Memory for musical tempo: Additional evidence that auditory memory is absolute

Perception and Psychophysics

Volumn 58, Issue 6, 1996, Pages 927-935

  Levitin, Daniel J ^a,b   Cook, Perry R ^b,c  

^a UNIVERSITY OF OREGON   (United States)

^b STANFORD UNIVERSITY   (United States)

^c Princeton University

Author keywords

[No Author keywords available]

Indexed keywords

ADOLESCENT; ADULT; ARTICLE; DISCRIMINATION LEARNING; FEMALE; HUMAN; MALE; MUSIC; PERCEPTIVE THRESHOLD; PSYCHOPHYSICS; RECALL; TIME PERCEPTION;

ADOLESCENT; ADULT; DISCRIMINATION LEARNING; FEMALE; HUMANS; MALE; MENTAL RECALL; MUSIC; PSYCHOACOUSTICS; SENSORY THRESHOLDS; TIME PERCEPTION;

EID: 0030210844     PISSN: 00315117     EISSN: None     Source Type: Journal    
DOI: 10.3758/BF03205494     Document Type: Article

References (58)

1. ALLEN, G. D. (1975). Speech rhythm: Its relation to performance universals and articulatory timing. Journal of Phonetics, 3, 75-86.
2. ATTNEAVE, F., & OLSON, R. K. (1971). Pitch as a medium: A new approach to psychophysical scaling. American Journal of Psychology, 84, 147-166.
3. BLOCK, R. A. (ED.) (1990). Cognitive models of psychological time. Hillsdale, NJ: Erlbaum.
4. BOLTZ, M. G. (1994). Changes in internal tempo and effects on the learning and remembering of event durations. Journal of Experimental Psychology: Learning, Memory, & Cognition, 20, 1154-1171.
5. BOWER, G. H. (1967). A multicomponent theory of the memory trace. In K. W. Spence & J. T. Spence (Eds.), The psychology of learning and motivation: Advances in research and theory (Vol. 1, pp. 229-325). New York: Academic Press.
6. BRAUN, F. (1927). Untersuchungen über das persönliche tempo [Investigations into personal tempo]. Archiv der gesamten Psychologie, 60, 317-360.
7. BROOKS, L. R. (1978). Nonanalytic concept formation and memory for instances. In E. Rosch & B. B. Lloyd (Eds.), Cognition and categorization (pp. 169-211). Hillsdale, NJ: Erlbaum.
8. COLLIER, G. L., & COLLIER, J. L. (1994). An exploration of the use of tempo in jazz. Music Perception, 11, 219-242.
9. COLLIER, G. L., & WRIGHT, C. E. (1995). Temporal rescaling of simple and complex ratios in rhythmic tapping. Journal of Experimental Psychology: Human Perception & Performance, 21, 602-627.
10. COLLYER, C. E., BROADBENT, H. A., & CHURCH, R. M. (1994). Preferred rates of repetitive tapping and catagorical time production. Perception & Psychophysics, 55, 443-453.
11. CROWDER, R. G., SERAFINE, M. L., & REPP, B. (1990). Physical interaction and association by contiguity in memory for the words and melodies of songs. Memory & Cognition, 18, 469-476.
12. DENNETT, D. C. (1991). Consciousness explained. Boston: Little, Brown.
13. DESAIN, P. (1992). A (de)composable theory of rhythm perception. Music Perception, 9, 439-454.
14. DEUTSCH, D. (1991). The tritone paradox: An influence of language on music perception. Music Perception, 8, 335-347.
15. DOWLING, W. J., & BARTLETT, J. C. (1981). The importance of interval information in long-term memory for melodies. Psychomusicology, 1, 30-49.
16. DRAKE, C., & BOTTE, M.-C. (1993). Tempo sensitivity in auditory sequences: Evidence for a multiple-look model. Perception & Psychophysics, 54, 277-286.
17. FINKE, R. A. (1985). Theories relating mental imagery to perception. Psychological Bulletin, 98, 236-259.
18. FRAISSE, P. (1981). Rhythm and tempo. In D. Deutsch (Ed.), The psychology of music (pp. 149-180). New York: Academic Press.
19. FRIBERG, A., & SUNDBERG, J. (1993). Perception of just noticeable time displacement of a tone presented in a metrical sequence at different tempos. In Kungliga Tekniska Högskolan, Speech Transmission Laboratory [Eds.], Quarterly progress and status report (pp. 49-55). Stockholm: Royal Institute of Technology, Department of Speech Communication, Speech Transmission Laboratory.
20. GILDEN, D. L., THORNTON, T., & MALLON, M. W. (1995, March 24). 1/f noise in human cognition. Science, 272, 1837-1839.
21. HALPERN, A. R. (1988). Perceived and imagined tempos of familiar songs. Music Perception, 6, 193-202.
22. HALPERN, A. R. (1989). Memory for the absolute pitch of familiar songs. Memory & Cognition, 17, 572-581.
23. HALPERN, A. R. (1992). Musical aspects of auditory imagery. In D. Reisberg (Ed.), Auditory imagery (pp. 1-28). Hillsdale, NJ: Erlbaum.
24. HANSON, H. M. (1959). Effects of discrimination training on stimulus generalization. Journal of Experimental Psychology, 58, 331-334.
25. HELMUTH, L. L., & IVRY, R. B. (1996). When two hands are better than one: Reduced timing variability during bimanual movements. Journal of Experimental Psychology: Human Perception & Performance, 22, 278-293.
26. HIBI, S. (1983). Rhythm perception in repetitive sound sequence. Journal of the Acoustical Society of Japan, 4, 83-95.
27. HINTZMAN, D. L. (1986). "Schema abstraction" in a multiple-trace memory model. Psychological Review, 93, 411-428.
28. HULSE, S. H., FOWLER, H., & HONIG, W. K. (EDS.) (1978). Cognitive processes in animal behavior. Hillsdale, NJ: Erlbaum.
29. HULSE, S. H., & PAGE, S. C. (1988). Toward a comparative psychology of music perception. Music Perception, 5, 427-452.
30. HURLY, T. A., RATCLIFFE, L., & WEISMAN, R. (1990). Relative pitch recognition in white-throated sparrows, Zonotrichia albicollis. Animal Behavior, 40, 176-181.
31. IVRY, R. B., & HAZELTINE, R. E. (1995). The perception and production of temporal intervals across a range of durations: Evidence for a common timing mechanism. Journal of Experimental Psychology: Human Perception & Performance, 21, 3-18.
32. JACOBY, L. L. (1983). Remembering the data: Analyzing interaction processes in reading. Journal of Verbal Learning & Verbal Behavior, 22, 485-508.
33. JONES, M. R., & BOLTZ, M. (1989). Dynamic attending and responses to time. Psychological Review, 96, 459-491.
34. KONISHI, M., & KENUK, A. S. (1975). Discrimination of noise spectra by memory in the barn owl. Journal of Comparative Physiology, 97, 55-58.
35. KOSSLYN, S. M. (1980). Image and mind. Cambridge, MA: Harvard.
36. KUHN, T. L. (1974). Discrimination of modulated beat tempo by professional musicians. Journal of Research in Music Education, 22, 270-277.
37. KUHN, T. L. (1977). Effects of dynamics, halves of exercise, and trial sequences on tempo accuracy. Journal of Research in Music Education, 25, 222-227.
38. LEVITIN, D. J. (1994). Absolute memory for musical pitch: Evidence from the production of learned melodies. Perception & Psychophysics, 56, 414-423.
39. LOCKHEAD, G. R., & BYRD, R. (1981). Practically perfect pitch. Journal of the Acoustical Society of America, 70, 387-389.
40. MCCLELLAND, J. L., & RUMELHART, D. E. (1986). A distributed model of human learning and memory. In D. E. Rumelhart, J. L. McClelland, & the PDP Research Group (Eds.), Parallel distributed processing: Vol. 2. Psychological and biological models (pp. 170-215). Cambridge, MA: MIT Press.
41. MEDIN, D. L., & SCHAFFER, M. M. (1978). Context theory of classification learning. Psychological Review, 85, 207-238.
42. MICHON, J. A., & JACKSON, J. L. (EDS.) (1985). Time, mind, and behavior. New York: Springer-Verlag.
43. MONAHAN, C. B. (1993). Parallels between pitch and time and how they go together. In T. J. Tighe & W. J. Dowling (Eds.), Psychology and music: The understanding of melody and rhythm (pp. 121-154). Hillsdale, NJ: Erlbaum.
44. MOORE, B. C. J., & GLASBERG, B. R. (1986). The relationship between frequency selectivity and frequency discrimination for subjects with unilateral and bilateral cochlear impairment. In B. C. J. Moore & R. D. Patterson (Eds.), Auditory frequency selectivity (pp. 407-414). New York: Plenum.
45. NARMOUR, E. (1977). Beyond Schenkerism: The need for alternatives in music analysis. Chicago: University of Chicago Press.
46. PERRON, M. (1994, November). Checking tempo stability of MIDI sequencers. Paper presented at the 97th Convention of the Audio Engineering Society, San Francisco.
47. PITT, M. A. (1995). Evidence for a central representation of instrument timbre. Perception & Psychophysics, 57, 43-55.
48. POSNER, M. I., & KEELE, S. W. (1970). Retention of abstract ideas. Journal of Experimental Psychology, 83, 304-308.
49. POVEL, D. J. (1981). Interval representation of simple temporal patterns. Journal of Experimental Psychology: Human Perception & Performance, 7, 3-18.
50. POVEL, D. J., & ESSENS, P. (1985). Perception of temporal patterns. Music Perception, 2, 411-440.
51. PREMACK, D. (1978). On the abstractness of human concepts: Why it would be difficult to talk to a pigeon. In S. H. Hulse, H. Fowler, & W. K. Honig (Eds.), Cognitive processes in animal behavior (pp. 423-451). Hillsdale, NJ: Erlbaum.
52. REESE, H. W. (1968). The perception of stimulus relations. New York: Academic Press.
53. ROSCH, E. (1975). Cognitive representations of semantic categories. Journal of Experimental Psychology: General, 104, 192-223.
54. SERAFINE, M. L. (1979). A measure of meter conservation in music, based on Piaget's theory. Genetic Psychology Monographs, 99, 185-229.
55. SNEDECOR, G. W., & COCHRAN, W. G. (1989). Statistical methods (8th ed.). Ames, IA: Iowa State University Press.
56. STEEDMAN, M. J. (1977). The perception of musical rhythm and metre. Perception, 6, 555-570.
57. TERHARDT, E., & SEEWAN, M. (1983). Aural key identification and its relationship to absolute pitch. Music Perception, 1, 63-83.
58. TOOZE, Z. J., HARRINGTON, F. H., & FENTRESS, J. C. (1990). Individually distinct vocalizations in timber wolves, Cam's lupus. Animal Behavior, 40, 723-730.