Lost in translation: An enculturation effect in music memory performance

Music Perception

Volumn 25, Issue 3, 2008, Pages 213-223

  Demorest, Steven M ^a   Morrison, Steven J ^a   Beken, Münir N ^b   Jungbluth, Denise ^a  

^a UNIVERSITY OF WASHINGTON   (United States)

^b UNIVERSITY OF CALIFORNIA   (United States)

Author keywords

Cultural differences; Enculturation; Familiarity; Music expertise; Music memory

Indexed keywords

EID: 38949105986     PISSN: 07307829     EISSN: 15338312     Source Type: Journal    
DOI: 10.1525/mp.2008.25.3.213     Document Type: Article

References (40)

1. ARIKAN, M. K., DEVRIM, M., ORAN, Ö., INAN, S., ELHIH, M., & DEMIRALP, T. (1999). Music effects on event-related potentials of humans on the basis of cultural environment. Neuroscience Letters, 268, 21-24.
2. BALKWILL, L.-L., & THOMPSON, W. F. (1999). A cross-cultural investigation of the perception of emotion in music: Psychophysical and cultural cues. Music Perception, 17, 43-64.
3. BEKEN, M. (2004, January). Teaching tonality as mode. Paper presented at the Hawaii International Conference on Arts and Humanities, Honolulu, HI.
4. BIGAND, E. (2003). More about the musical expertise of musically untrained listeners. Annals of the New York Academy of Sciences, 999 304-312.
5. BIGAND, E., MADURELL, F., TILLMANN, B., & PINEAU, M. (1999). Effect of global structure and temporal organization on chord processing. Journal of Experimental Psychology: Human Perception and Performance, 25, 184-197.
6. BIGAND, E., & PINEAU, M. (1997). Global context effects on musical expectancy. Perception and Psychophysics, 59, 1098-1107.
7. BIGAND, E., TILLMANN, B., POULIN, B., D'ADAMO, D. A., & MADURELL, F. (2001). The effect of harmonic context on phoneme monitoring in vocal music. Cognition, 81, B11-B20.
8. CHARNESS, N. (1989). Expertise in chess and bridge. In D. Klahr & K. Kotovsky (Eds.), Complex information processing: The impact of Herbert A. Simon (pp. 183-207). Hillsdale, NJ: Erlbaum.
9. DEMOREST, S. M., & MORRISON, S. J. (2003). Exploring the influence of cultural familiarity and expertise on neurological responses to music. Annals of the New York Academy of Sciences, 999, 112-117.
10. DRAKE, C., & BEN EL HENI, J. (2003). Synchronizing with music: Intercultural differences. Annals of the New York Academy of Sciences, 999, 429-437.
11. DRAKE, C., & BERTRAND, D. (2001). The quest for universals in temporal processing in music., Annals of the New York Academy of Sciences, 930, 17-27.
12. FUNG, C. V. (1996). Musicians' and nonmusicians' preferences for world musics: Relation to musical characteristics and familiarity Journal of Research in Music Education, 44, 60-83.
13. GENÇ, B. O., GENÇ, E., TASTEKIN, G., & IIHAN, N. (2001). Musicogenic epilepsy with ictal single photon emission computed tomography (spect): Could these cases contribute to our knowledge of music processing? European Journal of Neurology, 8, 191-194.
14. GOBET, F., & SIMON, H. A. (1998). Expert chess memory: Revisiting the chunking hypothesis. Memory and Cognition, 6, 225-255.
15. GREGORY, A. H., & VARNEY, N. (1996). Cross-cultural comparisons in the affective response to music. Psychology of Music, 24, 47-52.
16. HERSKOVITS, M. J. (1948). Man and his works. New York: Alfred A. Knopf.
17. KLEIN, D., ZATORRE, R. J., MILNER, B., & ZHAO, V. (2001). A cross-linguistic pet study of tone perception in mandarin Chinese and English speakers. Neuroimage, 13, 646-653.
18. KOELSCH, S., GUNTER, T., FRIEDERICI, A. D., & SCHRÖGER, E. (2000). Brain indices of music processing: "nonmusicians" are musical. Journal of Cognitive Neuroscience, 12, 520-541.
19. KORENMAN, L. M., & PEYNIRCIOGLU, Z. F. (2004). The role of familiarity in episodic memory and metamemory. Journal of Experimental Psychology: Learning, Memory, and Cognition, 30, 917-922.
20. KRUMHANSL, C. L. (2000). Tonality induction: A statistical approach applied cross-culturally. Music Perception, 17, 461-479.
21. KRUMHANSL, C. L. (2003). Experimental strategies for understanding the role of experience in music cognition. Annals of the New York Academy of Sciences, 999, 414-428.
22. KRUMHANSL, C. L., TOIVANEN, P., EEROLA, T., TOIVIAINEN, P., JARVINEN, T., & LOUHIVUORI, J. (2000). Cross-cultural music cognition: Cognitive methodology applied to North Sami yoiks. Cognition, 76, 13-58.
23. KRUMHANSL, C. L., & TOIVIAINEN, P. (2001). Tonal cognition. Annals of the New York Academy of Sciences, 930, 77-91.
24. LYNCH, M. P., EILERS, R. E., OLLER, K. D., URBANO, R. C., & WILSON, P. (1991). Influences of acculturation and musical sophisitication on perception of musical interval patterns. Journal of Experimental Psychology: Human Perception and Performance, 17, 967-975.
25. MACMILLAN, N. A., & CREELMAN, C.D. (1991). Detection theory: A user's guide. Cambridge: Cambridge University Press.
26. MCAULEY, J. D., STEVENS, C., & HUMPHREYS, M. S. (2004). Play it again: Did this melody occur more frequently or was it heard more recently? The role of stimulus familiarity in episodic recognition of music. Acta Psychologica, 116, 93-108.
27. MERRIAM, A. (1990). African music rhythm and concepts of time-reckoning. In K. K. Shelemay (Ed.), Ethnomusicological theory and method (Vol. 2, pp. 293-311). New York, NY: Garland Publishing.
28. MILLER, G. A. (1956). The magical number seven, plus or minus two: Some limits on our capacity for processing information. Psychological Review, 63, 81-97.
29. MORRISON, S. J., DEMOREST, S. M., AYLWARD, E. H., CRAMER, S. C., & MARAVILLA, K. R. (2003). fMRI investigation of cross-cultural music comprehension. Neuroimage, 20, 378-384.
30. NAN, Y., KNOSCHE, T. R., & FRIEDERICI, A.D. (2006). The perception of music phrase structure: A cross-cultural ERP study. Brain Research, 1094, 179-191.
31. NERCESSIAN, A. (2002). Postmodernism and globalization in ethnomusicology: An epistemological problem. Lanham, Maryland and London: The Scarecrow Press, Inc.
32. NETTL, B. (1983). The study of ethnomusicology. Urbana, IL: University of Illinois Press.
33. NEUHAUS, C. (2003). Perceiving musical scale structures: A cross-cultural event-related brain potentials study. Annals of the New York Academy of Sciences, 999, 184-188.
34. PAULESU, E., MCCRORY, E., FAZIO, F., MENONCELLO, L., BRUNSWICK, N., CAPPA, S. F., ET AL. (2000). A cultural effect on brain function. Nature Neuroscience, 3, 91-96.
35. PERLMAN, M., & KRUMHANSL, C. L. (1996). An experimental study of internal interval standards in javanese and western musicians. Music Perception, 14, 95-116.
36. POULIN-CHARRONNAT, B., BIGAND, E., MADURELL, F., VIEILLARD, S., & MCADAMS, S. (2004). Effects of a change in instrumentation on the recognition of musical materials. Music Perception, 22, 239-263.
37. REGNAULT, P., BIGAND, E., & BESSON, M. (2001). Different brain mechanisms mediate sensitivity to sensory consonance and harmonic context: Evidence from auditory event-related brain potentials. Journal of Cognitive Neuroscience, 13, 241-255.
38. SADAKATA, M., OHGUSHI, K., & DESAIN, P. (2004). A cross-cultural comparison study of the production of simple rhythmic patterns. Psychology of Music, 32, 389-403.
39. SCHELLENBERG, E. G., & TREHUB, S. E. (1999). Culture-general and culture-specific factors in the discrimination of melodies. Journal of Experimental Child Psychology, 74, 107-127.
40. TILLMANN, B., & BIGAND, E. (1998). Influence of global structure on musical target detection and recognition. International Journal of Psychology, 33, 107-122.