Distortions in immediate memory

A series of five pairs of abstract geometrical figures were presented to each subject. Unknown to the subjects, the members of each pair were identical. The second member was presented 10 seconds after the first member and the subject then judged whether a specified feature of the figure had changed in one of two possible directions. One group of 32 subjects were not told which feature of the figure would be critical until presentation of the second member: a further group of 32 subjects were given this information before presentation of the first member. Subjects in both groups were significantly consistent with one another in some of their judgements, thus indicating that distortions in remembering had occurred. It is argued that memory distortions of this type (for which previous evidence has been unsatisfactory) are of particular interest since, unlike other memory changes, they are difficult to ascribe to the constructive or inferential character of recognition and recall.     

Distortions in location memory

Memory for the location of a briefly presented target is often distorted in systematic ways. When people remember dot locations within a circular space, they typically show memory biases that appear to reflect a categorical strategy. However, memory for a target location can also be biased toward visible markers or landmarks. In the present study, we investigated the interaction of categorical and landmark effects by providing sectioning lines in a circular space. In the absence of lines, response biases showed categorical effects, whereas in the presence of lines, response biases suggested that participants used a landmark-based scheme. Possible relations between the strategies are discussed.     

Distortions in memory for maps

Evidence is presented for systematic errors in memory for real and artificial maps, local environments, and visual forms. These errors are attributed to two heuristics that are derived from principles of perceptual organization. Maps of countries or localities are conceived of as figures in backgrounds. Remembering the absolute location of figures is difficult, and is facilitated by remembering locations relative to other figures and/or relative to the natural directions of the figure. In alignment, figures are lined up relative to one another, a phenomenon related to perceptual grouping by proximity. In rotation, the natural axes induced by a figure converge with frame axes (north-south, east-west, or horizontal, vertical), a phenomenon related to perceptual organization by common fate. Heuristic-induced errors occur in a variety of tasks, and even when subjects are explicitly forewarned. These heuristics may be invoked in forming representations as well as in inference, and function analogously to syntax in locating smaller elements in larger units.     

Distortions and fluctuations in topographic memory

Two experiments dealing with, the learning of a space by map or by navigation approached the questions of equivalency of the cognitive processes involved in spatial information and of response fluctuation. In the first experiment, 11 subjects were asked to situate, six times, 18 lo-cations on a blank map. In the second experiment, the subjects were first given 3 min to learn a map with 12 locations marked, and then asked to reproduce it. The task was repeated six times, using three different maps. This gave us several trials per subject, so that distortion could be distinguished from response fluctuation. In Experiment 1, the range of values was the same for response inaccuracy and response, fluctuation; in Experiment 2, the range was greater for response inaccuracy than for response fluctuation. The results showed that space learning by navigation and space learning by map involve different cognitive processes.     

Disinhibition in pitch memory

Recognition of the pitch of a tone is disrupted by the interpolation of other tones during the retention interval. The disruptive effect of an interpolated tone varies systematically as a function of its pitch relationship to the tone to be remembered, and is maximal at a 2/3-tone separation. When such a tone is interpolated, the interpolation in addition of a further tone that is 2/3 tone removed from this disruptive tone (and 4/3 tone removed from the tone to be remembered) causes recognition of the first tone substantially to return. When recognition performance is plotted as a function of the pitch relationship between these two interpolated tones, the results accord well with a model assuming mutual inhibitory interactions between pitch memory elements.     

Representational momentum in memory for pitch

When a visual pattern is displayed at successively different orientations such that a rotation or translation is implied, an observer's memory for the final position is displaced forward. This phenomenon of representational momentum shares some similarities with physical momentum. For instance, the amount of memory shift is proportional to the implied velocity of the inducing display; representational momentum is specifically proportional to the final, not the average, velocity; representational momentum follows a continuous stopping function for the first 250 ms or so of the retention interval. In a previous paper (Kelly & Freyd, 1987) we demonstrated a forward memory asymmetry using implied changes in pitch, for subjects without formal musical training. In the current paper we replicate our earlier finding and show that the forward memory asymmetry occurs for subjects with formal musical training as well (Experiment 1). We then show the structural similarity between representational momentum in memory for pitch with previous reports of parametric effects using visual stimuli. We report a velocity effect for auditory momentum (Experiment 2), we demonstrate specifically that the velocity effect depends on the implied acceleration (Experiment 3), and we show that the stopping function for auditory momentum is qualitatively the same as that for visual momentum (Experiment 4). We consider the implications of these results for theories of mental representation.     

Short-lived auditory memory for pitch

The effect of a stimulus suffix on immediate serial recall of lists of tones was assessed with 50- and 350-msec complex tones. Although recency effects were not found under the control conditions, the addition of a stimulus suffix significantly degraded recall at the final serial position for both stimulus durations. The implications of these results for models of auditory memory and speech perception are discussed.     

Cross-cultural perspectives on pitch memory

We examined effects of age and culture on children's memory for the pitch level of familiar music. Canadian 9- and 10-year-olds distinguished the original pitch level of familiar television theme songs from foils that were pitch-shifted by one semitone, whereas 5- to 8-year-olds failed to do so (Experiment 1). In contrast, Japanese 5- and 6-year-olds distinguished the pitch-shifted foils from the originals, performing significantly better than same-age Canadian children (Experiment 2). Moreover, Japanese 6-year-olds were more accurate than their 5-year-old counterparts. These findings challenge the prevailing view of enhanced pitch memory during early life. We consider factors that may account for Japanese children's superior performance such as their use of a pitch accent language (Japanese) rather than a stress accent language (English) and their experience with musical pitch labels.     

Good pitch memory is widespread

Abstract - Here we show that good pitch memory is widespread among adults with no musical training. We tested unselected college students on their memory for the pitch level of instrumental soundtracks from familiar television programs. Participants heard 5-s excerpts either at the original pitch level or shifted upward or downward by 1 or 2 semitones. They successfully identified the original pitch levels. Other participants who heard comparable excerpts from unfamiliar recordings could not do so. These findings reveal that ordinary listeners retain fine-grained information about pitch level over extended periods. Adults' reportedly poor memory for pitch is likely to be a by-product of their inability to name isolated pitches.     

High voice pitch mitigates the aversiveness of antisocial cues in men's speech

Speech contains both explicit social information in semantic content and implicit cues to social behaviour and mate quality in voice pitch. Voice pitch has been demonstrated to have pervasive effects on social perceptions, but few studies have examined these perceptions in the context of meaningful speech. Here, we examined whether male voice pitch interacted with socially relevant cues in speech to influence listeners’ perceptions of trustworthiness and attractiveness. We artificially manipulated men's voices to be higher and lower in pitch when speaking words that were either prosocial or antisocial in nature. In Study 1 , we found that listeners perceived lower-pitched voices as more trustworthy and attractive in the context of prosocial words than in the context of antisocial words. In Study 2 , we found evidence that suggests this effect was driven by stronger preferences for higher-pitched voices in the context of antisocial cues, as voice pitch preferences were not significantly different in the context of prosocial cues. These findings suggest that higher male voice pitch may ameliorate the negative effects of antisocial speech content and that listeners may be particularly avoidant of those who express multiple cues to antisociality across modalities.     

Acoustic memory and the perception of speech

The nature of acoustic memory and its relationship to the categorizing process in speech perception is investigated in three experiments on the serial recall of lists of syllables. The first study confirms previous reports that sequences comprising the syllables, bah, dah, and gah show neither enhanced retention when presented auditorily rather than visually, nor a recency effect—both occurred with sequences in which vowel sounds differed (bee, bih, boo). This was found not to be a simple vowel-consonant difference since acoustic memory effects did occur with consonant sequences that were acoustically more discriminable (sha, ma, ga and ash, am, ag). Further experiments used the stimulus suffix effect to provide evidence of acoustic memory, and showed (1), increasing the acoustic similarity of the set grossly impairs acoustic memory effects for vowels as well as consonants, and (2) such memory effects are no greater for steady-state vowels than for continuously changing diphthongs. It is concluded that the usefulness of the information that can be retrieved from acoustic memory depends on the acoustic similarity of the items in the list rather than on their phonetic class or whether or not they have “encoded” acoustic cues. These results question whether there is any psychological evidence for “encoded” speech sounds being categorized in ways different from other speech sounds.     

A developmental study of latent absolute pitch memory

The ability to recall the absolute pitch level of familiar music (latent absolute pitch memory) is widespread in adults, in contrast to the rare ability to label single pitches without a reference tone (overt absolute pitch memory). The present research investigated the developmental profile of latent absolute pitch (AP) memory and explored individual differences related to this ability. In two experiments, 288 children from 4 to12 years of age performed significantly above chance at recognizing the absolute pitch level of familiar melodies. No age-related improvement or decline, nor effects of musical training, gender, or familiarity with the stimuli were found in regard to latent AP task performance. These findings suggest that latent AP memory is a stable ability that is developed from as early as age 4 and persists into adulthood.     

Facilitation by repetition in recognition memory for tonal pitch

Subjects made delayed pitch comparisons when the standard and comparison tones were separated by a sequence of interpolated tones. In some conditions, a tone of the same pitch as the standard tone was included among the interpolated tones. Recognition performance was superior for sequences where the standard tone pitch was repeated, even compared with control sequences of reduced size. The improvement in performance produced by the repeated tone depended on its position in the intervening sequence. Improvement was substantial and highly significant when the standard tone pitch was repeated in the second serial position of a sequence of six interpolated tones, but small and insignificant when it was repeated in the fifth serial position.     

Modeling the effects of irrelevant speech on memory

The feature model (Nairne, 1990) is extended to account for the effects of irrelevant speech and concomitant interactions in immediate serial recall. In the feature model, both articulatory suppression and irrelevant speech are seen as adding noise to the memory representation, the difference being that articulatory suppression diverts more resources than does irrelevant speech. The addition of noise impairs recall because it reduces the probability of successful redintegration. When a competitor is incorrectly recalled, rather than the correct item, this competitor is recalled out of order, producing an increase in order errors. Six simulations are reported that show that the model accounts for (1) the impairment by both irrelevant speech and articulatory suppression, (2) the irrelevance of the phonological and semantic composition of the irrelevant speech, (3) greater disruption when the irrelevant speech tokens vary, (4) the abolition of the phonological similarity effect for visual, but not for auditory, items, (5) the abolition of the word length effect for both visual and auditory items, and (6) the abolition of the irrelevant speech effect under articulatory suppression for both visual and auditory items. The feature model is compared with the two other major views of irrelevant speech, the phonological store hypothesis and the changing state hypothesis.     

The influence of music-elicited emotions and relative pitch on absolute pitch memory for familiar melodies

Levitin's findings that nonmusicians could produce from memory the absolute pitches of self-selected pop songs have been widely cited in the music psychology literature. These findings suggest that latent absolute pitch (AP) memory may be a more widespread trait within the population than traditional AP labelling ability. However, it has been left unclear what factors may facilitate absolute pitch retention for familiar pieces of music. The aim of the present paper was to investigate factors that may contribute to latent AP memory using Levitin's sung production paradigm for AP memory and comparing results to the outcomes of a pitch labelling task, a relative pitch memory test, measures of music-induced emotions, and various measures of participants' musical backgrounds. Our results suggest that relative pitch memory and the quality and degree of music-elicited emotions impact on latent AP memory.