, but not retrograde inversions, were significantly preferred. The results suggest that the aesthetic judgment of good continuation depends at least partially on a cognitive analysis of the relation between the melody parts. The positive symmetry effects are further discussed in relation to other studies of symmetry transformations in the contexts of both musical sequences and visual arrays.     

Recognizing melodies: A dynamic interpretation

Two experiments explore hypotheses about rhythm and contour in recognition of simple pitch strings (melodies). Target melodies that differed with respect to pitch relationships (interval and contour pitch differences) and rhythm, were presented to ordinary listeners who were told to learn the melodies (Phase I). In a subsequent recognition test (Phase II), listeners had to recognize these same target melodies although they were transposed to a different musical key. In recognition, target melodies appeared in the original rhythm or in new rhythms that simulated some pause properties of the original rhythm. Target melodies were interspersed with decoy melodies that either preserved the pitch contour of targets or did not; all appeared in the original rhythm and in new rhythms. Results indicated that a new rhythmic context lowered recognizability of target melodies, and that decoys were most confusing when they possessed the same “dynamic shape” (contour-plus-rhythm) as targets (Experiment 1). Also, target recognition improved with Phase I familiarity (Experiment 2), although rhythmic shifts remained detrimental across levels of target familiarity. Confusions based on “dynamic shape” accounted for a relatively high proportion of errors where familiarity with targets is low. Findings were interpreted in terms of a theory of context-sensitive dynamic attending in which remembering is assumed to involve recapitulation of the original rhythmical activities involved in attending to melodies.     

The abstraction of musical ideas

Music presents information both sequentially, in the form of musical phrases, and simultaneously, in the form of chord structure. The ability to abstract musical structure presented sequentially and simultaneously was investigated using modified versions of the Bransford and Franks’ (1971) paradigm. Listeners heard subsets of musical ideas. The abstraction hypothesis predicted (1) false recognition of novel instances of the abstracted musical idea, (2) confidence of “recognition” should increase as recognition items approximate the complete musical idea, (3) correct rejection of “noncases,” which deviate from the acquired musical structure. Experiment 1 investigated sequential abstraction by using four-phrase folk melodies as musical ideas. Predictions 1 and 3 were confirmed, but the false recognition rate decreased as the number of phrases increased. Listeners were sensitive to improper combinations of phrases and to novel melodies different from melodies presented during acquisition. Experiment 2 investigated simultaneous abstraction using four-voice Bach chorales as musical ideas. Listeners spontaneously integrated choral subsets into holistic musical ideas. Musically trained listeners were better than naive listeners at identifying noncases.     

The organisation of musical semantic memory: Evidence from false memories for familiar songs

By adapting a well-known paradigm for studying memory for words—the Deese-Roediger-McDermott or DRM paradigm (Deese, 1959, Roediger & McDermott, 1995)—the two experiments reported here explore memory for song titles and song clips. Participants were presented with five song titles (Experiment 1a) or five 30-second song clips (Experiment 1b) for each of nine popular artists (e.g., Robbie Williams). The most popular song identified for each artist in a pilot task was omitted from the sets of titles/clips. Following a distractor task, participants were asked to write down as many of the songs as they could recall. They were also asked to return a week later and complete a second recall task. Participants falsely recalled a significant number of the related but non-presented songs in both experiments and this increased a week later, while correct recall for presented items decreased. The results are discussed in terms of theory for musical memory as well as in the context of providing a novel method for exploring the organisation of musical memory.     

Some influences of accent structure on melody recognition

Two experiments were carried out to investigate the roles of joint accent structure and familiarity in delayed recognition of relatively long tonal melodies. Melodic themes of target melodies were defined by correlating contour-related pitch accents with temporal accents (accent coupling) during an initial familiarization phase. Later, subjects gave recognition responses to key-transposed versions of the target melodies as well as to decoys with same and different contour accent patterns. In Experiment 1, all to-be-recognized melodies occurred both in an original rhythm, which preserved accent coupling, and in a new rhythm, which did not. Listeners were best at distinguishing targets from different decoys, especially in the original rhythm. In Experiment 2, the familiarity of target tunes and the rhythmic similarity in recognition were varied. Similar rhythms preserved accent coupling, whereas dissimilar rhythms did not. Listeners were most adept in distinguishing familiar targets from different decoys (Experiment 2A), particularly when they appeared in novel but similar rhythms. However, in similar rhythm conditions, listeners also frequently mistook same decoys for targets. With less familiar targets (Experiment 2B), these effects were attenuated, and performance showed general effects of pitch contour.     

False memory for associated word lists in individuals and collaborating groups

Using the Deese/Roediger-McDermott (DRM) paradigm, we investigated recall of presented and nonpresented associated words by collaborating groups, nominal groups, and individuals. In Experiment 1, participants recalled individually and then recalled in collaborating groups. Nominal groups made up of individual recall produced more presented and nonpresented associated words than did collaborating groups. Collaborating groups recalled more presented words than did individuals, but not more nonpresented words. In Experiment 2, collaborating groups versus individuals was a between-subjects variable, and everyone made two recall attempts. For recall, the pattern was the same as that in Experiment 1, in that collaborating groups recalled more presented words than did individuals but about the same number of nonpresented words. In a DRM paradigm, collaborating groups were able to produce more presented words than were individuals, without increasing their false recall.     

The mere exposure effect and recognition memory

This investigation explores the relationship between liking ratings and recognition performance for obscure classical and Russian music melodies. Past studies have explored if awareness of stimulus presentation affects the mere exposure effect (MEE) (Bornstein, 1989; Bornstein & D'Agostino, 1992). We investigate if the type of awareness (i.e., "remembering" an actual occurrence of hearing the melody vs. "knowing" that one is familiar with the melody in a more general, less contextualised sense; Tulving, 1985) affects the MEE. In Experiment 1, we administered the liking test and the recognition test within the same test block and found that liking ratings for "remembered" melodies were on average higher than those for melodies that were merely "known". Although the recognition data replicate the findings of Gardiner, Kaminska, Dixon, and Java (1996) whereby remember and know responses to a given stimulus react differently to repetition from one to three trials, liking data did not vary with the degree of exposure. In addition, our adoption of the recognition category "guess" resulted in a pattern of results that is not only different from previous studies but illustrates the importance of judged, instead of true, old/new status in determining liking. The basic findings of Experiment 1 were replicated in Experiment 2 in which the liking test was conducted prior to the recognition test. Implications of these findings for theories of MEE are discussed.     

Source‐monitoring accuracy across repeated tests following directed forgetting

The repeated recall of items from lists that participants were earlier instructed to either remember or to forget was examined in two experiments. RR participants (those instructed to remember both lists they were presented) tended to recall more List 1 items than FR participants (those instructed to forget the first list and to remember the second list). FR participants recalled more List 2 items than did RR participants, but only when directed to report those items (Experiment 1), not when directed to report items from both lists (Experiment 2). Participants experienced difficulty correctly reporting the list source of items they recalled and incorrect source recall increased across tests, showing hypermnesia. This later result underscores the need for caution when assessing the accuracy of information retrieved from multiple sources across repeated tests. Together, the data patterns provide support for the retrieval dynamics account of hypermnesia, the context‐change account of directed forgetting, and limited support for the retrieval inhibition view of directed forgetting.     

Memory distortion in group recall

Earlier we reported (Basden, Basden, Bryner, ...Thomas, 1997) that, in comparison with nominal groups (three people tested individually), three-person collaborative groups recalled fewer presented words but intruded more nonpresented words. In the present research, Experiment 1 showed that when presented words were associatively related to critical nonpresented words, collaboration inhibited recall of presented words but did not influence recall of critical nonpresented words. Experiment 2 showed that with categorized lists, recall of high taxonomic frequency critical nonpresented words was greater for collaborative groups than for nominal groups. Collaboration did not inhibit recall of presented words, presumably because guessing supplemented recall in collaborative groups. Greater false recall in collaborative than in nominal groups appears to result from activation of superordinate-to-item associations rather than item-to-item associations.     

Affective valence and the self‐reference effect: Influence of retrieval conditions

Positive trait information is typically better recalled than negative trait information when encoded in reference to the self, but not when encoded in reference to someone else or when processed for general meaning. This study examined whether this influence of affective meaning is modulated by retrieval conditions. Participants encoded positive and negative trait adjectives in reference to themselves or to a celebrity. They were then presented with either a free‐recall task (Experiment 1) or a recognition memory task (Experiment 2). Positive adjectives were better recalled than negative adjectives, but only when they were encoded in reference to the self. In contrast, encoding condition and valence did not interact in the recognition memory task. Taken together, these findings suggest that the difference in memory between positive and negative self‐referent information is due, at least in part, to a control exerted on memory retrieval.     

Age differences in collaborative memory: the role of retrieval manipulations

In two experiments, we examined age differences in collaborative inhibition (reduced recall in pairs of people, relative to pooled individuals) across repeated retrieval attempts. Younger and older adults studied categorized word lists and were then given two consecutive recall tests and a recognition test. On the first recall test, the subjects were given free-report cued recall or forced-report cued recall instructions (Experiment 1) or free recall instructions (Experiment 2) and recalled the lists either alone or in collaboration with another subject of the same age group. Free-report cued recall and free recall instructions warned the subjects not to guess, whereas forcedreport cued recall instructions required them to guess. Collaborative inhibition was obtained for both younger and older adults on initial tests of free-report cued recall, forced-report cued recall, and free recall, showing that the effect generalizes across several tests for both younger and older adults. Collaborative inhibition did not persist on subsequent individual recall or recognition tests for list items. Older adults consistently falsely recalled and recognized items more than did younger adults, as had been found in previous studies. In addition, prior collaboration may exaggerate older adults’ tendency toward higher false alarms on a subsequent recognition test, but only after a free recall test. The results provide generality to the phenomenon of collaborative inhibition and can be explained by invoking concepts of strategy disruption and source monitoring.     

Harmonic expectation and affect in Western music: effects of attention and training

We investigated the effects of selective attention and musical training on the processing ofharmonic expectations. In Experiment 1, participants with and without musical training were required to respond to the contour of melodies as they were presented with chord progressions that were highly expected, slightly unexpected, or extremely unexpected. Reaction time and accuracy results showed that when attention was focused on the melody, musically trained participants were still sensitive to different harmonic expectations, whereas participants with no musical training were undifferentiated across expectation conditions. In Experiment 2, participants were required to listen holistically to the entire chord progression and to rate their preference for each chord progression. Results from preference ratings showed that all the participants, with or without musical training, were sensitive to manipulations of harmonic expectations. Experiments 3 and 4 showed that changing the speed of presentation of chord progressions did not affect the pattern of results. The four experiments together highlight the importance of attentional focus in musical training, especially as it relates to the processing of harmonic expectations.     

Does feigning amnesia impair subsequent recall?

Defendants who are accused of serious crimes sometimes feign amnesia to evade criminal responsibility. Previous research has suggested that feigning amnesia might impair subsequent recall. In two experiments, participants read and heard a story about a central character, described as “you,” who was responsible for the death of either a puppy (Experiment 1) or a friend (Experiment 2). On free and cued recall tests immediately after the story, participants who had feigned amnesia recalled less than did participants who had recalled accurately. One week later, when all participants recalled accurately, participants who had previously feigned amnesia still performed worse than did participants who had recalled accurately both times. However, the participants who had formerly feigned amnesia did not perform worse than did a control group who had received only the delayed recall tests. Our results suggest that a “feigned amnesia effect” may reflect nothing more than differential practice at recall. Feigning amnesia for a crime need not impair memory for that crime when a person later seeks to remember accurately.