Relaxing music counters heightened consolidation of emotional memory

Emotional events tend to be retained more strongly than other everyday occurrences, a phenomenon partially regulated by the neuromodulatory effects of arousal. Two experiments demonstrated the use of relaxing music as a means of reducing arousal levels, thereby challenging heightened long-term recall of an emotional story. In Experiment 1, participants (N=84) viewed a slideshow, during which they listened to either an emotional or neutral narration, and were exposed to relaxing or no music. Retention was tested 1 week later via a forced choice recognition test. Retention for both the emotional content (Phase 2 of the story) and material presented immediately after the emotional content (Phase 3) was enhanced, when compared with retention for the neutral story. Relaxing music prevented the enhancement for material presented after the emotional content (Phase 3). Experiment 2 (N=159) provided further support to the neuromodulatory effect of music by post-event presentation of both relaxing music and non-relaxing auditory stimuli (arousing music/background sound). Free recall of the story was assessed immediately afterwards and 1 week later. Relaxing music significantly reduced recall of the emotional story (Phase 2). The findings provide further insight into the capacity of relaxing music to attenuate the strength of emotional memory, offering support for the therapeutic use of music for such purposes.     

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.     

Disliked Music can be Better for Performance than Liked Music

Although liked music is known to improve performance through boosting one's mood and arousal, both liked music and disliked music impair serial recall performance. Given that the key acoustical feature of this impairment is the acoustical variation, it is possible that some music may contain less acoustical variation and so produce less impairment. In this situation, unliked, unfamiliar music could be better for performance than liked, familiar music. This study tested this by asking participants to serially recall eight‐item lists in either quiet, liked or disliked music conditions. Results showed that performance was significantly poorer in both music conditions compared with quiet. More importantly, performance in the liked music condition was significantly poorer than in the disliked music condition. These findings provide further illustration of the irrelevant sound effect and limitations of the impact of liked music on cognition. Copyright © 2012 John Wiley & Sons, Ltd.     

The influence of background music on learners with varying extraversion: Seductive detail or beneficial effect?

Seductive details in general affect learning and cognitive load negatively. However, especially background music as a seductive detail may also influence the learner's arousal, whose optimal level depends on the learner's extraversion. Therefore, the effects of extraversion and background music on learning outcomes, cognitive load, and arousal were investigated. We tested 167 high school students and found better transfer outcomes for the group with background music. They also reported higher germane load, but no impact of background music on extraneous cognitive load or arousal was found. In the group without background music, learners with higher extraversion reached better recall scores, which was not found in the group with background music. Results may cautiously be interpreted that there is a beneficial impact of background music that compensates for the disadvantages of low extraverted learners and which cannot be explained through arousal.     

Resilience facilitates positive emotionality and integration of negative memories in need satisfying memory networks: An experimental study

Resilience has been associated with the capacity to experience positive emotions in the midst of negative life events or following the recall of such events. Apparently, resilient people are able to self-generate those positive emotions because they tend to integrate and associate such past negative life events with other positive past events in memory networks. However, study designs on resilience have remained either cross-sectional or longitudinal. The causal effect of resilience on these outcomes remains to be shown as a third variable or unknown factor could be at play. In this study, we used a resilience intervention from a self-help clinical program to induce resilience and compared this condition against Jacobson type relaxation and neutral music background. Results showed that the resilience intervention increased positive emotionality following the recall of a negative self-defining memory and facilitated the integration of that memory within more positive and need satisfying memory networks.     

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.     

A shield against distraction

In this paper, we apply the basic idea of a trade-off between the level of concentration and distractibility to test whether a manipulation of task difficulty can shield against distraction. Participants read, either in quiet or with a speech noise background, texts that were displayed either in an easy-to-read or a hard-to-read font. Background speech impaired prose recall, but only when the text was displayed in the easy-to-read font. Most importantly, recall was better in the background speech condition for hard-to-read than for easy-to-read texts. Moreover, individual differences in working memory capacity were related to the magnitude of disruption, but only in the easy-to-read condition. Making a task more difficult can sometimes facilitate selective attention in noisy work environments by promoting focal-task engagement.     

Salient stimuli in advertising: the effect of contrast interval length and type on recall

Salient auditory stimuli (e.g., music or sound effects) are commonly used in advertising to elicit attention. However, issues related to the effectiveness of such stimuli are not well understood. This research examines the ability of a salient auditory stimulus, in the form of a contrast interval (CI), to enhance recall of message-related information. Researchers have argued that the effectiveness of the CI is a function of the temporal duration between the onset and offset of the change in the background stimulus and the nature of this stimulus. Three experiments investigate these propositions and indicate that recall is enhanced, providing the CI is 3 s or less. Information highlighted with silence is recalled better than information highlighted with music.     

Reexamination of mood-mediation hypothesis of background-music-dependent effects in free recall

The present study reexamined the mood-mediation hypothesis for explaining background-music-dependent effects in free recall. Experiments 1 and 2 respectively examined tempo- and tonality-dependent effects in free recall, which had been used as evidence for the mood-mediation hypothesis. In Experiments 1 and 2, undergraduates (n?=?75 per experiment) incidentally learned a list of 20 unrelated words presented one by one at a rate of 5 s per word and then received a 30-s delayed oral free-recall test. Throughout the study and test sessions, a piece of music was played. At the time of test, one third of the participants received the same piece of music with the same tempo or tonality as at study, one third heard a different piece with the same tempo or tonality, and one third heard a different piece with a different tempo or tonality. Note that the condition of the same piece with a different tempo or tonality was excluded. Furthermore, the number of sampled pieces of background music was increased compared with previous studies. The results showed neither tempo- nor tonality-dependent effects, but only a background-music-dependent effect. Experiment 3 (n?=?40) compared the effects of background music with a verbal association task and focal music (only listening to musical selections) on the participants’ moods. The results showed that both the music tempo and tonality influenced the corresponding mood dimensions (arousal and pleasantness). These results are taken as evidence against the mood-mediation hypothesis. Theoretical implications are discussed.     

Music while you work: the differential distraction of background music on the cognitive test performance of introverts and extraverts

The current study looked at the distracting effects of ‘pop music’ on introverts' and extraverts' performance on various cognitive tasks. It was predicted that there would be a main effect for music and an interaction effect with introverts performing less well in the presence of music than extraverts. Ten introverts and ten extraverts were given two tests (a memory test with immediate and delayed recall and a reading comprehension test), which were completed, either while being exposed to pop music, or in silence. The results showed that there was a detrimental effect on immediate recall on the memory test for both groups when music was played, and two of the three interactions were significant. After a 6-minute interval the introverts who had memorized the objects in the presence of the pop music had a significantly lower recall than the extraverts in the same condition and the introverts who had observed them in silence. The introverts who completed a reading comprehension task when music was being played also performed significantly less well than these two groups. These findings have implications for the study habits of introverts when needing to retain or process complex information. © 1997 John Wiley & Sons, Ltd.     

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.     

The cognitive processing of film and musical soundtracks

Previous research has demonstrated that musical soundtracks can influence the interpretation, emotional impact, and remembering of film information. The intent here was to examine how music is encoded into the cognitive system and subsequently represented relative to its accompanying visual action. In Experiment 1, participants viewed a set of music/film clips that were either congruent or incongruent in their emotional affects. Selective attending was also systematically manipulated by instructing viewers to attend to and remember the music, film, or both in tandem. The results from tune recognition, film recall, and paired discrimination tasks collectively revealed that mood-congruent pairs lead to a joint encoding of music/film information as well as an integrated memory code. Incongruent pairs, on the other hand, result in an independent encoding in which a given dimension, music or film, is only remembered well if it was selectively attended to at the time of encoding. Experiment 2 extended these findings by showing that tunes from mood-congruent pairs are better recognized when cued by their original scenes, while those from incongruent pairs are better remembered in the absence of scene information. These findings both support and extend the "Congruence Associationist Model" (A. J. Cohen, 2001), which addresses those cognitive mechanisms involved in the processing of music/film information.     

The effects of unvocalized music on short-term memory

The studies reported here investigated the role of background music in verbal processing. The experiment was a partial replication of Salame and Baddeley (1989), where the effect of music on the recall of digits, was examined, but included an additional key condition where participants heard instrumental music without the words usually associated with it. In this case we used nursery rhymes. In addition, articulatory suppression was manipulated as a tool to look at the role of working memory in the task. The relationship between long-term memory and working memory was further explored by using an implicit memory task to examine verbal memory effects for words associated with the music but not actually heard. The results indicated that background, instrumental music, long-associated with words, significantly impairs concurrent verbal processing. These long-term memory effects on working memory were, however, not associated with implicit memory effects, and no priming was observed.     

The effects of unvocalized music on short-term memory

The studies reported here investigated the role of background music in verbal processing. The experiment was a partial replication of Salame and Baddeley (1989), where the effect of music on the recall of digits, was examined, but included an additional key condition where participants heard instrumental music without the words usually associated with it. In this case we used nursery rhymes. In addition, articulatory suppression was manipulated as a tool to look at the role of working memory in the task. The relationship between long-term memory and working memory was further explored by using an implicit memory task to examine verbal memory effects for words associated with the music but not actually heard. The results indicated that background, instrumental music, long-associated with words, significantly impairs concurrent verbal processing. These long-term memory effects on working memory were, however, not associated with implicit memory effects, and no priming was observed.     

Memory for facial expression is influenced by the background music playing during study

The effect of the emotional quality of study-phase background music on subsequent recall for happy and sad facial expressions was investigated. Undergraduates (N = 48) viewed a series of line drawings depicting a happy or sad child in a variety of environments that were each accompanied by happy or sad music. Although memory for faces was very accurate, emotionally incongruent background music biased subsequent memory for facial expressions, increasing the likelihood that happy faces were recalled as sad when sad music was previously heard, and that sad faces were recalled as happy when happy music was previously heard. Overall, the results indicated that when recalling a scene, the emotional tone is set by an integration of stimulus features from several modalities.     

Presentation modality,rehearsal-prevention conditions,and auditory confusions in tests of short-term memory

Ss were presented four-letter sequences either auditorily or visually and asked for ordered recall after 0, 2.1, 4.2, 8.4, or 12.6 sec of digit categorization. Three different rehearsal-prevention conditions were required during presentation of the memory set: categorizing, suppressing (saying "dah"), or pronouncing each letter. Recall was worst after categorizing, best after pronouncing. Auditory presentation led to better recall after no delay but more rapid forgetting than visual presentation, regardless of the rehearsal-prevention condition. These results, and analyses of auditory confusions, are inconsistent with a view of memory which asserts that sensory information is encoded auditorily regardless of presentation modality or vocalization behavior during presentation.     

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.     

Categorical and schematic organization and the development of retrieval strategies

This study investigated the effects of schematic and categorical organization on young children's recall. Preschool and kindergarten children recalled either a taxonomic list or a story in one of two presentation conditions: an alternate condition, in which the material was presented, children recalled it and the procedure was repeated, or a successive condition in which the material was presented twice and children recalled it twice. Although preschool children's story recall was well organized, their list recall was poorly organized, and organization did not increase over recall trials in either presentation condition. In contrast, kindergarten children's recall of both the story and the list was well organized, and their recall was better organized on the second recall trial than on the first in both presentation conditions. These results are discussed in terms of the development of retrieval strategies during the preschool years/     

Beat It! Music Overloads Novice Dancers

Together with melody, harmony, and timbre, rhythm and beat provide temporal structure for movement timing. Such musical features may act as cues to the phrasing and dynamics of a dance choreographed to the music. Novice dancers (N = 54) learned to criterion a novel 32‐s dance‐pop routine, either to full music or to the rhythm of that music. At test, participants recalled the dance to the same music, rhythm, new music, and in silence. If musical features aid memory, then full music during learning and test should result in superior dance recall, whereas if rhythm alone aids memory, then rhythm during learning and test should result in superior recall. The presence of a rhythm accompaniment during learning provided a significantly greater memory advantage for the recall of dance‐pop steps than full music. After learning to full music, silence at test enhanced recall. Findings are discussed in terms of entrainment and cognitive load. Copyright © 2014 John Wiley & Sons, Ltd.     

Learning lyrics: To sing or not to sing?

According to common practice and oral tradition, learning verbal materials through song should facilitate word recall. In the present study, we provide evidence against this belief. In Experiment 1, 36 university students, half of them musicians, learned an unfamiliar song in three conditions. In the sung-sung condition, the song to be learned was sung, and the response was sung too. In the sung-spoken condition, the response was spoken. In the divided-spoken condition, the presented lyrics (accompanied by music) and the response were both spoken. Superior word recall in the sung-sung condition was predicted. However, fewer words were recalled when singing than when speaking. Furthermore, the mode of presentation, whether sung or spoken, had no influence on lyric recall, in either short- or long-term recall. In Experiment 2, singing was assessed with and without words. Altogether, the results indicate that the text and the melody of a song have separate representations in memory, making singing a dual task to perform, at least in the first steps of learning. Interestingly, musical training had little impact on performance, suggesting that vocal learning is a basic and widespread skill.