Music evokes vivid autobiographical memories

Music is strongly intertwined with memories—for example, hearing a song from the past can transport you back in time, triggering the sights, sounds, and feelings of a specific event. This association between music and vivid autobiographical memory is intuitively apparent, but the idea that music is intimately tied with memories, seemingly more so than other potent memory cues (e.g., familiar faces), has not been empirically tested. Here, we compared memories evoked by music to those evoked by famous faces, predicting that music-evoked autobiographical memories (MEAMs) would be more vivid. Participants listened to 30 songs, viewed 30 faces, and reported on memories that were evoked. Memories were transcribed and coded for vividness as in Levine, B., Svoboda, E., Hay, J. F., Winocur, G., & Moscovitch, M. [2002. Aging and autobiographical memory: Dissociating episodic from semantic retrieval. Psychology and Aging, 17, 677–689]. In support of our hypothesis, MEAMs were more vivid than autobiographical memories evoked by faces. MEAMs contained a greater proportion of internal details and a greater number of perceptual details, while face-evoked memories contained a greater number of external details. Additionally, we identified sex differences in memory vividness: for both stimulus categories, women retrieved more vivid memories than men. The results show that music not only effectively evokes autobiographical memories, but that these memories are more vivid than those evoked by famous faces.     

Player–Spectator Discrepancies on Risk Preference during Decision Making

Risk preference during decision making depends not only on the potential risk and profits but also on the roles taken in the current task. Those who perform tasks are more risk-seeking than those who only watch. Given the prominent effect of experiencing the task, the player–spectator discrepancies are supposed to arise in the experiencing phase instead of the choosing phase. In the present study, the authors separated the experiencing role and the choosing role through a stylus maze task in which participants first performed in pairs—one as the player and the other as the spectator—and then chose from two rewarding options for themselves or their partners. The findings show that the experience as players induced a risk-seeking tendency in decision making, which suggests that it was the experiencing role, rather than the choosing role, that caused the difference of risk preference, at least for financially motivated groups and under similar task conditions.     

音乐对情感词加工的情感/意义双启动效应

本研究在前人研究的基础上进一步探讨音乐对情感词的启动机制。采用内隐情感启动范式,运用脑电技术考察多种情感类型的音乐片段对情感意义一致或不一致的词加工的启动影响。行为实验结果显示,音乐对情感词产生启动效应。脑电实验的结果发现,音乐对情感词的启动效应表现为早晚两个子成分的N400效应,首先是音乐直接引发的情绪产生第一个启动,表现为早成分的N400;其次是音乐通过联想引发的情感语义而产生第二个启动,表现为晚成分的N400。据此可以认为,音乐对情感词的启动是双启动模式。     

团体音乐辅导提高地震灾区初中生心理弹性的研究

目的：考查团体音乐辅导对提高地震灾区初中生心理弹性的效果。方法：选取心理弹性较低的地震灾区初中生22名,随机分入干预组和控制组,对干预组进行团体音乐辅导。结果：后测结果表明,与控制组相比,干预组被试的心理弹性及其相关因素指标均有显著改善;两个月后的回访结果显示,干预组被试得分与后测无显著差异,仍显著优于前测。结论：团体音乐辅导能够有效地提高地震灾区初中生的心理弹性水平,并具有一定的长效性。     

Music to my eyes: cross-modal interactions in the perception of emotions in musical performance

We investigate non-verbal communication through expressive body movement and musical sound, to reveal higher cognitive processes involved in the integration of emotion from multiple sensory modalities. Participants heard, saw, or both heard and saw recordings of a Stravinsky solo clarinet piece, performed with three distinct expressive styles: restrained, standard, and exaggerated intention. Participants used a 5-point Likert scale to rate each performance on 19 different emotional qualities. The data analysis revealed that variations in expressive intention had their greatest impact when the performances could be seen; the ratings from participants who could only hear the performances were the same across the three expressive styles. Evidence was also found for an interaction effect leading to an emergent property, intensity of positive emotion, when participants both heard and saw the musical performances. An exploratory factor analysis revealed orthogonal dimensions for positive and negative emotions, which may account for the subjective experience that many listeners report of having multi-valent or complex reactions to music, such as “bittersweet.”     

Incidental Learning of Melodic Structure of North Indian Music

Musical knowledge is largely implicit. It is acquired without awareness of its complex rules, through interaction with a large number of samples during musical enculturation. Whereas several studies explored implicit learning of mostly abstract and less ecologically valid features of Western music, very little work has been done with respect to ecologically valid stimuli as well as non‐Western music. The present study investigated implicit learning of modal melodic features in North Indian classical music in a realistic and ecologically valid way. It employed a cross‐grammar design, using melodic materials from two modes (rāgas) that use the same scale. Findings indicated that Western participants unfamiliar with Indian music incidentally learned to identify distinctive features of each mode. Confidence ratings suggest that participants' performance was consistently correlated with confidence, indicating that they became aware of whether they were right in their responses; that is, they possessed explicit judgment knowledge. Altogether our findings show incidental learning in a realistic ecologically valid context during only a very short exposure, they provide evidence that incidental learning constitutes a powerful mechanism that plays a fundamental role in musical acquisition.     

篮球运动员视觉工作记忆对注意控制的影响

采用视觉搜索任务范式,以不同工作记忆容量的篮球运动员作为研究参与者,探讨了视觉工作记忆对自上而下注意控制的影响。结果表明,不同视觉工作记忆容量的篮球运动员的注意控制能力存在差异,高视觉工作记忆容量组的成绩略优于低视觉工作记忆容量的篮球运动员;视觉工作记忆中信息性质影响注意控制,其影响作用是通过记忆项目特征与目标项目特征相匹配的情况来实现,这个影响过程不受视觉工作记忆容量大小的调节。     

Cerebellar patients demonstrate preserved implicit knowledge of association strengths in musical sequences

Recent findings suggest the involvement of the cerebellum in perceptual and cognitive tasks. Our study investigated whether cerebellar patients show musical priming based on implicit knowledge of tonal-harmonic music. Participants performed speeded phoneme identification on sung target chords, which were either related or less-related to prime contexts in terms of the tonal-harmonic system. As groups, both cerebellar patients and age-matched controls showed facilitated processing for related targets, as previously observed for healthy young adults. The outcome suggests that an intact cerebellum is not mandatory for accessing implicit knowledge stored in long-term memory and for its influence on perception. One patient showed facilitated processing for less-related targets (suggesting sensory priming). The findings suggest directions for future research on auditory perception in cerebellar patients to further our understanding of cerebellar functions.     

Vestibular influence on auditory metrical interpretation

When we move to music we feel the beat, and this feeling can shape the sound we hear. Previous studies have shown that when people listen to a metrically ambiguous rhythm pattern, moving the body on a certain beat--adults, by actively bouncing themselves in synchrony with the experimenter, and babies, by being bounced passively in the experimenter's arms--can bias their auditory metrical representation so that they interpret the pattern in a corresponding metrical form [Phillips-Silver, J., & Trainor, L. J. (2005). Feeling the beat: Movement influences infant rhythm perception. Science, 308, 1430; Phillips-Silver, J., & Trainor, L. J. (2007). Hearing what the body feels: Auditory encoding of rhythmic movement. Cognition, 105, 533-546]. The present studies show that in adults, as well as in infants, metrical encoding of rhythm can be biased by passive motion. Furthermore, because movement of the head alone affected auditory encoding whereas movement of the legs alone did not, we propose that vestibular input may play a key role in the effect of movement on auditory rhythm processing. We discuss possible cortical and subcortical sites for the integration of auditory and vestibular inputs that may underlie the interaction between movement and auditory metrical rhythm perception.     

Songs as an aid for language acquisition

In previous research, Saffran and colleagues [Saffran, J. R., Aslin, R. N., & Newport, E. L. (1996). Statistical learning by 8-month-old infants. Science, 274, 1926-1928; Saffran, J. R., Newport, E. L., & Aslin, R. N. (1996). Word segmentation: The role of distributional cues. Journal of Memory and Language, 35, 606-621.] have shown that adults and infants can use the statistical properties of syllable sequences to extract words from continuous speech. They also showed that a similar learning mechanism operates with musical stimuli [Saffran, J. R., Johnson, R. E. K., Aslin, N., & Newport, E. L. (1999). Abstract Statistical learning of tone sequences by human infants and adults. Cognition, 70, 27-52.]. In this work we combined linguistic and musical information and we compared language learning based on speech sequences to language learning based on sung sequences. We hypothesized that, compared to speech sequences, a consistent mapping of linguistic and musical information would enhance learning. Results confirmed the hypothesis showing a strong learning facilitation of song compared to speech. Most importantly, the present results show that learning a new language, especially in the first learning phase wherein one needs to segment new words, may largely benefit of the motivational and structuring properties of music in song.