About the unidirectionality of interference: Insight from the musical Stroop effect

The asymmetry of interference in a Stroop task usually refers to the well-documented result that incongruent colour words slow colour naming (Stroop effect) but incongruent colours do not slow colour word reading (no reverse Stroop effect). A few other studies have suggested that, more generally, a reverse Stroop effect can be occasionally observed but at the expense of the Stroop effect itself, as if interference was inherently unidirectional, from the stronger to the weaker of the two competing processes. We describe here a situation conducive to a pervasive mutual interference effect. Musicians were exposed to congruent and incongruent note name/note position patterns, and they were asked either to read the word while ignoring the location of the note within the staff, or to name the note while ignoring the note name written inside the note picture. Most of the participants exhibited interference in the two tasks. Overall, this result pattern runs against the still prevalent model of the Stroop phenomenon [Cohen, J. D., Dunbar, K., & McClelland, J. L. (1990). On the control of automatic processes: A parallel distributed processing account of the Stroop effect. Psychological Review, 97(3), 332–361]. However, further analyses lend support to one of the key tenets of the model, namely that the pattern of interference depends on the relative strength of the two competing pathways. The reasons for the impressive differences between the results collected in the present study and in the standard colour–word (or picture–word) paradigms are also examined. We suggest that these differences reveal the importance of stimulus–response contingency in the formation of automatisms.     

Task choice and semantic interference in picture naming

Evidence from dual-task performance indicates that speakers prefer not to select simultaneous responses in picture naming and another unrelated task, suggesting a response selection bottleneck in naming. In particular, when participants respond to tones with a manual response and name pictures with superimposed semantically related or unrelated distractor words, semantic interference in naming tends to be constant across stimulus onset asynchronies (SOAs) between the tone stimulus and the picture–word stimulus. In the present study, we examine whether semantic interference in picture naming depends on SOA in case of a task choice (naming the picture vs reading the word of a picture–word stimulus) based on tones. This situation requires concurrent processing of the tone stimulus and the picture–word stimulus, but not a manual response to the tones. On each trial, participants either named a picture or read aloud a word depending on the pitch of a tone, which was presented simultaneously with picture–word onset or 350 ms or 1000 ms before picture–word onset. Semantic interference was present with tone pre-exposure, but absent when tone and picture-word stimulus were presented simultaneously. Against the background of the available studies, these results support an account according to which speakers tend to avoid concurrent response selection, but can engage in other types of concurrent processing, such as task choices.     

Multiple coding strategies in the retention of musical tones by possessors of absolute pitch

Eighteen musicians with absolute pitch (AP) confirmed by screening tests participated in tonal and verbal short-term-retention tasks. In the tonal task, subjects identified three successive piano tones by their letter names. Recall of these note names after 18 sec of counting backwards was near perfect. Recall after an 18-sec delay filled with random piano tones was also near perfect. In contrast, the same subjects demonstrated significant forgetting when required to retain letter trigrams while counting backwards for 18 sec. These results were essentially replicated in a second experiment using longer (27 sec) retention intervals, a more demanding verbal interference task, and an active musical interference task (singing a descending scale). We interpret these results as indicating that retention of note names by possessors of AP is not limited to verbal encoding; rather, multiple codes (e.g., auditory, kinesthetic, and visual imagery) are probably used.     

绝对音高者对音乐的加工及其神经机制

绝对音高感是一种特殊的音高命名能力。通过论述绝对音高能力与音乐加工的关系,发现绝对音高者具有对音高、音程和旋律的加工优势,但他们对相对音高的加工存在劣势。同时,与非绝对音高者相比,绝对音高者大脑结构和功能都表现出特殊性。未来研究应进一步厘清音乐训练对绝对音高者音乐加工的影响。     

Absolute and relative pitch: Global versus local processing of chords

Absolute pitch (AP) is the ability to identify or produce notes without any reference note. An ongoing debate exists regarding the benefits or disadvantages of AP in processing music. One of the main issues in this context is whether the categorical perception of pitch in AP possessors may interfere in processing tasks requiring relative pitch (RP). Previous studies, focusing mainly on melodic and interval perception, have obtained inconsistent results. The aim of the present study was to examine the effect of AP and RP separately, using isolated chords. Seventy-three musicians were categorized into four groups of high and low AP and RP, and were tested on two tasks: identifying chord types (Task 1), and identifying a single note within a chord (Task 2). A main effect of RP on Task 1 and an interaction between AP and RP in reaction times were found. On Task 2 main effects of AP and RP, and an interaction were found, with highest performance in participants with both high AP and RP. Results suggest that AP and RP should be regarded as two different abilities, and that AP may slow down reaction times for tasks requiring global processing.     

Telling in-tune from out-of-tune: widespread evidence for implicit absolute intonation

Absolute pitch (AP) is the rare ability to name or produce an isolated musical note without the aid of a reference note. One skill thought to be unique to AP possessors is the ability to provide absolute intonation judgments (e.g., classifying an isolated note as “in-tune” or “out-of-tune”). Recent work has suggested that absolute intonation perception among AP possessors is not crystallized in a critical period of development, but is dynamically maintained by the listening environment, in which the vast majority of Western music is tuned to a specific cultural standard. Given that all listeners of Western music are constantly exposed to this specific cultural tuning standard, our experiments address whether absolute intonation perception extends beyond AP possessors. We demonstrate that non-AP listeners are able to accurately judge the intonation of completely isolated notes. Both musicians and nonmusicians showed evidence for absolute intonation recognition when listening to familiar timbres (piano and violin). When testing unfamiliar timbres (triangle and inverted sine waves), only musicians showed weak evidence of absolute intonation recognition (Experiment 2). Overall, these results highlight a previously unknown similarity between AP and non-AP possessors’ long-term musical note representations, including evidence of sensitivity to frequency.     

Effects of visual attentional load on low-level auditory scene analysis

The sharing of processing resources between the senses was investigated by examining the effects of visual task load on auditory event-related brain potentials (ERPs). In Experiment 1, participants completed both a zero-back and a one-back visual task while a tone pattern or a harmonic series was presented. N1 and P2 waves were modulated by visual task difficulty, but neither mismatch negativity (MMN) elicited by deviant stimuli from the tone pattern nor object-related negativity (ORN) elicited by mistuning from the harmonic series was affected. In Experiment 2, participants responded to identity (what) or location (where) in vision, while ignoring sounds alternating in either pitch (what) or location (where). Auditory ERP modulations were consistent with task difficulty, rather than with task specificity. In Experiment 3, we investigated auditory ERP generation under conditions of no visual task. The results are discussed with respect to a distinction between process-general (N1 and P2) and processspecific (MMN and ORN) auditory ERPs.     

An investigation of cross-modality effects in implicit and explicit memory

Three experiments are reported which investigate the effects of study/test compatibility on implicit and explicit memory performance. In the first experiment subjects either named each visually presented target item, or generated each item from a close semantic associate. They were then given either a free recall test or a visual word-stem completion task. A generation effect was evident in the free recall data (generated items were better recalled than named items) and this pattern was reversed for word-stem completion. In the second experiment subjects again named or generated items and were then given an auditory word-stem completion task. Under these conditions, cross-modal priming was found both for named and for generated items, but the reverse generation effect, which was evident in Experiment 1 with word-stem completion, was eliminated. In the final experiment, subjects were asked to name the targets, read them silently, or read them under conditions of articulatory suppression, and were then given an auditory stem completion task. Significant cross-modal priming was observed under all three conditions. The strongest priming was found in the naming condition and the weakest in the suppression condition. The results are interpreted within the transfer appropriate processing framework.     

绝对音高感对音乐句法加工能力的影响

绝对音高感是一种敏锐的音高知觉能力。拥有这种能力的人可以在没有标准音(A4)参照下, 对所听到的音高进行命名。本文通过对比绝对音高感被试与不具有绝对音高感被试对音乐句法基本规则的知觉以及对音乐句法结构划分能力的差异, 探讨绝对音高感与音乐句法加工能力之间的关系。结果表明, 绝对音高感被试对音乐句法基本规则的知觉水平高于控制组; 同时, 这种知觉上的优势也延伸到他们对音乐句法结构的划分。这一结果说明, 绝对音高感被试不仅可以对音高进行孤立命名, 而且表现出对调性音乐音高关系加工的优势。     

Absolute pitch in boreal chickadees and humans: Exceptions that test a phylogenetic rule

This research examined generality of the phylogenetic rule that birds discriminate frequency ranges more accurately than mammals. Human absolute pitch chroma possessors accurately tracked transitions between frequency ranges. Independent tests showed that they used note naming (pitch chroma) to remap the tones into ranges; neither possessors nor nonpossessors were accurate at octave (pitch height) naming. Boreal chickadees discriminated frequency ranges less accurately than other birds; they tracked reward across several lower frequency ranges but failed at frequencies over 4000 Hz. The results revealed the error of describing species differences solely in terms of their discrimination of frequency ranges. Exceptions to the rule disappear when the rule is restated in terms of underlying mechanism: birds are superior to mammals in the ability to use absolute pitch height perception to discriminate pitches and ranges of pitches.     

The selection of grammatical features in word production: the case of plural nouns in German

Two experiments investigate the effect of number congruency using picture-word interference. Native German participants were required to name pictures of single objects (Nase 'nose') or two instances of the same object (Nasen 'noses') while ignoring simultaneously presented distractor words. Distractor words either had the same number or were different in number. In addition, the type of plural formation (same or different inflectional plural suffix) and the semantic relationship (same or different semantic category) between target and distractor were varied in Experiments 1 and 2. Results showed no effect of number congruency in either experiment. Furthermore, the type of inflectional suffix did not exert an influence on naming latencies in Experiment 1, but semantic relationship led to a significant interference effect in Experiment 2. The results indicate that selection of the number feature diacritic in noun production is not a competitive process. The implications of the results for models of lexical access are discussed.     

Does crossmodal correspondence modulate the facilitatory effect of auditory cues on visual search?

The ??pip-and-pop effect?? refers to the facilitation of search for a visual target (a horizontal or vertical bar whose color changes frequently) among multiple visual distractors (tilted bars also changing color unpredictably) by the presentation of a spatially uninformative auditory cue synchronized with the color change of the visual target. In the present study, the visual stimuli in the search display changed brightness instead of color, and the crossmodal congruency between the pitch of the auditory cue and the brightness of the visual target was manipulated. When cue presence and cue congruency were randomly varied between trials (Experiment 1), both congruent cues (low-frequency tones synchronized with dark target states or high-frequency tones synchronized with bright target states) and incongruent cues (the reversed mapping) facilitated visual search performance equally, relative to a no-cue baseline condition. However, when cue congruency was blocked and the participants were informed about the pitch?Cbrightness mapping in the cue-present blocks (Experiment 2), performance was significantly enhanced when the cue and target were crossmodally congruent as compared to when they were incongruent. These results therefore suggest that the crossmodal congruency between auditory pitch and visual brightness can influence performance in the pip-and-pop task by means of top-down facilitation.     

Are crossmodal correspondences relative or absolute? Sequential effects on speeded classification

Crossmodal correspondences have often been demonstrated using congruency effects between pairs of stimuli in different sensory modalities that vary along separate dimensions. To date, however, it is still unclear the extent to which these correspondences are relative versus absolute in nature: that is, whether they result from pre-defined values that rigidly link the two dimensions or rather result from flexible values related to the previous occurrence of the crossmodal stimuli. Here, we investigated this issue in a speeded classification task featuring the correspondence between auditory pitch and visual size (e.g., congruent correspondence between high pitch/small disc and low pitch/large disc). Participants classified the size of the visual stimuli (large vs. small) while hearing concurrent high- or low-pitched task-irrelevant sounds. On some trials, visual stimuli were paired instead with “intermediate” pitch, that could be interpreted differently according to the auditory stimulus on the preceding trial (i.e., as “lower” following the presentation of a high pitch tone, but as “higher” following the presentation of a low pitch tone). Performance on sequence-congruent trials (e.g., when a small disc paired with the intermediate-pitched tone was preceded by a low pitch tone) was compared to sequence-incongruent trials (e.g., when a small disc paired with the intermediate-pitch tone was by a high-pitched tone). The results revealed faster classification responses on sequence-congruent than on sequence-incongruent trials. This demonstrates that the effect of the pitch/size correspondence is relative in nature, and subjected to trial-by-trial interpretation of the stimulus pair.     

The lateralized emotional stroop task: left visual field interference in women

In a visual hemifield emotional Stroop task, 54 women were asked to name the color of laterally flashed emotional and neutral words while ignoring their semantic content. Vocal reaction times for color naming were recorded. The participants exhibited significant emotional interference effects in the left visual field, which tended to be larger for negative words than for positive words. Participants with higher trait anxiety scores exhibited larger interference for positive words in the left relative to the right visual field. The outcome indicates that, in women, emotional Stroop interference arises in the right rather than in the left hemisphere, with a larger impact of negative than of positive words, and with trait anxiety modulating the lateralized interference for positive words.     

A word-order constraint on phonological activation

Word-order rules impose major constraints on linguistic behavior. For example, adjectives appear before nouns in English, and after nouns in French. This means that constraints on word order must be language-specific properties upheld on-line by the language system. Despite the importance of these rules, little is known about how they operate. We report an influence of word order on the activation of phonological representations. Participants were presented with colored objects and asked to name either the colors or the objects; the phonological similarity between the object and color names was manipulated. French speakers showed a phonological congruency effect in color naming, but not in object naming. English participants yielded the opposite pattern: a phonological effect in object naming, but not in color naming. Differences in the typical order of nouns and adjectives in French and English provide a plausible account for this cross-linguistic contrast. More generally, these results provide direct evidence for the operation of word-order constraints during language production.     

‘What’s in a name?’ ‘No more than when it's mine own’. Evidence from auditory oddball distraction

Research of the distractor value of hearing the own name has shown that this self-referring stimulus captures attention in an involuntary fashion and create distraction. The behavioral studies are few and the outcomes are not always clear cut. In this study the distraction by own name compared to a control name was investigated by using a cross-modal oddball task in two experiments. In the first experiment, thirty-nine participants were conducting a computerized categorization task while exposed to, to-be ignored own and matched control names (controlling for familiarity, gender and number of syllables) as unexpected auditory deviant stimulus (12.5% trials for each name category) and a sine wave tone as a standard stimulus (75% of the trials). In the second experiment, another group of thirty-nine participants completed the same task but with the additional deviant stimulus of an irrelevant word added (10% trials for each deviant type and 70% trials with the standard stimulus). Results showed deviant distraction by exposure to both the irrelevant word, own and the control name compared to the standard tone but no differences were found showing that the own name captured attention and distracted the participants more than an irrelevant word or a control name. The results elucidate the role of the own name as a potent auditory distractor and possible limitations with its theoretical significance for general theories of attention are discussed.     

Double response to Stroop stimuli.

To reexamine Klein's 1964 findings we carried out two experiments on the double response made to Stroop stimuli. In Exp. 1 incongruent color-word stimuli were presented on a CRT online with a microcomputer. A color-word card was used in Exp. 2. Subjects were asked to read words before naming colors or, conversely, to name colors before reading words. An analysis of variance (the task x the type of task) was performed on response times in both experiments. Two main effects and interactions were nonsignificant. Some subjects made an error-like reverse-order response on the double-response task. The present findings do not support Klein's findings or the competition explanation of the Stroop effect.     

The interdependence of pitch and temporal judgments by absolute pitch possessors

The auditory tau and the kappa effects show that there is time-pitch interdependence in our perception. Our judgments of pitch separation between two tones depend on the temporal interval between them (the auditory tau effect), and our judgments of the tones’ temporal interval depend on their pitch separation (the kappa effect). The mechanisms underlying this interdependence were investigated by studying the auditory tau and the kappa effect in three experiments. Comparisons were made between results obtained from subjects with absolute pitch and those who did not have absolute pitch, and two frequency ranges of pure tones (octave and whole-tone conditions) were selected. The procedures had been used in previous experiments (Shigeno, 1986), in which the auditory tau and the kappa effects were compared in speech and nonspeech stimuli. The present results demonstrate that the auditory tau effect does not occur when possessors of absolute pitch judge the closeness of stimuli in pitch, except when the stimulus continuum consists of tones that do not correspond to musical notes in the whole-tone condition. The kappa effect was obtained in the judgment of possessors of absolute pitch in both the octave and the whole-tone conditions. These findings suggest that the interaction between temporal interval and pitch judgment might be explained in terms of the two different memory modes for retaining the pitch of tones, and that these effects occur at the precategorical level.     

The gender congruency effect and the selection of freestanding and bound morphemes: evidence from croatian

The authors report 3 picture-word interference experiments in which they explore some properties of the agreement process in speech production. In Experiment 1, Croatian speakers were asked to produce utterances in which the noun's gender value had an impact on the selection of gender-marked freestanding morphemes (pronouns) while ignoring the presentation of same- or different-gender distractor words. In Experiments 2 and 3, Croatian speakers were asked to name the same pictures using noun phrases in which the noun's gender value surfaced as an inflectional suffix. Different-gender distractors interfered more than same-gender distractors (the gender congruency effect) in Experiment 1, but not in Experiments 2 and 3. These contrasting results show that the cause of the gender congruency effect is not at the level where lexical-grammatical information is selected but at the level of selection of freestanding morphemes.