DOCSLIB.ORG

Working Memory for Pitch, Timbre, and Words

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Working Memory for Pitch, Timbre, and Words This article was downloaded by: [Barbara Tillmann] On: 08 April 2013, At: 13:10 Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37-41 Mortimer Street, London W1T 3JH, UK Memory Publication details, including instructions for authors and subscription information: http://www.tandfonline.com/loi/pmem20 Working memory for pitch, timbre, and words Katrin Schulze a b & Barbara Tillmann a a Lyon Neuroscience Research Center, Auditory Cognition and Psychoacoustics Team, CNRS UMR5292, INSERM U1028, Université de Lyon, Lyon, France b Developmental Cognitive Neuroscience Unit, UCL Institute of Child Health, London, UK Version of record first published: 01 Nov 2012. To cite this article: Katrin Schulze & Barbara Tillmann (2013): Working memory for pitch, timbre, and words, Memory, 21:3, 377-395 To link to this article: http://dx.doi.org/10.1080/09658211.2012.731070 PLEASE SCROLL DOWN FOR ARTICLE Full terms and conditions of use: http://www.tandfonline.com/page/terms-and-conditions This article may be used for research, teaching, and private study purposes. Any substantial or systematic reproduction, redistribution, reselling, loan, sub-licensing, systematic supply, or distribution in any form to anyone is expressly forbidden. The publisher does not give any warranty express or implied or make any representation that the contents will be complete or accurate or up to date. The accuracy of any instructions, formulae, and drug doses should be independently verified with primary sources. The publisher shall not be liable for any loss, actions, claims, proceedings, demand, or costs or damages whatsoever or howsoever caused arising directly or indirectly in connection with or arising out of the use of this material. Memory, 2013 Vol. 21, No. 3, 377Á395, http://dx.doi.org/10.1080/09658211.2012.731070 Working memory for pitch, timbre, and words Katrin Schulze1,2 and Barbara Tillmann1 1Lyon Neuroscience Research Center, Auditory Cognition and Psychoacoustics Team, CNRS UMR5292, INSERM U1028, Universite´ de Lyon, Lyon, France 2Developmental Cognitive Neuroscience Unit, UCL Institute of Child Health, London, UK Aiming to further our understanding of fundamental mechanisms of auditory working memory (WM), the present study compared performance for three auditory materials (words, tones, timbres). In a forward recognition task (Experiment 1) participants indicated whether the order of the items in the second sequence was the same as in the first sequence. In a backward recognition task (Experiment 2) participants indicated whether the items of the second sequence were played in the correct backward order. In Experiment 3 participants performed an articulatory suppression task during the retention delay of the backward task. To investigate potential length effects the number of items per sequence was manipulated. Overall findings underline the benefit of a cross-material experimental approach and suggest that human auditory WM is not a unitary system. Whereas WM processes for timbres differed from those for tones and words, similarities and differences were observed for words and tones: Both types of stimuli appear to rely on rehearsal mechanisms, but might differ in the involved sensorimotor codes. Keywords: Working memory; Auditory processing; Music cognition. The memory system that enables humans to and (ii) auditory WM differs between stimuli maintain and manipulate information for short that can be internally rehearsed (words, tones) periods of time has been referred to as working and stimuli that are more difficult to rehearse memory (WM). Our understanding of auditory (timbre). Therefore, to further our understanding WM and whether there are differences for the of the underlying processes of WM for different Downloaded by [Barbara Tillmann] at 13:10 08 April 2013 processing of different auditory materials (e.g., auditory information, we compared, to our speech and music) is still elusive. Previous find- knowledge for the first time, WM performance ings suggest that auditory WM is not a unitary for verbal (words) and non-verbal (pitch, timbre) system (e.g., Berz, 1995; Pechmann & Mohr, materials in a forward (Experiment 1) and a 1992; Schulze, Zysset Mueller, Friederici, & backward (Experiment 2) recognition task, and Koelsch, 2011). Our present study set out to in a backward recognition task using articulatory investigate whether (i) the phonological loop, a suppression (Experiment 3). WM component known to process verbal infor- In the following we will review what is known mation (Baddeley, 2012), is also processing non- about WM for verbal, tonal, and timbre stimuli. verbal auditory information (tones and timbre) Whereas verbal WM studies have used both recall Address correspondence to: Katrin Schulze, Developmental Cognitive Neuroscience Unit, UCL Institute of Child Health, 30 Guilford Street, London WC1N 1EH, UK. E-mail: [email protected] This research was supported by a grant from the Agence Nationale de la Recherche of the French Ministry NT05-3_45978 ‘‘Music and Memory’’. We would like to thank Carine Signoret and Etienne Gaudrain for their help with recording and modifying the auditory stimuli. # 2013 Taylor & Francis 378 SCHULZE AND TILLMANN and recognition to investigate participants’ WM rehearsal being comparable to subvocal speech, performance, experiments exploring WM for non- even though some research suggested the addi- verbal materials (tones and timbre) have been tional influence of other word characteristics (i.e., relying on recognition tasks (but see Williamson, phonological complexity) and attentional me- Baddeley, & Hitch, 2010 for a tonal WM recall chanisms (Lewandowsky & Oberauer, 2008). task). Second, it has been shown that the articulatory While various short-term memory (STM) or rehearsal process can be interrupted by articula- WM models have been proposed (for overviews tory suppression (Baddeley, 1992, 2003; Hall & see Baddeley, 2012; Cowan, 1988, 1999; Ericsson Gathercole, 2011; Schendel & Palmer, 2007), & Kintsch, 1995; Jones, 1993; Nairne, 1990), our which prevents the internal rehearsal of verbal present paper is based on the Baddeley and Hitch material and thus reduces verbal WM capacity. (1974) WM model, which has motivated numer- Third, recent neuroimaging studies have provided ous studies investigating WM for verbal and tonal further evidence for subvocal rehearsal under- materials (Baddeley & Hitch, 1974; Berz, 1995; lying verbal WM. Using a recognition paradigm Hickok, Buchsbaum, Humphries, & Muftuler, these studies have reported that active rehearsal 2003; Koelsch et al., 2009; Pechmann & Mohr, of verbal material engages motor-related areas, 1992; Schendel & Palmer, 2007; Schulze, Zysset which are usually involved in controlling and et al., 2011; Williamson et al., 2010). In addition, programming of speech movements (Baddeley, although parts of this model are still under 2003; Gruber & von Cramon, 2003; Hickok et al., debate, no other verbal WM component is as 2003; Koelsch et al., 2009; Paulesu, Frith, & well investigated and accepted as the phonologi- Frackowiak, 1993; Schulze, Zysset et al., 2011; cal loop (Buchsbaum & D’Esposito, 2008). Smith & Jonides, 1997). Thus participants might use their knowledge of how to produce speech in order to convert the auditorily presented verbal information into internally rehearsable motor VERBAL INFORMATION representations or sensorimotor codes (Hickok et al., 2003; Koelsch et al., 2009; Schulze, Zysset In the influential multi-component WM model et al., 2011). proposed by Baddeley and Hitch (1974) verbal Auditory WM has mainly been investigated information is processed by a phonological loop, using verbal stimuli. Non-verbal auditory infor- which is further subdivided in a passive storage mation, however, like music, also unfolds over component (phonological store) and an active time, and the understanding and appreciation of rehearsal mechanism (articulatory rehearsal pro- music depends, as the understanding of speech, on cess). The passive storage component is assumed WM. to store auditory or speech-based information for a few seconds (Baddeley, 1992). Downloaded by [Barbara Tillmann] at 13:10 08 April 2013 When verbal information has to be maintained TONES for longer time spans, it is rehearsed by the 1 articulatory rehearsal process (Baddeley, 2003). In contrast to studies showing the improvement of The following three effects have been interpreted verbal WM performance thanks to internal re- to support the notion that the articulatory re- hearsal (for a review see Baddeley, 2003), studies hearsal is comparable to subvocal speech. First, that have investigated whether internal rehearsal the word length effect refers to the phenomenon of the to-be-remembered stimuli can also improve that participants show a greater memory span WM for tones in recognition tasks yielded con- (Baddeley, Thomson, & Buchanan, 1975) and flicting results. Some studies showed no beneficial superior recognition accuracy (Baddeley, effects of internal rehearsal for WM of tones Chincotta, Stafford, & Turk, 2002) for short words (Demany, Montandon, & Semal, 2004; Kaernbach than for long words. This finding has been used as & Schlemmer, 2008). In these studies participants one of the major arguments for articulatory might have encountered difficulties in covertly rehearsing the experimental stimuli because the 1 Refreshing in order to maintain information in WM frequency of the tones used did not correspond
Load more

Recommended publications
  • Modularity of Music: Evidence from a Case of Pure Amusia
    J Neurol Neurosurg Psychiatry 2000;69:541–545 541 J Neurol Neurosurg Psychiatry: first published as 10.1136/jnnp.69.4.541 on 1 October 2000. Downloaded from SHORT REPORT Modularity of music: evidence from a case of pure amusia Massimo Piccirilli, Tiziana Sciarma, Simona Luzzi Abstract referred to us in December 1997 for the onset A case of pure amusia in a 20 year old left of a sudden and violent left frontotemporal handed non-professional musician is re- headache, which was followed by nausea and ported. The patient showed an impair- vomiting and was associated with a language ment of music abilities in the presence of disorder. The neurological examination per- normal processing of speech and environ- formed at admission showed only aphasia mental sounds. Furthermore, whereas characterised by rare literal paraphasia cor- recognition and production of melodic rected by the patient himself, with impaired sequences were grossly disturbed, both verbal comprehension. Medical history did not the recognition and production of rhythm indicate any noteworthy diseases, with the patterns were preserved. This selective exception of surgery performed when the breakdown pattern was produced by a patient was 3 years old to remove an angioma focal lesion in the left superior temporal from the pulp of the second finger on his left gyrus. This case thus suggests that not hand. only linguistic and musical skills, but also An emergency cerebral CT showed a left melodic and rhythmic processing are temporal haematoma with a maximum diam- independent of each other. This func- eter of 4.5 cm, surrounded by perilesional tional dissociation in the musical domain oedema.
    [Show full text]
  • Neuromusical Research: an Overview of the Literature
    In: Neurosciences in Music Pedagogy ISBN: 978-1-60021-834-7 Editors: W. Gruhn and F. Rauscher, pp. 1-25 © 2007 Nova Science Publishers, Inc. Chapter I NEUROMUSICAL RESEARCH: AN OVERVIEW OF THE LITERATURE Richard D. Edwards and Donald A. Hodges ABSTRACT With growing interest in the neuroscience of music among both neuroscientists and music educators, the task of reviewing the extant neuromusical research has become more exciting, if not a bit more complicated due to the diversity of topics and the increasing number of available studies. We provide an overview of neuromusical research by discussing its historical foundations (especially with the advancements of imaging technologies), support from ancillary areas (anthropology, ethnomusicology, ethology, and music psychology), support from fetal and infant responses to music, and support from studies of special musicians (prodigies, savants, Williams Syndrome musicians, and Alzheimer’s patients). The main section presents findings and implications from recent neuroimaging studies by dividing the research into five categories: (1) Perception and Cognition, (2) Affective Responses, (3) Musical Performance, (4) Learning, and (5) Genetic Factors. Several broad conclusions regarding the state of human musicality are presented in the concluding section. Among these conclusions, perhaps the most valuable evidence that neuromusical research currently holds for educators is that musicality is a birthright of all people and that music processing is inherent to some degree in all humans. Humanity has long wondered about the mind. Before Descartes proposed “I think, therefore, I am” or even before Plato and Aristotle ever contemplated the psyche, the oldest brain map on record was being drawn upon papyrus in Egypt almost 5,000 years ago1.
    [Show full text]
  • To Test the Program in Classrooms. Methods Included A
    DOCUMENT RESUME ED 025 530 24 TE 499 967 By-Gould A. Oren Developing Specialized Programs for Singing in theElementary School. Final Report. Spons Agency-Office of Education (MEW). Washington.D.C. Bureau of Research Bureau No- BR- 5-0241 Pub Date Aug 68 Contract- OEC- 6-10-016 Note-106p. EDRS Price MF-$0.50 HC-$5.40 Descriptors-Case Studies (Education), Choral Music,Educational Research. *ElementaryEducation. Elementary School Students, Instructional Improvement,Instructional Materials, Music, Music Activities,*Music Education. Music Techniques, Pilot Proiects, *Remedial InstructiorRemedial Programs, *Singing, Surveys.*Teaching Techniques, Vocal Music The obiectives of this research into waysof helping children who havedifficulty finding and using their singing voices were(1) to make an intensive studyof singing difficulties of elementary-school children,(2) to discover, observe,and analyze successful techniques and materialsfor use with children who have notlearned to "carry a tune," (3) to develop a Lequentialremedial program for problem singers,and (4) to test the program in classrooms.Methods included a nationwide surveyof singing problems amongelementary-school children and the testingof corrective techniques and materials in the WesternIllinois University LaboratorySchool and in selected public schools. Results establishedthe importance of kinestheticfactors in discovering and developing the singing voice:the child must identify his singingvoice as opposed tohis speaking voice, and he mustlearn the sound andfeeling of his voice as it matches pitchesthat he hears. (The appendicesinclude copies of the used survey questions,of a test of sinding ability, and ofspecific corrective materials in the study.) (JS) sof 5----$07/1 Pg 491 FINAL REPORT Project No. 5-0241 Contract No.
    [Show full text]
  • Relative Pitch and L2 Lexical Tone Perception/Tone Language Comprehension by Adult Tone
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2017 Is It All Relative? Relative Pitch and L2 Lexical Tone Perception/ Tone Language Comprehension by Adult Tone and Non-Tone Language Speakers Sloane C. von Wertz The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2247 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] IS IT ALL RELATIVE? RELATIVE PITCH AND L2 LEXICAL TONE PERCEPTION/TONE LANGUAGE COMPREHENSION BY ADULT TONE AND NON-TONE LANGUAGE SPEAKERS by SLOANE CELESTE VON WERTZ A dissertation submitted to the Graduate Faculty in Linguistics in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2017 © 2017 SLOANE CELESTE VON WERTZ All Rights Reserved ii Is It All Relative? Relative Pitch and L2 Lexical Tone Perception/Tone Language Comprehension by Adult Tone and Non-Tone Language Speakers by Sloane Celeste von Wertz This manuscript has been read and accepted for the Graduate Faculty in Linguistics in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. Date Gita Martohardjono Chair of Examining Committee Date Gita Martohardjono Executive Officer Supervisory Committee: Gita Martohardjono Andrew Rosenberg Joseph Straus THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT Is It All Relative? Relative Pitch and L2 Lexical Tone Perception/Tone Language Comprehension by Adult Tone and Non-Tone Language Speakers by Sloane Celeste von Wertz Advisor: Professor Gita Martohardjono Languages generally use musical pitch variation of the voice as part of their sound systems (Maddieson, 2011)—pitch variations that can be somewhat reminiscent of music.
    [Show full text]
  • MICROFILMED 1989 INFORMATION to USERS the Most Advanced Technology Has Been Used to Photo­ Graph and Reproduce This Manuscript from the Microfilm Master
    UMI MICROFILMED 1989 INFORMATION TO USERS The most advanced technology has been used to photo­ graph and reproduce this manuscript from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are re­ produced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. These are also available as one exposure on a standard 35mm slide or as a 17" x 23" black and white photographic print for an additional charge. Photographs included in the original manuscript have been reproduced xerographically in this copy. H igher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. University Microfilms International A Bell & Howell Information Com pany 300 North Zeeb Road, Ann Arbor.
    [Show full text]
  • The Perception of Consonance and Dissonance by Constantine Frithiof Malmberg
    THE PERCEPTION OF CONSONANCE AND DISSONANCE BY CONSTANTINE FRITHIOF MALMBERG CONTENTS Historical Definition and experimental methods Ranking of intervals Analysis and ranking of intervals Preliminary study of apparatus Criteria of consonance and dissonance Method of procedure Statement of results Measurements of the perception of consonance as a musical talent Apparatus Definition and illustration of criteria The weighting of demerits The norm established Bearing on the order of ranking Evaluation of the method Recommendations toward a Standard Test Summary of conclusions Bibliography and references The object of this investigation is first to establish the rank­ ing order of the musical intervals within the octave c'c" with respect to the degree of consonance, and second, to standardize a measurement of the perception of consonance.* The term consonance has been variously defined, and has been used to convey several meanings. While in general, it * The author wishes to express his hearty appreciation of the valuable assistance of the members of the Department of Psychology, particularly to the other observers named herein who gave their valuable services so freely. He wishes especially to mention his co-workers in the laboratory, Drs. Thomas Vance and Walter R. Miles and Messrs. Luther Widen, Felix B. Ross and Fred C. Bruene, whose valuable cooperation is highly appreciated. To Professor Seashore the author is under special obligations for the pre­ liminary outlining of the problem, cooperation in the experiments, and much assistance in the preparation of this article. 94 CONSTANTINE FRITHIOF MALMBERG has been used with reference to the agreement of simultaneous tones, we find each investigator or theorizer emphasizing some one factor in this complex phenomenon to the exclusion of one or two other factors of similar importance.
    [Show full text]
  • The Effects of Computerized and Traditional Ear Training Programs
    Running head: COMPUTERIZED AND TRADITIONAL EAR TRAINING The Effects of Computerized and Tradi tional Ear Training Programs on Aural Skills of Elementary Students Patrick N. Kariuki And Zachary R. Ross Milligan College A Paper Presented at the Annual Conference of the Mid - South Educational Research Association, Starkville, Mississippi, November 8 - 10, 2017 COMPUTERIZED AND TRADITIONAL EAR TRAINING 2 Abstract The purpose of this study was to investigate the effects of computerized and traditional ear t raining methods on the aural skills abilities of elementary music students. The sample consisted of 20 students who were randomly assigned to either an experimental or control group. The experimental group was taught for five sessions using computerized ea r training program while the control group was taught for five sessions using traditional, non - computerized ear training methods. At the end of the five sessions, students were tested. Data were collected by administering a test to both experimental and co ntrol groups that measured students’ ability to identify by ear eleven different pitch intervals and three different qualities of chords. Students were also administered a survey to measure their attitudes toward their experience in the ear training progra m. Data were analyzed using independent t - tests. The results indicated a significant difference between the test scores of the control and experimental groups. There was no significant difference found between the experimental and control groups regarding their attitude survey
    [Show full text]
  • Irrelevant Sound Interference on Phonological and Tonal Working
    Defilippi et al. Psicologia: Reflexão e Crítica (2019) 32:2 Psicologia: Reflexão e Crítica https://doi.org/10.1186/s41155-018-0114-z RESEARCH Open Access Irrelevant sound interference on phonological and tonal working memory in musicians and nonmusicians Ana Clara Naufel Defilippi, Ricardo Basso Garcia* and Cesar Galera Abstract Background: Working memory refers to the cognitive system responsible for the temporary storage and maintenance of information, but it remains controversial whether overlapping processes underlie the temporary retention of verbal and musical information such as words and tones. Methods: Participants with little or no musical training (n = 22) and professional musicians (n = 21) were administered four memory tasks. Two tasks (tone sequence recognition and pseudoword sequence recall) aimed at comparing groups’ performance for tonal or phonological material separately. Other two memory tasks investigated pseudoword and tone recognition under three conditions during the retention interval (silence, irrelevant words, or irrelevant tones). Results: Musicians were better than nonmusicians in tone sequence recognition but not in pseudoword sequence recall. There were no interference effects of irrelevant tones or words on pseudoword recognition, and only irrelevant tones significantly interfered with tone recognition. Conclusions: Our results offer further support that tone recognition is specifically impaired by irrelevant tones, but irrelevant words did not disrupt pseudoword or tone recognition. Although these results
    [Show full text]
  • Interference in Memory for Tonal Pitch: Implications for a Working-Memory Model
    MeITWry de Cognition 1992. 20 (3), 314-320 Interference in memory for tonal pitch: Implications for a working-memory model THOMAS PECHMANN and all..BERT MOHR Unioersitiit des Saarlandes, Saarbriicken, Germany The degree of interference caused by different kinds of stimuli on memory for tonal pitch was studied. Musically trained and untrained subjects heard a sequence of two tones separated by an interval of 5 sec. The tones were either identical in pitch or differed by a semitone. Subjects had to decide whether the tones were identical or not. The interval was filled with tonal, verbal, or visual material under attended and unattended conditions. The results revealed clear group differences. Musically trained subjects' retention of the first test tone was only affected by the interposition of other tones. In contrast, the performance of musically untrained subjects was also affected by verbal and visual items. The findings are discussed in the framework ofBaddeley's (1986) working-memory model. In a number of experiments, Deutsch studied the ef­ Deutsch & Feroe, 1975). The explanation based on lat­ fect of short sequences of tones on the retention of tonal eral inhibition might be further specified by reference to pitch (see Deutsch, 1982, for an overview). These ex­ the concept ofthe critical bandwidth (cf. Plomp & Levelt, periments principally employed the same method, which 1965). Since the size of the critical band depends on its is illustrated in Figure 1. Subjects heard a first test tone center frequency, the distance between two tones later- . followed by a series of six interpolated tones varying in ally inhibiting each other might depend on the range of pitch.
    [Show full text]
  • On Becoming and Being a Musician: a Mixed Methods Study of Musicianship in Children and Adults
    On Becoming and Being a Musician: A Mixed Methods Study of Musicianship in Children and Adults Dawn Rose Thesis submitted to the University of London for the degree of Doctor of Philosophy Department of Psychology, Goldsmiths, University of London May 2016 1 Statement of Originality I certify that the work in this thesis is my own. Signed………………………………. (Dawn Rose) Dated…………… May 2016 2 Acknowledgements I would like to acknowledge the participating musicians, parents, teachers and children who have so generously given their time to make this study possible. My genuine gratitude to you all for inspiring me and for inviting me to your homes, schools, hearts and minds. Thank you for helping me, and I hope I have honoured your generosity by providing research that will help others in turn. Similarly, I am grateful to the institution of Goldsmiths, University of London for providing me with the opportunity to learn. However, it is the people there who made it such a positive experience. In particular I would like to acknowledge and thank Professor Lauren Stewart who opened the doors for me and helped me believe in myself by showing me unswerving support from the very start and also Maurice Douglas whose kindness and smiles made everything seem possible. To Pamela Heaton, whose enormous heart, depth of insight and sharp intellect have inspired me from the first lecture I saw her give to the final draft of this thesis, and for her friendship throughout the rollercoaster ride in between. You have shown me how to see into worlds in ways I barely imagined possible for me, and you have taught me to think with discipline and purpose.
    [Show full text]
  • Factors Related to the Validity of Reproduction Tonal Memory Tests Charles E
    Grand Valley State University ScholarWorks@GVSU Peer Reviewed Articles Music & Dance Department 2000 Factors Related to the Validity of Reproduction Tonal Memory Tests Charles E. Norris Grand Valley State University, [email protected] Follow this and additional works at: https://scholarworks.gvsu.edu/mus_articles Part of the Music Commons Recommended Citation Norris, Charles E., "Factors Related to the Validity of Reproduction Tonal Memory Tests" (2000). Peer Reviewed Articles. 2. https://scholarworks.gvsu.edu/mus_articles/2 This Article is brought to you for free and open access by the Music & Dance Department at ScholarWorks@GVSU. It has been accepted for inclusion in Peer Reviewed Articles by an authorized administrator of ScholarWorks@GVSU. For more information, please contact [email protected]. 52 JRME 2000, VOLUME 48, NUMBER 1, PAGES 52-64 The purpose of this investigation was to acquire data regardingthe validity of repro- duction tonal memorytests by examining the relationshipsbetween performances on an existing reproductiontonal memorytest and performanceson several recognition tonal memory tests. Analysis of 210 fifth- through twelfth-gradestudents' scores on one reproductiontest and four recognition tests of tonal memoryrevealed moderate relationships (r = .47 to .66) betweenthe two types of tests. Stepwisemultiple regres- sion revealed a moderatelystrong predictive relationship between a combination of three recognition measures and the reproductiontest (R = .73, R2 = .53). Little change was noted in the relationship between the two types of tests with regard to singing experience. Although the reproduction tonal memory test was tentatively deemeda valid measure, thefollowing additional researchand analysis was suggest- ed: (a) continued considerationof gender,ability, and total musical experienceas they affect overall validity, and (b) the creation of a morereliable recognition test alterna- tive.
    [Show full text]
  • Read Book Acoustics and Psychoacoustics
    ACOUSTICS AND PSYCHOACOUSTICS PDF, EPUB, EBOOK Jamie Angus,David M. Howard | 496 pages | 13 Jan 2010 | Taylor & Francis Ltd | 9780240521756 | English | Oxford, United Kingdom Acoustics and Psychoacoustics PDF Book We just haven't asked the right questions. Floyd E. The basilar membrane therefore responds best to high frequencies where it is narrow and thin at the base and to low frequencies where it is wide and thick at the apex. Welcome back. Handbook of Clinical Audiology. Sometimes it is important to be able to calculate an estimate of the equivalent sound level experienced over a period of time. In order to obtain an estimate of the sound pressure level it is necessary to average over at least one cycle, and preferably more, of the sound waveform. Suppose two pure tones, or sine waves, with amplitudes A1 and A2 and frequencies F1 and F2 respectively are sounded together. Psychoacoustics is a developing field of research. Readers should check their local regulations for noise exposure in practice. There are two different situations which must be considered when adding sound levels together. This book is not yet featured on Listopia. Firstly, we must work out the radiating area of the loudspeaker which is: 0. The delays are very small and so these effects occur at high audio frequencies, typically above 5 kHz. Ideally one would like a filter which has a fast time response and a narrow bandwidth, but this is impossible. Instead they take a finite frequency range to attenuate the signal. Automated room correction routines are more of a band-aid for flawed loudspeakers rather than an improvement for typical room acoustics.
    [Show full text]