Memory and Attention in Music

Publisher Summary This chapter discusses memory and attention in music. Musical memory must involve a highly complex and differentiated system where information is retained simultaneously at many levels of abstraction. Substantial effects on memory performance are produced by including in interpolated sequence notes of the same pitch as one or other of the notes to be compared. Such effects may be either facilitatory or disruptive. A great increase in errors is produced in sequences when the test notes differ in pitch and when a note that is identical in pitch to the second test note is included in the interpolated sequence. This effect depends largely upon the serial position of the repeated note and a far greater increase in errors occurs when this note is placed in the second serial position of a sequence of six interpolated notes than when it is placed in the fifth serial position Such repetition effects are probably because of the deterioration of information along a time, or order continuum. It is found that when two notes are presented either simultaneously or in succession, a musical interval is perceived, and a perceptual similarity exists among intervals with component notes separated by the same frequency ratio.

[1]  Diana Deutsch,et al.  Octave generalization of specific interference effects in memory for tonal pitch , 1973 .

[2]  Wayne A. Wickelgren,et al.  Associative strength theory of recognition memory for pitch , 1969 .

[3]  H. Schlosberg,et al.  Octave generalization, pitch discrimination, and loudness thresholds in the white rat. , 1943 .

[4]  Frank Restle,et al.  Organization of Serial Pattern Learning , 1970 .

[5]  G. A. Miller,et al.  An experimental study of auditory patterns. , 1951, The American journal of psychology.

[6]  J. Harris,et al.  The decline of pitch discrimination with time. , 1952, Journal of experimental psychology.

[7]  Diana Deutsch.  An illusion with musical scales , 1974 .

[8]  D. Deutsch.  Tones and Numbers: Specificity of Interference in Immediate Memory , 1970, Science.

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

[10]  D Deutsch,et al.  Mapping of Interactions in the Pitch Memory Store , 1972, Science.

[11]  Irwin Pollack,et al.  Ohm's Acoustical Law and Short‐Term Auditory Memory , 1964 .

[12]  D Deutsch,et al.  Facilitation by repetition in recognition memory for tonal pitch , 1975, Memory & cognition.

[13]  Roger E. Kirk,et al.  Tuning Preferences for Piano Unison Groups , 1959 .

[14]  F. Attneave,et al.  Pitch as a medium: a new approach to psychophysical scaling. , 1971, The American journal of psychology.

[15]  L. Humphreys.  Generalization as a function of method of reinforcement. , 1939 .

[16]  John C. Webster,et al.  Responding to One of Two Simultaneous Messages , 1954 .

[17]  K. L. Chandiramani.  Diffraction of evanescent waves, with applications to aerodynamically scattered sound and radiation from unbaffled plates , 1974 .

[18]  D. Deutsch,et al.  An auditory illusion , 1974, Nature.

[19]  W. Dowling.  The perception of interleaved melodies , 1973 .

[20]  D. Deutsch.  Two-channel listening to musical scales. , 1975, The Journal of the Acoustical Society of America.

[21]  D. Yntema,et al.  Recall as a search process , 1963 .

[22]  R. M. Warren,et al.  Auditory Sequence: Confusion of Patterns Other Than Speech or Music , 1969, Science.

[23]  Diana Deutsch,et al.  Disinhibition in pitch memory , 1975 .

[24]  D Deutsch,et al.  Error patterns in delayed pitch comparison as a function of relational context. , 1974, Journal of experimental psychology.

[25]  L. V. Noorden.  Temporal coherence in the perception of tone sequences , 1975 .

[26]  D. Hubel,et al.  Receptive fields, binocular interaction and functional architecture in the cat's visual cortex , 1962, The Journal of physiology.

[27]  Walter J Dowling,et al.  The perception of melodies distorted by splitting into several octaves: Effects of increasing proximity and melodic contour , 1977 .

[28]  E. Carterette,et al.  Some Factors Affecting Multi‐Channel Listening , 1954 .

[29]  Richard M. Warren,et al.  Identification of temporal order within auditory sequences , 1972 .

[30]  D Deutsch,et al.  Generality of Interference by Tonal Stimuli in Recognition Memory for Pitch , 1974, The Quarterly journal of experimental psychology.

[31]  Walter J Dowling,et al.  Recognition of melodic transformations: Inversion, retrograde, and retrograde inversion , 1972 .

[32]  D Deutsch,et al.  Separate "what" and "where" decision mechanisms in processing a dichotic tonal sequence. , 1976, Journal of experimental psychology. Human perception and performance.

[33]  Diana Deutsch,et al.  Octave generalization and tune recognition , 1972 .

[34]  D Deutsch,et al.  Interference in memory between tones adjacent in the musical scale. , 1973, Journal of experimental psychology.

[35]  I. Pollack.  The Information of Elementary Auditory Displays , 1952 .

[36]  T. McMahon.  The Mechanical Design of Trees , 1975 .

[37]  A. Treisman.  THE EFFECT OF IRRELEVANT MATERIAL ON THE EFFICIENCY OF SELECTIVE LISTENING. , 1964, The American journal of psychology.

[38]  Arlette Zenatti,et al.  Le développement génétique de la perception musicale , 1969 .

[39]  A. Bregman,et al.  Primary auditory stream segregation and perception of order in rapid sequences of tones. , 1971, Journal of experimental psychology.

[40]  G. A. Miller,et al.  The Trill Threshold , 1950 .

[41]  J. Deutsch,et al.  Attention: Some theoretical considerations. , 1963 .

[42]  A. Bachem,et al.  Time Factors in Relative and Absolute Pitch Determination , 1954 .

[43]  D Deutsch,et al.  Effect of repetition of standard and comparison tones on recognition memory for pitch. , 1972, Journal of experimental psychology.

[44]  J. Gray,et al.  Shorter Articles and Notes Grouping Strategies with Simultaneous Stimuli , 1960 .