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.     

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.     

Play it again: did this melody occur more frequently or was it heard more recently? The role of stimulus familiarity in episodic recognition of music

Episodic recognition of novel and familiar melodies was examined by asking participants to make judgments about the recency and frequency of presentation of melodies over the course of two days of testing. For novel melodies, recency judgments were poor and participants often confused the number of presentations of a melody with its day of presentation; melodies heard frequently were judged as have been heard more recently than they actually were. For familiar melodies, recency judgments were much more accurate and the number of presentations of a melody helped rather than hindered performance. Frequency judgments were generally more accurate than recency judgments and did not demonstrate the same interaction with musical familiarity. Overall, these findings suggest that (1) episodic recognition of novel melodies is based more on a generalized "feeling of familiarity" than on a specific episodic memory, (2) frequency information contributes more strongly to this generalized memory than recency information, and (3) the formation of an episodic memory for a melody depends either on the overall familiarity of the stimulus or the availability of a verbal label.     

The perception of interleaved melodies

If the notes of two melodies whose pitch ranges do not overlap are interleaved in time so that successive tones come from the different melodies, the resulting sequence of tones is perceptually divided into groups that correspond to the two melodies. Such “melodic fission” demonstrates perceptual grouping based on pitch alone, and has been used extensively in music.Experiment I showed that the identification of interleaved pairs of familiar melodies is possible if their pitch ranges do not overlap, but difficult otherwise. A short-term recognition-memory paradigm (Expt II) showed that interleaving a “background” melody with an unfamiliar melody interferes with same-different judgments regardless of the separation of their pitch ranges, but that range separation attenuates the interference effect. When pitch ranges overlap, listeners can overcome the interference effect and recognize a familiar target melody if the target is prespecified, thereby permitting them to search actively for it (Expt III). But familiarity or prespecification of the interleaved background melody appears not to reduce its interfering effects on same-different judgments concerning unfamiliar target melodies (Expt IV).     

Personality predicts words in favorite songs

Psychologists have long theorized that people actively create, select, or modify experiences and situations to fulfill their individual psychological needs. However, little is known about how people may use forms of art and entertainment such as music to enhance their experiences and shape their environments for need satisfaction. In this research, we measured participants’ personality and the linguistic styles of their favorite songs, and observed significant associations between personality traits and linguistic cues in lyrics. These associations were stronger for participants who generally liked a song because of its lyrics rather than melody. Our study is the first to show how one’s personality is related to linguistic cues in someone else’s writings. It points to the possibility that people may like certain songs because the linguistic cues in the lyrics are congruent with their personality and hence can satisfy personal needs. This expands research on person-situation interaction and literature on personality and language use, and has important practical implications.     

Similarity-based restoration of metrical information: different listening experiences result in different perceptual inferences

How do perceivers apply knowledge to instances they have never experienced before? On one hand, listeners might use idealized representations that do not contain specific details. On the other, they might recognize and process information based on more detailed memory representations. The current study examined the latter possibility with respect to musical meter perception, previously thought to be computed based on highly-idealized (isochronous) internal representations. In six experiments, listeners heard sets of metrically-ambiguous melodies. Each melody was played in a simultaneous musical context with unambiguous metrical cues (3/4 or 6/8). Cross-melody similarity was manipulated by pairing certain cues-timbre (musical instrument) and motif content (2-6-note patterns)-with each meter, or distributing cues across meters. After multiple exposures, listeners heard each melody without context, and judged metrical continuations (all Experiments) or familiarity (Experiments 5-6). Responses were assessed for "metrical restoration"-the tendency to make metrical judgments that fit the melody's previously-heard metrical context. Cross-melody similarity affected the presence and degree of metrical restoration, and timbre affected familiarity. Results suggest that metrical processing may be calculated based on fairly detailed representations rather than idealized isochronous pulses, and is dissociated somewhat from familiarity judgments. Implications for theories of meter perception are discussed.     

Repetition of previously novel melodies sometimes increases both remember and know responses in recognition memory

Recognition memory for previously novel melodies was tested in three experiments in which subjects usedremember andknow responses to report experiences of recollection, or of familiarity in the absence of recollection, for each melody they recognized. Some of the melodies were taken from Polish folk songs and presented vocally, but without the words. Others were taken from obscure pieces of classical music, presented as single-line melodies. Prior to the test, the melodies were repeated for varying numbers of study trials. Repetition of the Polish melodies increased both remember and know responses, while repetition of classical melodies increased remember but not know responses. When subjects were instructed to report guesses, guess responses were inversely related to remember and know responses and there were more guesses to lures than to targets. These findings establish that remembering and knowing are fully independent functionally and, by the same token, they provide further evidence against the idea that response exclusivity causes increases in remembering to force decreases in knowing. The findings also suggest that simultaneous increases in remembering and knowing occurred because the Polish melodies came from a genre for which the subjects had relatively little previous experience.     

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.     

Dynamic melody recognition: Distinctiveness and the role of musical expertise

The hypothesis that melodies are recognized at moments when they exhibit a distinctive musical pattern was tested. In a melody recognition experiment, point-of-recognition (POR) data were gathered from 32 listeners (16 musicians and 16 nonmusicians) judging 120 melodies. A series of models of melody recognition were developed, resulting from a stepwise multiple regression of two classes of information relating to melodic familiarity and melodic distinctiveness. Melodic distinctiveness measures were assembled through statistical analyses of over 15,000 Western themes and melodies. A significant model, explaining 85% of the variance, entered measures primarily of timing distinctiveness and pitch distinctiveness, but excluding familiarity, as predictors of POR. Differences between nonmusician and musician models suggest a processing shift from momentary to accumulated information with increased exposure to music. Supplemental materials for this article may be downloaded from http://mc.psychonomic-journals.org/content/supplemental.     

Episodic feeling-of-knowing relies on noncriterial recollection and familiarity: Evidence using an online remember-know procedure

We examined the hypothesis that feeling-of-knowing judgments rely on recollection as well as on familiarity prompted by the cue presentation. A remember-know-no memory procedure was combined with the episodic FOK procedure employing a cue–target pair memory task. The magnitude of FOK judgments and FOK accuracy were examined as a function of recollection, familiarity, or the “no memory” option. Results showed that the proportion of R and K responses was similar. FOK accuracy and magnitude of FOK judgments were higher for R and K responses than for N responses. FOK accuracy related to R and K responses were above chance level, but FOK was not accurate in the “no memory” condition. Finally, both FOK magnitude and FOK accuracy were related more to recollection than to familiarity. These results support the hypothesis that both recollection and familiarity are determinants of the FOK process, although they suggest that recollection has a stronger influence.     

Time course of melody recognition: a gating paradigm study

Recognizing a well-known melody (e.g., one's national anthem) is not an all-or-none process. Instead, recognition develops progressively while the melody unfolds over time. To examine which factors govern the time course of this recognition process, the gating paradigm, initially designed to study auditory word recognition, was adapted to music. Musicians and nonmusicians were presented with segments of increasing duration of familiar and unfamiliar melodies (i.e., the first note, then the first two notes, then the first three notes, and so forth). Recognition was assessed after each segment either by requiring participants to provide a familiarity judgment (Experiment 1) or by asking them to sing the melody that they thought had been presented (Experiment 2). In general, the more familiar the melody, the fewer the notes required for recognition. Musicians judged music's familiarity within fewer notes than did nonmusicians, whereas the reverse situation (i.e., musicians were slower than nonmusicians) occurred when a sung response was requested. However, both musicians and nonmusicians appeared to segment melodies into the same perceptual units (i.e., motives) in order to access the correct representation in memory. These results are interpreted in light of the cohort model (Marslen-Wilson, 1987), as applied to the music domain.     

Music perception and octave generalization in rhesus monkeys

Two rhesus monkeys were tested for octave generalization in 8 experiments by transposing 6- and 7-note musical passages by an octave and requiring same or different judgments. The monkeys showed no octave generalization to random-synthetic melodies, atonal melodies, or individual notes. They did show complete octave generalization to childhood songs (e.g., "Happy Birthday") and tonal melodies (from a tonality algorithm). Octave generalization was equally strong for 2-octave transpositions but not for 0.5- or 1.5-octave transpositions of childhood songs. These results combine to show that tonal melodies form musical gestalts for monkeys, as they do for humans, and retain their identity when transposed with whole octaves so that chroma (key) is preserved. This conclusion implicates similar transduction, storage, processing, and relational memory of musical passages in monkeys and humans and has implications for nature-nurture origins of music perception.     

Music, emotion, and autobiographical memory: They’re playing your song

Very long-term memory for popular music was investigated. Older and younger adults listened to 20-sec excerpts of popular songs drawn from across the 20th century. The subjects gave emotionality and preference ratings and tried to name the title, artist, and year of popularity for each excerpt. They also performed a cued memory test for the lyrics. The older adults' emotionality ratings were highest for songs from their youth; they remembered more about these songs, as well. However, the stimuli failed to cue many autobiographical memories of specific events. Further analyses revealed that the older adults were less likely than the younger adults to retrieve multiple attributes of a song together (i.e., title and artist) and that there was a significant positive correlation between emotion and memory, especially for the older adults. These results have implications for research on long-term memory, as well as on the relationship between emotion and memory.     

The combined contributions of the cue-familiarity and accessibility heuristics to feelings of knowing

A model for the basis of feeling of knowing (FOK) is proposed, which combines 2 apparently competing accounts, cue familiarity (L. M. Reder, 1987), and accessibility (A. Koriat, 1993). Both cue familiarity and accessibility are assumed to contribute asynchronously to FOK, but whereas the effects of familiarity occur early, those of accessibility occur later and only when cue familiarity is sufficiently high to drive the interrogation of memory for potential answers. General information questions were used to orthogonally manipulate cue familiarity and accessibility. As expected, both familiarity and accessibility enhanced FOK judgments, but the effects of accessibility were found mostly when familiarity was high. This interactive pattern was replicated when FOK judgments were delayed but not when they were immediate. The results support the proposed cascaded model of FOK but also imply a differentiation between 2 variants of the accessibility heuristic.     

Age differences in feeling-of-knowing and confidence judgements as a function of knowledge domain

For two semantic knowledge domains, general and computer-related, feeling-of-knowing (FOK) and confidence level (CL) ratings and their relative accuracy were assessed in young, middle-aged, and older adults, after test difficulty was equated across age groups. Global memory self-efficacy beliefs were also assessed for each domain. As expected, greater age was associated with poorer memory self-efficacy beliefs only in the computer domain. The oldest two groups were found to be more underconfident than young adults when rating their FOK but not their CL, for computer items but not for general items. Statistical control of age differences in memory self-efficacy beliefs in the relevant domain greatly reduced this age effect on computer-related FOK ratings. This finding suggests that absolute FOK judgments are more closely related to memory self-efficacy beliefs than are CL judgments. Gamma correlations between judgments and recognition performance revealed that all age groups were equally accurate in FOK and in CL judgments, in both domains.     

Exposure effects on music preference and recognition

In three experiments, the effects of exposure to melodies on their subsequent liking and recognition were explored. In each experiment, the subjects first listened to a set of familiar and unfamiliar melodies in a study phase. In the subsequent test phase, the melodies were repeated, along with a set of distractors matched in familiarity. Half the subjects were required to rate their liking of each melody, and half had to identify the melodies they had heard earlier in the study phase. Repetition of the studied melodies was found to increase liking of the unfamiliar melodies in the affect task and to be best for detection of familiar melodies in the recognition task (Experiments 1, 2, and 3). These memory effects were found to fade at different time delays between study and test in the affect and recognition tasks, with the latter leading to the most persistent effects (Experiment 2). Both study-to-test changes in melody timbre and manipulation of study tasks had a marked impact on recognition and little influence on liking judgments (Experiment 3). Thus, all manipulated variables were found to dissociate the memory effects in the two tasks. The results are consistent with the view that memory effects in the affect and recognition tasks pertain to the implicit and explicit forms of memory, respectively. Part of the results are, however, at variance with the literature on implicit and explicit memory in the auditory domain. Attribution of these differences to the use of musical material is discussed.     

Variability and recognition memory: Are there analogous indexical effects in music and speech?

Indexical effects refer to the influence of surface variability of the to-be-remembered items, such as different voices speaking the same words or different timbres (musical instruments) playing the same melodies, on recognition memory performance. The nature of timbre effects in melody recognition was investigated in two experiments. Experiment 1 showed that melodies that remained in the same timbre from study to test were discriminated better than melodies presented in a previously studied but different, or unstudied timbre at test. Timbre effects are attributed solely to instance-specific matching, rather than timbre-specific familiarity. In Experiment 2, when a previously unstudied timbre was similar to the original timbre and it played the melodies at test, performance was comparable to the condition when the exact same timbre was repeated at test. The use of a similar timbre at test enabled the listener to discriminate old from new melodies reliably. Overall, our data suggest that timbre-specific information is encoded and stored in long-term memory. Analogous indexical effects arising from timbre (nonmusical) and voice (nonlexical) attributes in music and speech processing respectively are implied and discussed.     

The role of melodic and temporal cues in perceiving musical meter

A number of different cues allow listeners to perceive musical meter. Three experiments examined effects of melodic and temporal accents on perceived meter in excerpts from folk songs scored in 6/8 or 3/4 meter. Participants matched excerpts with 1 of 2 metrical drum accompaniments. Melodic accents included contour change, melodic leaps, registral extreme, melodic repetition, and harmonic rhythm. Two experiments with isochronous melodies showed that contour change and melodic repetition predicted judgments. For longer melodies in the 2nd experiment, variables predicted judgments best at the beginning of excerpts. The final experiment, with rhythmically varied melodies, showed that temporal accents, tempo, and contour change were the strongest predictors of meter. The authors' findings suggest that listeners combine multiple melodic and temporal features to perceive musical meter.     

FOK产生机制的再验证

通过用有意义联系和无意义联系的两种中文词对作为识记材料,在以前实验研究基础上,进一步验证关于FOK(Feelingof Knowing)产生机制的两种理论假说,即靶项日记忆强度假说(或靶项目提取可能性假说)与线索熟悉性假说。实验结果表明,靶项目记忆强度和线索熟悉性程度都能决定FOK判断等级的高低,说明两种假说并非绝对对立,非此既彼。但此二因素都需达到一定程度,才能显著影响FOK判断等级的高低。     

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.