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).     

Stimulus information and processing time in pitch perception

Summary The assumption of Massaro, that the preperceptual auditory image is processed at the same rate as the stimulus information, was tested for pitch recognition, using a recognition masking paradigm. The data clearly show that the preperceptual image is processed with a much lower rate.     

Alerting attention and time perception in children

This experiment investigated the effect of a signal (i.e., a click) warning of the arrival of a stimulus to be timed on temporal discrimination in children aged 3, 5, and 8 years (N=86), using a bisection task with visual stimuli ranging from 0.5 to 2s or 1 to 4s. In all groups, the psychophysical functions were orderly with the proportion of long responses increasing with the stimulus duration, although the steepness of functions increased with age. Stimulus durations were judged to be longer with than without the click in all age groups. With the click, time sensitivity also improved and more particularly in the younger children. The statistical results suggest, within the framework of the scalar timing theory, that the click reduces the closing latency of the switch that connects the pacemaker to the accumulator in the internal clock and also reduces its trial-by-trial variability.     

A bidimensional model of pitch in the recognition of melodies

Pitch can be conceptualized as a bidimensional quantity, reflecting both the overall pitch level of a tone (tone height) and its position in the octave (tone chroma). Though such a conceptualization has been well supported for perception of a single tone, it has been argued that the dimension of tone chroma is irrelevant in melodic perception. In the current study, melodies were subjected to structural transformations designed to evaluate the effects of interval magnitude, contour, tone height, and tone chroma. In two transformations, the component tones of a melody were displaced by octave intervals, either preserving or violating the pattern of changes in pitch direction (melodic contour). Replicating previous work, when contour was violated perception of the melody was severely disrupted. In contrast, when contour was preserved the melodies were identified as accurately as the untransformed melodies. In other transformations, a variety of forms of contour information were preserved, while eliminating information for absolute pitch and interval magnitude. The level of performance on all such transformations fell between the levels observed in the other two conditions. These results suggest that the bidimensional model of pitch is applicable to recognition of melodies as well as single tones. Moreover, the results argue that contour, as well as interval magnitude, is providing essential information for melodic perception.     

Postrecognition of interleaved melodies as an indirect measure of auditory stream formation

Primitive processes involved in auditory stream formation are measured with indirect, objective method. A target melody interleaved with a distractor sequence is followed by a probe melody that was identical to the target or differed by 2 notes. Listeners decided whether the probe melody was present or not in the composite sequence. Interleaved melody recognition is not possible when distractor sequences have the same mean frequency and maximum contour crossover with target melodies. Performance increases with mean frequency separation and timbral dissimilarity and is unaffected by the duration of the silent interval between composite sequence and probe melody. The relation between this indirect task measuring the interleaved melody recognition boundary and direct judgments measuring the fission boundary is discussed.     

Shorter articles and notes left-right differences in the perception of melodies

Normal subjects were given two auditory tests, one consisting of spoken digits presented dichotically, the other of melodies presented dichotically. On the Digits test, the score for the right ear was higher than for the left (as previously established), and on the Melodies test the score for the left ear was higher than for the right. These findings were related to the different roles of the right and left hemispheres of the brain in verbal and nonverbal perception.     

Recognition of notated melodies by possessors and nonpossessors of absolute pitch

Musically trained listeners compared a notated melody presented visually and a comparison melody presented auditorily, and judged whether they were exactly the same or not, with respect to relative pitch. Listeners who had absolute pitch showed the poorest performance for melodies transposed to different pitch levels from the notated melodies, whereas they exhibited the highest performance for untransposed melodies. By comparison, the performance of melody recognition by listeners who did not have absolute pitch was not influenced by the actual pitch level at which melodies were played. These results suggest that absolute-pitch listeners tend to rely on absolute pitch even in recognizing transposed melodies, for which the absolute-pitch strategy is not useful.     

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

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

The role of attention in children's time perception.

This study tested the role of attention in 7- to 9-year-old children's time estimation. Based on an attentional model of time estimation, it was hypothesized that prospective estimates of short intervals are a function of the degree to which a child is occupied with the passage of time and is focusing his or her attention on estimating the exposure time of a stimulus. Two experiments with two different manipulations on attentional focus were conducted. Eighty children were exposed to two types of light bulbs, one a big bulb kindled with high intensity and the other a small one kindled with low intensity. The light bulbs were kindled for different intervals ranging from 3 to 10 s. In both experiments children estimated the lighting time of the bulbs in each condition by a reproduction method. In the first experiment prospective time estimates were found to be significantly longer than retrospective ones. In the second experiment children gave shorter time estimates when their attention was attracted away from the time estimation task than when it was not. In both experiments the attentional hypothesis was supported. In addition, support for the "more is more" hypothesis was obtained. Implications for understanding children's time perception processes are discussed.     

Recognition of notated melodies by possessors and nonpossessors of absolute pitch

Musically trained listeners compared a notated melody presented visually and a comparison melody presented auditorily, and judged whether they were exactly the same or not, with respect to relative pitch. Listeners who had absolute pitch showed the poorest performance for melodies transposed to different pitch levels from the notated melodies, whereas they exhibited the highest performance for untransposed melodies. By comparison, the performance of melody recognition by listeners who did not have absolute pitch was not influenced by the actual pitch level at which melodies were played. These results suggest that absolute-pitch listeners tend to rely on absolute pitch even in recognizing transposed melodies, for which the absolute-pitch strategy is not useful.     

Recognition of transposed melodies: Effects of pitch distance and harmonic distance

People easily recognize a familiar melody in a previously unheard key, but they also retain some key-specific information. Does the recognition of a transposed melody depend on either pitch distance or harmonic distance from the initially learned instances? Previous research has shown a stronger effect of pitch closeness than of harmonic similarity, but did not directly test for an additional effect of the latter variable. In the present experiment, we familiarized participants with a simple eight-note melody in two different keys (C and D) and then tested their ability to discriminate the target melody from foils in other keys. The transpositions included were to the keys of C# (close in pitch height, but harmonically distant), G (more distant in pitch, but harmonically close), and F# (more distant in pitch and harmonically distant). Across participants, the transpositions to F# and G were either higher or lower than the initially trained melodies, so that their average pitch distances from C and D were equated. A signal detection theory analysis confirmed that discriminability (d′) was better for targets and foils that were close in pitch distance to the studied exemplars. Harmonic similarity had no effect on discriminability, but it did affect response bias (c), in that harmonic similarity to the studied exemplars increased both hits and false alarms. Thus, both pitch distance and harmonic distance affect the recognition of transposed melodies, but with dissociable effects on discrimination and response bias.     

Absolute memory for musical pitch: Evidence from the production of learned melodies

Evidence for the absolute nature of long-term auditory memory is provided by analyzing the production of familiar melodies. Additionally, a two-component theory of absolute pitch is presented, in which this rare ability is conceived as consisting of a more common ability,pitch memory, and a separate, less common ability,pitch labeling. Forty-six subjects sang two different popular songs, and their productions were compared with the actual pitches used in recordings of those songs. Forty percent of the subjects sang the correct pitch on at least one trial; 12% of the subjects hit the correct pitch on both trials, and 44% came within two semitones of the correct pitch on both trials. The results show a convergence with previous studies on the stability of auditory imagery and latent absolute pitch ability; the results further suggest that individuals might possess representations of pitch that are more stable and accurate than previously recognized.     

The time course of recognition of novel melodies

Seven experiments explored the time course of recognition of brief novel melodies. In a continuous-running-memory task, subjects recognized melodic transpositions following delays up to 2.0 min. The delays were either empty or filled with other melodies. Test items included exact transpositions (T), same-contour lures (SC) with altered pitch intervals, and different-contour lures (DC). DCs differed from Ts in the pattern of ups and downs of pitch. With this design, we assessed subjects’ discrimination of detailed changes in pitch intervals (T/SC discrimination) as well as their discrimination of contour changes (T/DC). We used both artificial and “real” melodies. Artificial melodies differed in conformity to a musical key, being tonal or atonal. After empty delays, T/DC discrimination was superior to T/SC discrimination. Surprisingly, after filled delays, T/SC discrimination was superior to T/DC. When only filled delays were tested, T/SC discrimination did not decline over the longest delays. T/DC performance declined more than did T/SC performance across both empty and filled delays. Tonality was an important factor only for T/SC discrimination after filled delays. T/DC performance was better with rhythmically intact folk melodies than with artificial isochronous melodies. Although T/SC performance improved over filled delays, it did not overtake T/DC performance. These results suggest that (1) contour and pitch-interval information make different contributions to recognition, with contour dominating performance after brief empty delays and pitch intervals dominating after longer filled delays; (2) a coherent tonality facilitates the encoding of pitch-interval patterns of melodies; and (3) the rich melodic—rhythmic contours of real melodies facilitate T/DC discrimination. These results are discussed in terms of automatic and controlled processing of melodic information.     

Contributions of temporal and place cues in pitch perception in absolute pitch possessors

Pitch perception is determined by both place and temporal cues. To explore whether the manner in which these cues are used differs depending on absolute pitch capability, pitch identification experiments with and without pitch references were conducted for subjects with different absolute pitch capabilities and musical experience. Three types of stimuli were used to manipulate place and temporal cues separately: narrowband noises, which provide strong place cues but less salient temporal cues; iterated rippled noises, which provide strong temporal cues but less salient place cues; and sinusoidal tones, which provide both. The results indicated that absolute pitch possessors utilize temporal cues more effectively when they identify musical chroma With regard to the judgment of height, it was indicated that place cues play an important role for both absolute and nonabsolute pitch possessors.     

Memory for surface features of unfamiliar melodies: independent effects of changes in pitch and tempo

A melody’s identity is determined by relations between consecutive tones in terms of pitch and duration, whereas surface features (i.e., pitch level or key, tempo, and timbre) are irrelevant. Although surface features of highly familiar recordings are encoded into memory, little is known about listeners’ mental representations of melodies heard once or twice. It is also unknown whether musical pitch is represented additively or interactively with temporal information. In two experiments, listeners heard unfamiliar melodies twice in an initial exposure phase. In a subsequent test phase, they heard the same (old) melodies interspersed with new melodies. Some of the old melodies were shifted in key, tempo, or key and tempo. Listeners’ task was to rate how well they recognized each melody from the exposure phase while ignoring changes in key and tempo. Recognition ratings were higher for old melodies that stayed the same compared to those that were shifted in key or tempo, and detrimental effects of key and tempo changes were additive in between-subjects (Experiment 1) and within-subjects (Experiment 2) designs. The results confirm that surface features are remembered for melodies heard only twice. They also imply that key and tempo are processed and stored independently.     

Hear it playing low and slow: How pitch level differentially influences time perception

Variations in both pitch and time are important in conveying meaning through speech and music, however, research is scant on perceptual interactions between these two domains. Using an ordinal comparison procedure, we explored how different pitch levels of flanker tones influenced the perceived duration of empty interstimulus intervals (ISIs). Participants heard monotonic, isochronous tone sequences (ISIs of 300, 600, or 1200 ms) composed of either one or five standard ISIs flanked by 500 Hz tones, followed by a final interval (FI) flanked by tones of either the same (500 Hz), higher (625 Hz), or lower (400 Hz) pitch. The FI varied in duration around the standard ISI duration. Participants were asked to determine if the FI was longer or shorter in duration than the preceding intervals. We found that an increase in FI flanker tone pitch level led to the underestimation of FI durations while a decrease in FI flanker tone pitch led to the overestimation of FI durations. The magnitude of these pitch-level effects decreased as the duration of the standard interval was increased, suggesting that the effect was driven by differences in mode-switch latencies to start/stop timing. Temporal context (One vs. Five Standard ISIs) did not have a consistent effect on performance. We propose that the interaction between pitch and time may have important consequences in understanding the ways in which meaning and emotion are communicated.     

Personality,time of day and visual perception: Preferences and selective attention

The study examined the relationships between Eysenck's personality dimensions and certain aspects of visual perception employing a sample of 83 females. Interaction effects of time of day were emphasized. As to personality, the focus was on the extraversion components Impulsivity (I) and Sociability (S). As to perception, two major aspects were focused on: (1) preferences for (a) colour and (b) form, and (2) selective attention to the salient feature (form complexity) of present stimuli using a person-centered ANOVA approach. The personality by time-of-day interaction hypothesis was only supported for the I (and not S) component, under conditions 1a and 2; in the morning high I scorers preferred more stimulating colours, and paid less attention to form complexity, than low I scorers whereas a reverse pattern emerged in the evening. Neuroticism showed no relationship to perception whereas psychoticism was found to be positively related to colour reactivity and negatively related to reactivity to meaningfulness of stimuli. The findings are discussed in the context of theories about cortical arousal, diurnal rhythm differences, and ‘narrowed attention’.     

Some characteristics of selective attention in visual perception determined by vocal reaction time

Previous research had found that the accuracy with which an S could report an indicated letter or target in a briefly exposed multiletter display decreased as the number of irrelevant letters increased, and accuracy increased if the position of the target letter was indicated 150 msec before the display was presented. Iii the present experiment, these variables were reinvestigated using vocal reaction time as the dependent variable. An interpretation of the accuracy measures in terms of differential processing times was supported. The results of the two experiments were discussed in terms of a model of attentional selectivity.