Effects of timbre and tempo change on memory for music

We investigated the effects of different encoding tasks and of manipulations of two supposedly surface parameters of music on implicit and explicit memory for tunes. In two experiments, participants were first asked to either categorize instrument or judge familiarity of 40 unfamiliar short tunes. Subsequently, participants were asked to give explicit and implicit memory ratings for a list of 80 tunes, which included 40 previously heard. Half of the 40 previously heard tunes differed in timbre (Experiment 1) or tempo (Experiment 2) in comparison with the first exposure. A third experiment compared similarity ratings of the tunes that varied in timbre or tempo. Analysis of variance (ANOVA) results suggest first that the encoding task made no difference for either memory mode. Secondly, timbre and tempo change both impaired explicit memory, whereas tempo change additionally made implicit tune recognition worse. Results are discussed in the context of implicit memory for nonsemantic materials and the possible differences in timbre and tempo in musical representations.

Aging and memory for music: A review

People of all ages enjoy listening to music, yet most research in musical development has concentrated on infancy through childhood. Our recent research program examined various aspects of music cognition in younger (ages 18 through 30) and older adults (ages 60 through 80) with varying amounts of musical experience. The studies investigated the independent and combined influences of age and experience on a wide assortment of long and short-term memory tasks. Results showed that some musical tasks reflect the same age-related declines as seen in nonmusical tasks, and musical training does not reduce these age-related declines. In other tasks, experience differences were larger than age differences; in some cases, age differences were nonexistent. The analysis considers how aging and experience may affect different aspects of cognition, and the paper concludes by pointing out the many musical activities that even nonmusical seniors are well equipped to succeed at and enjoy.

Pedagogical techniques and student outcomes in applied instrumental lessons taught by experienced and pre-service American music teachers.

The purpose of the study was to examine the effect of teacher experience on student progress and performance quality in an introductory applied lesson. Nine experienced teachers and 15 pre-service teachers taught an adult beginner to play ‘Mary Had a Little Lamb’ on a wind instrument. The lessons were videotaped for subsequent analysis of teaching behaviors and performance achievement. Following instruction, a random sample of teachers was interviewed about their perceptions of the lesson. A panel of adjudicators rated final pupil performances. No significant difference was found between pupils taught by experienced and pre-service teachers in the quality of their final performance. Systematic observation of the videotaped lessons showed that participant teachers provided relatively frequent and highly positive reinforcement during the lessons. Pupils of experienced teachers talked significantly more during the lessons than did pupils of pre-service teachers. Pre-service teachers modeled significantly more on their instruments than did experienced teachers.

Music, perceived arousal, and intensity: psychophysiological reactions to Chopin's "Tristesse"

The present study investigates the relation of perceived arousal (continuous self-rating), autonomic nervous system activity (heart rate, heart rate variability) and musical characteristics (sound intensity, musical rhythm) upon listening to a complex musical piece. Twenty amateur musicians listened to two performances of Chopin's "Tristesse" with different rhythmic shapes. Besides conventional statistical methods for analyzing psychophysiological reactions (heart rate, respiration rate) and musical variables, semblance analysis was used. Perceived arousal correlated strongly with sound intensity; heart rate showed only a partial response to changes in sound intensity. Larger changes in heart rate were caused by the version with more rhythmic tension. The low-/high-frequency ratio of heart rate variability increased-whereas the high frequency component decreased-during music listening. We conclude that autonomic nervous system activity can be modulated not only by sound intensity but also by the interpreter's use of rhythmic tension. Semblance analysis enables us to track the subtle correlations between musical and physiological variables.

Comparison of music perception in bilateral and unilateral cochlear implant users and normal-hearing subjects

Music plays an important role in the daily life of cochlear implant (CI) users, but electrical hearing and speech processing pose challenges for enjoying music. Studies of unilateral CI (UCI) users' music perception have found that these subjects have little difficulty recognizing tempo and rhythm but great difficulty with pitch, interval and melody. The present study is an initial step towards understanding music perception in bilateral CI (BCI) users. The Munich Music Questionnaire was used to investigate music listening habits and enjoyment in 23 BCI users compared to 2 control groups: 23 UCI users and 23 normal-hearing (NH) listeners. Bilateral users appeared to have a number of advantages over unilateral users, though their enjoyment of music did not reach the level of NH listeners.