Edith Cowan University Research Online Theses : Honours Theses 2003 The Direction of Memory for Music for Popular and Novel Songs Susan Rose Sibma Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/theses_hons Part of the Cognitive Psychology Commons, and the Music Theory Commons Recommended Citation Sibma, S. R. (2003). The Direction of Memory for Music for Popular and Novel Songs. https://ro.ecu.edu.au/theses_hons/942 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses_hons/942 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorize you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: Copyright owners are entitled to take legal action against persons who infringe their copyright. 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The Direction of Memory for Music for Popular and Novel Songs by Susan Rose Sibma Supervisor: Dr Craig Speelman A Thesis Submitted in Partial Fulfilment of the Requirements for the Award of Bachelor of Arts (Psychology) with Honours The Faculty of Community Services, Education and Social Sciences, Edith Cowan University October 2003 USE OF THESIS The Use of Thesis statement is not included in this version of the thesis. Direction of Memory for Music u DIRECTION OF MEMORY FOR MUSIC FOR POPULAR AND NOVEL SONGS Abstract Previous research on memory for music has typically measured participNits' reaction times (RTs) and accuracy in tests of recall and recognition of songs presented to them. The current study was interested in what occurs during the time that elapses between stimulus onset and the generation of a response. It has been suggested that people sing or hum to themselves as they search for an answer (Rubin, 1977), but a question that has been overlooked to date is in what direction this occurs. As music unfolds in time, it was proposed that in memory for music, 'forward is best'. In the current experiment, 44 university students and 6 members of the public were asked to identifY whether the second excerpt (probe line) of a pair of excerpts taken from a song, came 'before' or 'after' the first excerpt (target line) in the normal course of the song. Seven pairs of excerpts, three pairs falling before the target line, and four pairs occurring after the target line, were presented for each of eight popular and two new songs heard earlier. It was predicted that RTs for identifying the probe lines occurring 'after' the target line would be shorter than those coming 'before' the target line. Results supported this hypothesis with significantly shorter RTs in the 'after' condition than the 'before' condition, and indicated that memory for music is biased in a forward direction. An explanation of the structure oisong, and the integration effect of melody and text is presented to accommodate the fmdings. Author: Susan Sibma Supervisor: Dr Craig Speelman Submitted: 27.10.2003 Direction of Memory for Music iii Declaration I certify that to the best of my knowledge and belief this thesis neither: (i) incorporates without acknowledgment any material previously submitted for a degree or diploma in any institution of higher education; nor (ii) contains any material previously published or written by another person without due reference having been made to it in text. Sig (Susan Sibma) Date: Direction of Memory for Music )v Acknowledgments I sincerely thank my supervisor Dr Craig Speelman for his unrelenting encouragement, guidance, patience, and constructive comments throughout this year. His thorough professionalism and sharing of knowledge of both research methodology and the subject matter enhanced my personal learning experience. To Terry Simpson I owe a newly found interest in computer-based testing. Her generous sharing of expert knowledge in setting up my experiment was invaluable. Thank you to the School of Psychology staff members who were cheerful and supportive in every way. The experiment would not have been possible without the students from Edith Cowan University and volunteers from the public who shared their precious time with me. For this, I am very grateful. Many thanks to my sisters Anne and Carolyn, and my brother Geoffrey for helping in the selection of the music tracks, and to my nieces Susan and Catherine for their original music composition. Finally, I offer my heartfelt thanks to my family. Thank you to Sjoerd for allowing me some time and space to complete this thesis, to Tjom for his wise counsel, to Kurt for his patient and crucial practical help, and to Liesl and Craig for their moral support every day! Without you all, getting up to and through this year would not have been possible. Direction of Memory for Music v Table of Contents Title ........................................................................................................................... i Abstract ................................................................................................................... ii Declaration ............................................................................................................. iii Acknowledgments .................................................................................................. iv Table of Contents ........................................ :... ,.~ ...................................................... v List ofTables ......................................................................................................... vii . .. L Ist ofF •gurcs ....................................................................................................... vut Introduction ............................................................................................................ 1 Short~term and Long~tertn Memory ..................................................................... 2 WiJrking Memory and a Music Memory Loop ..................................................... 3 Music and Memory ............................................................................................... 4 Neurotcience ond Music .................................................................................. 5 Psychology and Music ...................................................................................... 6 Long-tenn memory for texJ• .......................................................................... 6 Long~tenn mmnory for popular songs. ......................................................... 8 The Current Study .............................................................................................. 14 Method .................................................................................................................. 19 Participants ........................................................................................................ 19 Materials ............................................................................................................ 19 Apparatus ..........................................................•••.•..............•...•......................... 20 Design ................................................................................................................ 20 Procedure ........................................................................................................... 24 Song selection check. ...................................................................................... 24 Experimental stage. ............................................ ,........................................... 24 Results .........................................•.......................•................................•.•.............. 27 Direction of Memory for Music vi Data Screening and ANOVA Assumptions ........................................................ 27 Screening of reaction times. ........................................................................... 27 Main ArJalys/s ~Mean Reaction Times ............................................................... 29 Screening ofAccuracy ....................................................................................... 31 Accuracy Scores ................................................................................................. 33 Distussion .............................................................................................................. 36 Reaction Times ................................................................................................... 36 Accuracy ............................................................................................................. 38 Methodology and Limitations ofthe Current Experiment .................................. 40 Conclusions