Song recognition without identification: when people cannot "name that tune" but can recognize it as familiar.

Recognition without identification (RWI) is a common day-to-day experience (as when recognizing a face or a tune as familiar without being able to identify the person or the song). It is also a well-established laboratory-based empirical phenomenon: When identification of recognition test items is prevented, participants can discriminate between studied and unstudied test items. The present study demonstrates this finding in the realm of music. A song RWI effect is reported across 4 experiments, despite very low identification rates in each. The effect was found with unidentifiable song fragments (Experiment 1), with song notes removed from their original rhythms (Experiment 2), and with songs unidentifiable from their tapped out rhythms (Experiments 3 and 4). Theoretical implications of these results are relevant to both the study of familiarity-based recognition and the study of music cognition. (PsycINFO Database Record (c) 2009 APA, all rights reserved).

[1]  A. Halpern,et al.  Memory for the absolute pitch of familiar songs , 1989, Memory & cognition.

[2]  Anne M Cleary,et al.  Recognition with and without identification: Dissociative effects of meaningful encoding , 2002, Memory & cognition.

[3]  H W Gordon,et al.  Hemispheric lateralization of singing after intracarotid sodium amylobarbitone1 , 1974, Journal of neurology, neurosurgery, and psychiatry.

[4]  Lynne M. Reder,et al.  Models of recognition: A review of arguments in favor of a dual-process account , 2006, Psychonomic bulletin & review.

[5]  A. Yonelinas.  The Nature of Recollection and Familiarity: A Review of 30 Years of Research , 2002 .

[6]  Alan S. Brown,et al.  A review of the déjà vu experience. , 2003, Psychological bulletin.

[7]  Anne M Cleary,et al.  True and false memory in the absence of perceptual identification , 2004, Memory.

[8]  Alan S. Brown,et al.  Evoking false beliefs about autobiographical experience , 2008, Psychonomic bulletin & review.

[9]  Ludmil Mavlov,et al.  Amusia Due to Rhythm Agnosia in a Musician with Left Hemisphere Damage: A Non-Auditory Supramodal Defect , 1980, Cortex.

[10]  G. Mandler.  YOUR FACE LOOKS FAMILIAR BUT I CANT REMEMBER YOUR NAME - A REVIEW OF DUAL PROCESS THEORY , 1991 .

[11]  W. Dowling,et al.  The time course of recognition of novel melodies , 1995, Perception & psychophysics.

[12]  Stephan Lewandowsky,et al.  Relating Theory and Data : Essays on Human Memory in Honor of Bennet B. Murdock , 1991 .

[13]  R. Shiffrin,et al.  A retrieval model for both recognition and recall. , 1984, Psychological review.

[14]  Z. Peynircioǧlu.  A feeling-of-recognition without identification☆ , 1990 .

[15]  Larry L. Jacoby,et al.  Journal of Memory and Language , 2001 .

[16]  I. Biederman.  Recognition-by-components: a theory of human image understanding. , 1987, Psychological review.

[17]  A. Schnider,et al.  Receptive amusia: temporal auditory processing deficit in a professional musician following a left temporo-parietal lesion , 2004, Neuropsychologia.

[18]  P. Cook,et al.  Memory for musical tempo: Additional evidence that auditory memory is absolute , 1996, Perception & psychophysics.

[19]  Tim Curran,et al.  Retrieval dynamics of recognition and frequency judgments: Evidence for separate processes of familiarity and recall. , 1994 .

[20]  W. Jay Dowling,et al.  Psychology and music : the understanding of melody and rhythm , 1993 .

[21]  Douglas L. Hintzman,et al.  Judgments of frequency and recognition memory in a multiple-trace memory model. , 1988 .

[22]  Darko Kirovski,et al.  Beat-ID: identifying music via beat analysis , 2002, 2002 IEEE Workshop on Multimedia Signal Processing..

[23]  Perry R. Cook,et al.  Music, cognition, and computerized sound: an introduction to psychoacoustics , 1999 .

[24]  Jill A. Warker,et al.  Musical stem completion: humming that note. , 2005, The American journal of psychology.

[25]  S. Trehub,et al.  Absolute Pitch and Tempo in Mothers' Songs to Infants , 2002, Psychological science.

[26]  Daniel J. Levitin,et al.  Memory for musical attributes , 1999 .

[27]  S. Gronlund,et al.  Global matching models of recognition memory: How the models match the data , 1996, Psychonomic bulletin & review.

[28]  A. Yonelinas.  Receiver-operating characteristics in recognition memory: evidence for a dual-process model. , 1994, Journal of experimental psychology. Learning, memory, and cognition.

[29]  Thomas Goschke,et al.  Intuition in the context of object perception: Intuitive gestalt judgments rest on the unconscious activation of semantic representations , 2008, Cognition.

[30]  A. Cleary,et al.  Memory for unidentified items: Evidence for the use of letter information in familiarity processes , 2001, Memory & cognition.

[31]  Mari Riess Jones,et al.  Recognizing Melodies: A Dynamic Interpretation , 1987 .

[32]  Alan S. Brown,et al.  Feature and conjunction effects in recognition memory: Toward specifying familiarity for compound words , 2007, Memory & cognition.

[33]  E. Schellenberg,et al.  Good Pitch Memory Is Widespread , 2003, Psychological science.

[34]  G. Radvansky,et al.  Timbre Reliance in Nonmusicians' and Musicians' Memory for Melodies , 1995 .

[35]  C. Krumhansl.  Rhythm and pitch in music cognition. , 2000, Psychological bulletin.

[36]  Andrea R. Halpern,et al.  Melody recognition at fast and slow tempos: Effects of age, experience, and familiarity , 2008, Perception & psychophysics.

[37]  Jeremy K. Miller,et al.  Familiarity from orthographic information: Extensions of the recognition without identification effect , 2007, Memory & cognition.

[38]  D. Levitin.  Absolute memory for musical pitch: Evidence from the production of learned melodies , 1994, Perception & psychophysics.

[39]  A. Cleary.  Recognition Memory, Familiarity, and Déjà vu Experiences , 2008 .

[40]  M. Rugg,et al.  Human recognition memory: a cognitive neuroscience perspective , 2003, Trends in Cognitive Sciences.

[41]  W. Dunlap,et al.  Meta-Analysis of Experiments With Matched Groups or Repeated Measures Designs , 1996 .

[42]  Rita S. Wolpert.  Recognition of Melody, Harmonic Accompaniment, and Instrumentation: Musicians vs. Nonmusicians , 1990 .

[43]  Moses M. Langley,et al.  Recognition without picture identification: Geons as components of the pictorial memory trace , 2004, Psychonomic bulletin & review.

[44]  A. Cleary,et al.  Recognition without identification. , 2000, Journal of experimental psychology. Learning, memory, and cognition.

[45]  Orthography, phonology, and meaning: Word features that give rise to feelings of familiarity in recognition , 2004, Psychonomic bulletin & review.

[46]  A. Cleary,et al.  Auditory recognition without identification , 2007, Memory & cognition.

[47]  T. Curran,et al.  Using ERPs to dissociate recollection from familiarity in picture recognition. , 2003, Brain research. Cognitive brain research.

[48]  G. Mandler.  Recognizing: The judgment of previous occurrence. , 1980 .

[49]  A. Cleary,et al.  Recognition without Perceptual Identification: A Measure of Familiarity? , 2005, The Quarterly journal of experimental psychology. A, Human experimental psychology.

[50]  I. Peretz,et al.  Processing of local and global musical information by unilateral brain-damaged patients. , 1990, Brain : a journal of neurology.

[51]  G. Mandler.  Familiarity Breeds Attempts: A Critical Review of Dual-Process Theories of Recognition , 2008, Perspectives on psychological science : a journal of the Association for Psychological Science.

[52]  Identification of speeded and slowed familiar melodies by younger, middle-aged, and older musicians and nonmusicians. , 1998, Psychology and aging.

[53]  A. Cleary.  Relating familiarity-based recognition and the tip-of-the-tongue phenomenon: Detecting a word’s recency in the absence of access to the word , 2006, Memory & cognition.

[54]  A. Cleary,et al.  Recognition without face identification , 2007, Memory & cognition.

[55]  Endel Tulving,et al.  The Logic of Memory Representations , 1974, Psychology of Learning and Motivation.

[56]  Masaru Mimura,et al.  Impaired pitch production and preserved rhythm production in a right brain-damaged patient with amusia , 2004, Brain and Cognition.

[57]  T. Curran.  Brain potentials of recollection and familiarity , 2000, Memory & cognition.

[58]  Isabelle Peretz,et al.  Brains That Are out of Tune but in Time , 2004, Psychological science.

[59]  B. White.  Recognition of distorted melodies. , 1960, The American journal of psychology.

[60]  J A Bashford,et al.  When acoustic sequences are not perceptual sequences: The global perception of auditory patterns , 1993, Perception & psychophysics.