Recognition failures and free-recall failures: Implications for the relation between recall and recognition

Experiments showing that in cued recall subjects can recall words that they had previously failed to recognize have been taken to refute generate-recognize theories of recall, for those theories predict that recall is dependent on recognition. None of these experiments, however, has provided an appropriate test of Bahrick’s (1970, 1979) generate-recognize theory, which explicitly refers to words that are accessible to cued recall but not to free recall, that is, tofree-recall failures. When the experimental procedure was modified so as to provide tests of this theory, no evidence was found of any greater dependency between recall and recognition of free-recall failures than between recall and recognition overall. Free-recall failures do not, therefore, constitute any exception to many previous experimental findings that conform with the Tulving-Wiseman law, and so the account offered by Bahrick’s generate-recognize theory may be rejected. The results also suggest an explanation for some other conflicting evidence on whether recall and recognition are dependent or independent.     

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.     

Musicians' working memory for tones,words, and pseudowords

Studies investigating factors that influence tone recognition generally use recognition tests, whereas the majority of the studies on verbal material use self-generated responses in the form of serial recall tests. In the present study we intended to investigate whether tonal and verbal materials share the same cognitive mechanisms, by presenting an experimental instrument that evaluates short-term and working memories for tones, using self-generated sung responses that may be compared to verbal tests. This paradigm was designed according to the same structure of the forward and backward digit span tests, but using digits, pseudowords, and tones as stimuli. The profile of amateur singers and professional singers in these tests was compared in forward and backward digit, pseudoword, tone, and contour spans. In addition, an absolute pitch experimental group was included, in order to observe the possible use of verbal labels in tone memorization tasks. In general, we observed that musical schooling has a slight positive influence on the recall of tones, as opposed to verbal material, which is not influenced by musical schooling. Furthermore, the ability to reproduce melodic contours (up and down patterns) is generally higher than the ability to reproduce exact tone sequences. However, backward spans were lower than forward spans for all stimuli (digits, pseudowords, tones, contour). Curiously, backward spans were disproportionately lower for tones than for verbal material—that is, the requirement to recall sequences in backward rather than forward order seems to differentially affect tonal stimuli. This difference does not vary according to musical expertise.     

Effects of musical context, type of vocal presentation, and time on the verbal retention abilities of visual-spatially oriented and verbally oriented learning disabled children

This study sought to determine if the retention capacities of learning disabled children with strong visual-spatial skills and weak verbal skills would be improved if verbal material was presented within a musical context. It also sought to determine if children with the reverse pattern of abilities would retain less verbal information if it was presented in a context of music. Twelve verbally oriented and 12 visual-spatially oriented learning disabled children between the ages of 9 and 11 matched on IQ, sex, race, and age participated. Subjects listened in a counter-balanced fashion to: (a) lyrics sung with instrumental musical accompanimen; (b) lyrics sung without instrumental accompaniment; (c) lyrics spoken with instrumental musical accompaniment; and (d) lyrics spoken without musical accompaniment. Immediately following the presentation of each condition they were tested for recall and recognition of the verbal material contained in the lyrics. The same tests were administered three days later. Subjects in the visual-spatial group obtained significantly higher recognition scores when the lyrics were sung than when they were spoken whether instrumental musical accompaniment was or was not present. Scores of the verbally oriented group did not differ across conditions. Theoretical and practical implications of the results are discussed.     

Musicians' working memory for tones, words, and pseudowords

Studies investigating factors that influence tone recognition generally use recognition tests, whereas the majority of the studies on verbal material use self-generated responses in the form of serial recall tests. In the present study we intended to investigate whether tonal and verbal materials share the same cognitive mechanisms, by presenting an experimental instrument that evaluates short-term and working memories for tones, using self-generated sung responses that may be compared to verbal tests. This paradigm was designed according to the same structure of the forward and backward digit span tests, but using digits, pseudowords, and tones as stimuli. The profile of amateur singers and professional singers in these tests was compared in forward and backward digit, pseudoword, tone, and contour spans. In addition, an absolute pitch experimental group was included, in order to observe the possible use of verbal labels in tone memorization tasks. In general, we observed that musical schooling has a slight positive influence on the recall of tones, as opposed to verbal material, which is not influenced by musical schooling. Furthermore, the ability to reproduce melodic contours (up and down patterns) is generally higher than the ability to reproduce exact tone sequences. However, backward spans were lower than forward spans for all stimuli (digits, pseudowords, tones, contour). Curiously, backward spans were disproportionately lower for tones than for verbal material-that is, the requirement to recall sequences in backward rather than forward order seems to differentially affect tonal stimuli. This difference does not vary according to musical expertise.     

Trace loss and the recognition failure of unrecalled words

This paper addresses the phenomenon of recognition failure from the perspective of a theory in which recognition and recall are assumed to involve independent retrieval processes. However, even given independent retrieval, measures of recognition and recall success will covary if any traces are lost from storage, simply because such traces are unavailable for any memory test. In support of the theory, rote learning produced higher covariation between recognition and recall (i.e., fewer recognition failures) than did meaningful elaboration during study. Further, recognition and recall were approximately independent of each other with meaningful elaboration and imagery encoding, regardless of whether the latter involved interactive or separate images. The results of three experiments are discussed in terms of the present “vandal” theory and other theories of recognition failure.     

Recognition failure of categorized words

Previous research has demonstrated that the phenomenon of recognition failure of recallable words does not hold for categorized word pairs (e.g.,flower-ROSE). We tested the hypothesis that such an exceptional finding is attributable to the use of homogeneous lists that create a situation in which the functional recall cues do not contain any information not already contained in the recognition cues. In three experiments in which categorized word pairs were used, but whose design ruled out the invariant informational overlap between recognition and recall cues, recognition failure was found to the extent expected by Tulving and Wiseman’s (1975) function. These results add to the evidence that the relation between recognition and cued recall in recognition-failure experiments is largely invariant over many otherwise relevant variables that affect recognition and recall.     

Learning 10000 pictures

Four experiments are reported which examined memory capacity and retrieval speed for pictures and for words. Single-trial learning tasks were employed throughout, with memory performance assessed by forced-choice recognition, recall measures or choice reaction-time tasks. The main experimental findings were: (1) memory capacity, as a function of the amount of material presented, follows a general power law with a characteristic exponent for each task; (2) pictorial material obeys this power law and shows an overall superiority to verbal material. The capacity of recognition memory for pictures is almost limitless, when measured under appropriate conditions; (3) when the recognition task is made harder by using more alternatives, memory capacity stays constant and the superiority of pictures is maintained; (4) picture memory also exceeds verbal memory in terms of verbal recall; comparable recognition/recall ratios are obtained for pictures, words and nonsense syllables; (5) verbal memory shows a higher retrieval speed than picture memory, as inferred from reaction-time measures. Both types of material obey a power law, when reaction-time is measured for various sizes of learning set, and both show very rapid rates of memory search.

From a consideration of the experimental results and other data it is concluded that the superiority of the pictorial mode in recognition and free recall learning tasks is well established and cannot be attributed to methodological artifact.     

Involuntary and voluntary recall of musical memories: A comparison of temporal accuracy and emotional responses

Comparisons between involuntarily and voluntarily retrieved autobiographical memories have revealed similarities in encoding and maintenance, with differences in terms of specificity and emotional responses. Our study extended this research area into the domain of musical memory, which afforded a unique opportunity to compare the same memory as accessed both involuntarily and voluntarily. Specifically, we compared instances of involuntary musical imagery (INMI, or “earworms”)—the spontaneous mental recall and repetition of a tune—to deliberate recall of the same tune as voluntary musical imagery (VMI) in terms of recall accuracy and emotional responses. Twenty participants completed two 3-day tasks. In an INMI task, participants recorded information about INMI episodes as they occurred; in a VMI task, participants were prompted via text message to deliberately imagine each tune they had previously experienced as INMI. In both tasks, tempi of the imagined tunes were recorded by tapping to the musical beat while wearing an accelerometer and additional information (e.g., tune name, emotion ratings) was logged in a diary. Overall, INMI and VMI tempo measurements for the same tune were strongly correlated. Tempo recall for tunes that have definitive, recorded versions was relatively accurate, and tunes that were retrieved deliberately (VMI) were not recalled more accurately in terms of tempo than spontaneous and involuntary instances of imagined music (INMI). Some evidence that INMI elicited stronger emotional responses than VMI was also revealed. These results demonstrate several parallels to previous literature on involuntary memories and add new insights on the phenomenology of INMI.     

Standing's power function in long-term memory

Summary Standing (1973) and Murray (1975) have both found that the number of items retrieved from long-term memory is a power function of the number of items presented. The present research reports three further experiments designed to validate this power function: the law was found to be upheld in paired associates recognition (for four levels of meaningfulness); for free recall (with or without retrieval cues at presentation and/or recall); and for incidental and intentional free recall and recognition. Some data of Roberts (1972) were also found to be fitted by a power function. The discussion deals with power functions as compared with linear functions and also with the relationships between slopes and intercepts of power functions.This research was supported by National Research Council of Canada Grant AO-126 to D.J. Murray. W.E. Hockley served as research assistant for Experiments 1 and 2; Experiment 3 was an Honours Thesis project carried out by Carol Pye.     

Recognition vs recall of visually vs acoustically confusable letter matrices

In an attempt to separate auditory and visual components in short-term memory, five subjects were exposed to letter matrices composed of six visually confusable letters, six acoustically confusable letters, or a mixture of the two, under two response conditions: recognition and recall. A 50-msec stimulus presentation was followed by a variable dark interval of 1, 250, 1,000, or 3,000 msec. In the recall condition, the interval was followed by a buzzer which signaled the subject to recall, in any order, as many letters as possible. In the recognition condition, the variable interval was followed by a second letter matrix which was either identical to the first matrix or differed from is by one letter. Subjects responded either "same" or "different." The results support the notion that the auditory component plays a major role in recall, whereas the visual component dominates in recognition.     

Word frequency effects in associative and item recognition

The word frequency effect (WFE) has been taken as evidence that recall and recognition are in some way fundamentally different. Consequently, most models assume that recall and recognition operate via very different retrieval mechanisms. Experiment 1 showed that the WFE reverses for associative recognition, which requires discrimination between intact test pairs and recombinations of study list words from different study pairs. Experiment 2, in which word triples were used, revealed an interaction between word frequency and test type: for item recognition, performance was better for low-frequency words; however, for associative recognition and free recall, performance was better for high-frequency words. In Experiment 3, item recognition was tested: although overall performance was better for low-frequency words, the recognition advantage for items in intact pairs was larger for high-frequency words, suggesting two components in recognition memory. These results imply common mechanisms in recall and recognition. Theoretical implications are discussed within the framework of the SAM model.     

Recognition of transposed melodic sequences

Accuracy of recognition for short (three-note) transposed melodic sequences was measured and compared with accuracy predicted by three models of recognition each of which described a different degree of abstraction and synthesis of the musical intervals contained in the sequence. For subjects with musical training, recognition was best described by a model that assumed abstraction and synthesis of the musical intervals between both adjacent and non-adjacent tones of the sequence. For subjects without musical training, recognition was much less accurate but there was some evidence that intervals between adjacent tones were abstracted. Of major theoretical interest, however, was the finding that none of the models provided a comprehensive account of the data. Not merely the size of the intervals contained in a sequence determines accuracy of recognition of the sequence, but also the order or configuration of the intervals. It is suggested that particular interval configurations facilitate the abstraction of tonal structure.     

Are there pre-existing neural, cognitive, or motoric markers for musical ability?

Adult musician's brains show structural enlargements, but it is not known whether these are inborn or a consequence of long-term training. In addition, music training in childhood has been shown to have positive effects on visual-spatial and verbal outcomes. However, it is not known whether pre-existing advantages in these skills are found in children who choose to study a musical instrument nor is it known whether there are pre-existing associations between music and any of these outcome measures that could help explain the training effects. To answer these questions, we compared 5- to 7-year-olds beginning piano or string lessons (n=39) with 5- to 7-year-olds not beginning instrumental training (n=31). All children received a series of tests (visual-spatial, non-verbal reasoning, verbal, motor, and musical) and underwent magnetic resonance imaging. We found no pre-existing neural, cognitive, motor, or musical differences between groups and no correlations (after correction for multiple analyses) between music perceptual skills and any brain or visual-spatial measures. However, correlations were found between music perceptual skills and both non-verbal reasoning and phonemic awareness. Such pre-existing correlations suggest similarities in auditory and visual pattern recognition as well a sharing of the neural substrates for language and music processing, most likely due to innate abilities or implicit learning during early development. This baseline study lays the groundwork for an ongoing longitudinal study addressing the effects of intensive musical training on brain and cognitive development, and making it possible to look retroactively at the brain and cognitive development of those children who emerge showing exceptional musical talent.     

The impact of music on learning and consolidation of novel words

Music can be a powerful mnemonic device, as shown by a body of literature demonstrating that listening to text sung to a familiar melody results in better memory for the words compared to conditions where they are spoken. Furthermore, patients with a range of memory impairments appear to be able to form new declarative memories when they are encoded in the form of lyrics in a song, while unable to remember similar materials after hearing them in the spoken modality. Whether music facilitates the acquisition of completely new information, such as new vocabulary, remains unknown. Here we report three experiments in which adult participants learned novel words in the spoken or sung modality. While we found no benefit of musical presentation on free recall or recognition memory of novel words, novel words learned in the sung modality were more strongly integrated in the mental lexicon compared to words learned in the spoken modality. This advantage for the sung words was only present when the training melody was familiar. The impact of musical presentation on learning therefore appears to extend beyond episodic memory and can be reflected in the emergence and properties of new lexical representations.     

Beneficial Effect of Pictures on False Memory in the DRMRS Procedure

Using the Deese-Roediger-McDermott-Read-Solso (DRMRS) procedure in which list items are shown that are semantically related to a central theme that is not presented, undergraduates (N?=?61) studied either short or long lists in the form of auditory words alone, pictures alone, or pictures accompanied by auditory words. Correct recall and correct recognition scores were similar in all three conditions. However, false memory (reporting the non-presented central theme) was reduced with pictures alone compared to words alone for the recall task, and for the recognition task with short lists. Confidence was higher for correct recall and correct recognition than for false recall and false recognition, but people who were higher or lower in confidence did not differ on any memory measure. Theoretical and practical implications of these results are discussed.     

The Effects of Musical and Voice “Fit” on Responses to Advertisements1

Research on musical “fit” suggests that listeners might recall more of a radio advertisement if it features musical/voice content that corresponds with features of the advertised brand. This is because the music/voice should prime certain aspects of listeners' knowledge. Two studies were carried out to test this, each involving 5 specially prepared radio ads. The first indicated that musical fit enhanced recall of the products advertised, the brands advertised, and specific claims made during the course of the ad copy; and also participants' ratings of liking for the ad and likelihood of purchasing the advertised product. A second similar study considered voice fit and found that this could also promote recall of specific product claims and lead to higher ratings of liking for the ad and likelihood of purchasing the advertised product. These results confirm that both musical and voice fit can prime certain aspects of listeners' knowledge and also increase liking for ads, such that it might improve knowledge-based and affective responses to advertising. The theoretical implications of this are discussed in terms of the concept of involvement and what precisely is meant by musical/voice fit.     

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.     

Theoretical correlations and measured correlations: relating recognition and recall in four distributed memory models

This article addresses the relation between item recognition and associative (cued) recall. Going beyond measures of performance on each task, the analysis focuses on the degree to which the contingency between successful recognition and successful recall of a studied item reflects the commonality of memory processes underlying the recognition and recall tasks. Specifically, 4 classes of distributed memory models are assessed for their ability to account for the relatively invariant correlation (approximately .5) between successive recognition and recall. Basic versions of each model either under- or overpredict the intertask correlation. Introducing variability in goodness-of-encoding and response criteria, as well as output encoding, enabled all 4 models to reproduce the moderate intertask correlation and the increase in correlation observed in 2 mixed-list experiments. This model-based analysis provides a general theoretical framework for interpreting contingencies between successive memory tests.