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- Memory (8)
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- Auditory cortex; emotion; expectancies; imagery; learning; melody; memory; performance; pitch; plasticity; reward; training (1)
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Articles 1 - 28 of 28
Full-Text Articles in Social and Behavioral Sciences
Working Memory And Auditory Imagery Predict Sensorimotor Synchronisation With Expressively Timed Music, Ian D. Colley, Peter E. Keller, Andrea R. Halpern
Working Memory And Auditory Imagery Predict Sensorimotor Synchronisation With Expressively Timed Music, Ian D. Colley, Peter E. Keller, Andrea R. Halpern
Andrea Halpern
Sensorimotor synchronisation (SMS) is prevalent and readily studied in musical settings, as most people are able to perceive and synchronise with a beat (e.g., by finger tapping). We took an individual differences approach to understanding SMS to real music characterised by expressive timing (i.e., fluctuating beat regularity). Given the dynamic nature of SMS, we hypothesised that individual differences in working memory and auditory imagery—both fluid cognitive processes—would predict SMS at two levels: (1) mean absolute asynchrony (a measure of synchronisation error) and (2) anticipatory timing (i.e., predicting, rather than reacting to beat intervals). In Experiment 1, participants completed two working …
Who's That Knocking At My Door? Neural Bases Of Sound Source Identification, Guillaume Lemaitre, John A. Pyles, Andrea R. Halpern, Nicole Navolio, Matthew Lehet, Laurie M. Heller
Who's That Knocking At My Door? Neural Bases Of Sound Source Identification, Guillaume Lemaitre, John A. Pyles, Andrea R. Halpern, Nicole Navolio, Matthew Lehet, Laurie M. Heller
Andrea Halpern
When hearing knocking on a door, a listener typically identifies both the action (forceful and repeated impacts) and the object (a thick wooden board) causing the sound. The current work studied the neural bases of sound source identification by switching listeners' attention toward these different aspects of a set of simple sounds during functional magnetic resonance imaging scanning: participants either discriminated the action or the material that caused the sounds, or they simply discriminated meaningless scrambled versions of them. Overall, discriminating action and material elicited neural activity in a left-lateralized frontoparietal network found in other studies of sound identification, wherein …
Score One For Jazz: Working Memory In Jazz And Classical Musicians, Bryan E. Nichols, Clemens Wöllner, Andrea R. Halpern
Score One For Jazz: Working Memory In Jazz And Classical Musicians, Bryan E. Nichols, Clemens Wöllner, Andrea R. Halpern
Andrea Halpern
Jazz musicians rely on different skills than do classical musicians for successful performances. We investigated the working memory span of classical and jazz student musicians on musical and nonmusical working memory tasks. College-aged musicians completed the Bucknell Auditory Imagery Scale, followed by verbal working memory tests and musical working memory tests that included visual and auditory presentation modes and written or played recall. Participants were asked to recall the last word (or pitch) from each task after a distraction task, by writing, speaking, or playing the pitch on the piano. Jazz musicians recalled more pitches that were presented in auditory …
Semantic Priming Of Familiar Songs, Sarah K. Johnson, Andrea R. Halpern
Semantic Priming Of Familiar Songs, Sarah K. Johnson, Andrea R. Halpern
Andrea Halpern
We explored the functional organization of semantic memory for music by comparing priming across familiar songs both within modalities (Experiment 1, tune to tune; Experiment 3, category label to lyrics) and across modalities (Experiment 2, category label to tune; Experiment 4, tune to lyrics). Participants judged whether or not the target tune or lyrics were real (akin to lexical decision tasks). We found significant priming, analogous to linguistic associative-priming effects, in reaction times for related primes as compared to unrelated primes, but primarily for within-modality comparisons. Reaction times to tunes (e.g., "Silent Night") were faster following related tunes ("Deck the …
That Note Sounds Wrong! Age-Related Effects In Processing Of Musical Expectation, Andrea R. Halpern, Ioanna Zioga, Martin Shankleman, Job Lindsen, Marcus T. Pearce, Joydeep Bhattacharya
That Note Sounds Wrong! Age-Related Effects In Processing Of Musical Expectation, Andrea R. Halpern, Ioanna Zioga, Martin Shankleman, Job Lindsen, Marcus T. Pearce, Joydeep Bhattacharya
Andrea Halpern
Part of musical understanding and enjoyment stems from the ability to accurately predict what note (or one of a small set of notes) is likely to follow after hearing the first part of a melody. Selective violation of expectations can add to aesthetic response but radical or frequent violations are likely to be disliked or not comprehended. In this study we investigated whether a lifetime of exposure to music among untrained older adults would enhance their reaction to unexpected endings of unfamiliar melodies. Older and younger adults listened to melodies that had expected or unexpected ending notes, according to Western …
Recognition Of Familiar And Unfamiliar Melodies In Normal Aging And Alzheimers-Disease, James C. Bartlett, Andrea R. Halpern, W. Jay Dowling
Recognition Of Familiar And Unfamiliar Melodies In Normal Aging And Alzheimers-Disease, James C. Bartlett, Andrea R. Halpern, W. Jay Dowling
Andrea Halpern
We tested normal young and elderly adults and elderly Alzheimer's disease (AD) patients on recognition memory for tunes. In Experiment 1, AD patients and age-matched controls received a study list and an old/new recognition test of highly familiar, traditional tunes, followed by a study list and test of novel tunes. The controls performed better than did the AD patients. The controls showed the ''mirror effect'' of increased hits and reduced false alarms for traditional versus novel tunes, whereas the patients false-alarmed as often to traditional tunes as to novel tunes. Experiment 2 compared young adults and healthy elderly persons using …
Pitch Imitation Ability In Mental Transformations Of Melodies, Emma B. Greenspon, Peter Q. Pfordresher, Andrea R. Halpern
Pitch Imitation Ability In Mental Transformations Of Melodies, Emma B. Greenspon, Peter Q. Pfordresher, Andrea R. Halpern
Andrea Halpern
Previous research suggests that individuals with a vocal pitch imitation deficit (VPID, a.k.a. "poor-pitch singers") experience less vivid auditory images than accurate imitators (pfordresher & halpern, 2013), based on self-report. in the present research we sought to test this proposal directly by having accurate and VPID imitators produce or recognize short melodies based on their original form (untransformed), or after mentally transforming the auditory image of the melody. For the production task, group differences were largest during the untransformed imitation task. importantly, producing mental transformations of the auditory image degraded performance for all participants, but were relatively more disruptive to …
Perception Of Mode, Rhythm, And Contour In Unfamiliar Melodies: Effects Of Age And Experience, Andrea R. Halpern, James C. Bartlett, W. Jay Dowling
Perception Of Mode, Rhythm, And Contour In Unfamiliar Melodies: Effects Of Age And Experience, Andrea R. Halpern, James C. Bartlett, W. Jay Dowling
Andrea Halpern
We explored the ability of older (60-80 years old) and younger (18-23 years old) musicians and nonmusicians to judge the similarity of transposed melodies varying on rhythm, mode, and/or contour (Experiment 1) and to discriminate among melodies differing only in rhythm, mode, or contour (Experiment 2). Similarity ratings did not vary greatly among groups, with tunes differing only by mode being rated as most similar. In the same/different discrimination task, musicians performed better than nonmusicians, but we found no age differences. We also found that discrimination of major from minor tunes was difficult for everyone, even for musicians. Mode is …
Perceived And Induced Emotion Responses To Popular Music: Categorical And Dimensional Models, Yading Song, Simon Dixon, Marcus T. Pearce, Andrea R. Halpern
Perceived And Induced Emotion Responses To Popular Music: Categorical And Dimensional Models, Yading Song, Simon Dixon, Marcus T. Pearce, Andrea R. Halpern
Andrea Halpern
Music both conveys and evokes emotions, and although both phenomena are widely studied, the difference between them is often neglected. The purpose of this study is to examine the difference between perceived and induced emotion for western popular music using both categorical and dimensional models of emotion, and to examine the influence of individual listener differences on their emotion judgment. A total of 80 musical excerpts were randomly selected from an established dataset of 2,904 popular songs tagged with one of the four words "happy," "sad," "angry," or "relaxed" on the last.fm web site. Participants listened to the excerpts and …
Musical Expertise Has Minimal Impact On Dual Task Performance, Gianna Cocchini, Maria Serena Filardi, Marcela Crhonkova, Andrea R. Halpern
Musical Expertise Has Minimal Impact On Dual Task Performance, Gianna Cocchini, Maria Serena Filardi, Marcela Crhonkova, Andrea R. Halpern
Andrea Halpern
Studies investigating effect of practice on dual task performance have yielded conflicting findings, thus supporting different theoretical accounts about the organisation of attentional resources when tasks are performed simultaneously. Because practice has been proven to reduce the demand of attention for the trained task, the impact of long-lasting training on one task is an ideal way to better understand the mechanisms underlying dual task decline in performance. Our study compared performance during dual task execution in expert musicians compared to controls with little if any musical experience. Participants performed a music recognition task and a visuo-spatial task separately (single task) …
Music, Andrea Halpern
Music, Andrea Halpern
Andrea Halpern
Neuroimaging has contributed greatly to our understanding of the sensory, motor, and cognitive systems involved in musical processing. Cortical loops connecting auditory with parietal, premotor, and prefrontal cortices are important for encoding pitch and temporal relationships from which music is built and for generating musical expectancies. These circuits are also important for holding information in working memory and for interfacing perceptual and motor representations. Musical imagery recruits auditory areas together with frontal and supplementary motor regions. Musical emotion emerges from the interaction of these systems with the reward circuit. All of these systems are modifiable functionally and structurally following training.
Perception Of Structure In Novel Music, Andrea R. Halpern
Perception Of Structure In Novel Music, Andrea R. Halpern
Andrea Halpern
Two experiments demonstrated the way in which musicians and nonmusicians process realistic music encountered for the first time. A set of tunes whose members were related to each other by a number of specific musical relationships was constructed. In experiment I, subjects gave similarity judgments of all pairs of tunes, which were analyzed by the ADD-TREE clustering program. Musicians and nonmusicians gave essentially equivalent results: Tunes with different rhythms were rated as being very dissimilar, whereas tunes identical except for being in a major versus a minor mode were rated as being highly similar. In Experiment 2, subjects learned to …
Mental Concerts: Musical Imagery And Auditory Cortex, Robert J. Zatorre, Andrea R. Halpern
Mental Concerts: Musical Imagery And Auditory Cortex, Robert J. Zatorre, Andrea R. Halpern
Andrea Halpern
Most people intuitively understand what it means to “hear a tune in your head.” Converging evidence now indicates that auditory cortical areas can be recruited even in the absence of sound and that this corresponds to the phenomenological experience of imagining music. We discuss these findings as well as some methodological challenges. We also consider the role of core versus belt areas in musical imagery, the relation between auditory and motor systems during imagery of music performance, and practical implications of this research.
Mental Scanning In Auditory Imagery For Songs, Andrea R. Halpern
Mental Scanning In Auditory Imagery For Songs, Andrea R. Halpern
Andrea Halpern
Four experiments examined how people operate on memory representations of familiar songs. The tasks were similar to those used in studies of visual imagery. In one task, subjects saw a one-word lyric from a song and then saw a second lyric; then they had to say if the second lyric was from the same song as the first. In a second task, subjects mentally compared pitches of notes corresponding to song lyrics. In both tasks, reaction time increased as a function of the distance in beats between the two lyrics in the actual song, and in some conditions reaction time …
Memory Biases In Left Versus Right Implied Motion, Andrea R. Halpern, Michael H. Kelly
Memory Biases In Left Versus Right Implied Motion, Andrea R. Halpern, Michael H. Kelly
Andrea Halpern
People remember moving objects as having moved farther along in their path of motion than is actually the case; this is known as representational momentum (RM). Some authors have argued that RM is an internalization of environmental properties such as physical momentum and gravity. Five experiments demonstrated that a similar memory bias could not have been learned from the environment. For right-handed Ss, objects apparently moving to the right engendered a larger memory bias in the direction of motion than did those moving to the left. This effect, clearly not derived from real-world lateral asymmetries, was relatively insensitive to changes …
Levels-Of-Processing Effects On "Remember" Responses In Recognition For Familiar And Unfamiliar Tunes, Esra Mungan, Zehra F. Peynircioğlu, Andrea R. Halpern
Levels-Of-Processing Effects On "Remember" Responses In Recognition For Familiar And Unfamiliar Tunes, Esra Mungan, Zehra F. Peynircioğlu, Andrea R. Halpern
Andrea Halpern
We investigated the effect of level-of-processing manipulations on "remember" and "know" responses in episodic melody recognition (Experiments 1 and 2) and how this effect is modulated by item familiarity (Experiment 2). In Experiment 1, participants performed 2 conceptual and 2 perceptual orienting tasks while listening to familiar melodies: judging the mood, continuing the tune, tracing the pitch contour, and counting long notes. The conceptual mood task led to higher d' rates for "remember" but not "know" responses. In Experiment 2, participants either judged the mood or counted long notes of tunes with high and low familiarity. A level-of-processing effect emerged …
Dynamic Aspects Of Musical Imagery, Andrea Halpern
Dynamic Aspects Of Musical Imagery, Andrea Halpern
Andrea Halpern
Auditory imagery can represent many aspects of music, such as the starting pitches of a tune or the instrument that typically plays it. In this paper, I concentrate on more dynamic, or time-sensitive aspects of musical imagery, as demonstrated in two recently published studies. The first was a behavioral study that examined the ability to make emotional judgments about both heard and imagined music in real time. The second was a neuroimaging study on the neural correlates of anticipating an upcoming tune, after hearing a cue tune. That study found activation of several sequence-learning brain areas, some of which varied …
Introduction To Special Issue: Dementia And Music, Andrea R. Halpern, Isabelle Peretz, Lola L. Cuddy
Introduction To Special Issue: Dementia And Music, Andrea R. Halpern, Isabelle Peretz, Lola L. Cuddy
Andrea Halpern
This special issue follows two previous special issues on music and neurological disorders (April 2008, Volume 23/Issue 4 and April 2010, Volume 25/Issue 4). Like its predecessors, the issue presents studies employing a patient-based approach to music perception, cognition, and emotion. Whereas the earlier issues dealt with acquired and congenital disorders and impairments, the present issue focuses on dementia, primarily on its most common form, Alzheimer's disease (AD).
Introduction To The Neurosciences And Music Iv: Learning And Memory, Andrea Halpern
Introduction To The Neurosciences And Music Iv: Learning And Memory, Andrea Halpern
Andrea Halpern
The conference entitled "The Neurosciences and Music-IV: Learning and Memory" was held at the University of Edinburgh from June 9-12, 2011, jointly hosted by the Mariani Foundation and the Institute for Music in Human and Social Development, and involving nearly 500 international delegates. Two opening workshops, three large and vibrant poster sessions, and nine invited symposia introduced a diverse range of recent research findings and discussed current research directions. Here, the proceedings are introduced by the workshop and symposia leaders on topics including working with children, rhythm perception, language processing, cultural learning, memory, musical imagery, neural plasticity, stroke rehabilitation, autism, …
Inspiring Art And Science, Andrea R. Halpern
Inspiring Art And Science, Andrea R. Halpern
Andrea Halpern
I read Ralf Dahm's article "Finding Alzheimer's Disease" (March-April) with interest for two reasons. First, as a cognitive neuroscientist, I have studied the effect of early-stage Alzheimer's disease on memory and on the appreciation of music and art. In addition, I am a member of a community chorus here in Pennsylvania, the Susquehanna Valley Chorale, which recently commissioned and premiered a choral work on the topic of the ailment, called Alzheimer's Stories.
Differences In Auditory Imagery Self-Report Predict Neural And Behavioral Outcomes, Andrea R. Halpern
Differences In Auditory Imagery Self-Report Predict Neural And Behavioral Outcomes, Andrea R. Halpern
Andrea Halpern
Mental imagery abilities vary among individuals, as shown both by objective measures and by self-report. Few imagery studies consider auditory imagery, however. The Bucknell Auditory Imagery Scale is a short self-report measure encompassing both Vividness and Control subscales for musical, verbal, and environmental sounds. It has high internal reliability, no relation to social desirability, and only a modest relation to musical training. High scores on Vividness predict fewer source memory errors in distinguishing heard from imagined tunes on a recognition test, and better performance on pitch imitation tasks. Furthermore, higher scores are related to hemodynamic response and gray matter volume …
Audience Reactions To Repeating A Piece On A Concert Programme, Andrea R. Halpern, Chloe H.K. Chan, Daniel Müllensiefen, John Sloboda
Audience Reactions To Repeating A Piece On A Concert Programme, Andrea R. Halpern, Chloe H.K. Chan, Daniel Müllensiefen, John Sloboda
Andrea Halpern
Repetition of a piece on a concert programme is a well-established, but uncommon performance practice. Musicians have presumed that repetition benefits audience enjoyment and understanding but no research has examined this. In two naturalistic and one lab study, we examined audience reaction to repeated live performances of contemporary pieces played by the same ensemble. In all studies, we asked listeners to rate their enjoyment and willingness to hear the piece again (Affective), and perceived understanding and predicted memory of the piece (Cognitive). In Study 3, we assessed immediate recognition memory of each excerpt. In all studies, Cognitive variables increased significantly. …
Cerebral Substrates Of Musical Imagery, Andrea R. Halpern
Cerebral Substrates Of Musical Imagery, Andrea R. Halpern
Andrea Halpern
Musical imagery refers to the experience of "replaying" music by imagining it inside the head. Whereas visual imagery has been extensively studied, few people have investigated imagery in the auditory domain. This article reviews a program of research that has tried to characterize auditory imagery for music using both behavioral and cognitive neuroscientific tools. I begin by describing some of my behavioral studies of the mental analogues of musical tempo, pitch, and temporal extent. I then describe four studies using three techniques that examine the correspondence of brain involvement in actually perceiving vs. imagining familiar music. These involve one lesion …
A Brain System For Auditory Working Memory, Sukhbinder Kumar, Sabine Joseph, Phillip E. Gander, Nicolas Barascud, Andrea R. Halpern, Timothy D. Griffiths
A Brain System For Auditory Working Memory, Sukhbinder Kumar, Sabine Joseph, Phillip E. Gander, Nicolas Barascud, Andrea R. Halpern, Timothy D. Griffiths
Andrea Halpern
The brain basis for auditory working memory, the process of actively maintaining sounds in memory over short periods of time, is controversial. Using functional magnetic resonance imaging in human participants, we demonstrate that the maintenance of single tones in memory is associated with activation in auditory cortex. In addition, sustained activation was observed in hippocampus and inferior frontal gyrus. Multivoxel pattern analysis showed that patterns of activity in auditory cortex and left inferior frontal gyrus distinguished the tone that was maintained in memory. Functional connectivity during maintenance was demonstrated between auditory cortex and both the hippocampus and inferior frontal cortex. …
An Erp Study Of Major-Minor Classification In Melodies, Andrea R. Halpern, Jeffrey S. Martin, Tara D. Reed
An Erp Study Of Major-Minor Classification In Melodies, Andrea R. Halpern, Jeffrey S. Martin, Tara D. Reed
Andrea Halpern
Skip to Next Section COMPOSERS COMMONLY USE MAJOR OR MINOR SCALES to create different moods in music.Nonmusicians show poor discrimination and classification of this musical dimension; however, they can perform these tasks if the decision is phrased as happy vs. sad.We created pairs of melodies identical except for mode; the first major or minor third or sixth was the critical note that distinguished major from minor mode. Musicians and nonmusicians judged each melody as major vs. minor or happy vs. sad.We collected ERP waveforms, triggered to the onset of the critical note. Musicians showed a late positive component (P3) to …
Attentional Flexibility And Memory Capacity In Conductors And Pianists, Andrea R. Halpern, Clemens Wöllner
Attentional Flexibility And Memory Capacity In Conductors And Pianists, Andrea R. Halpern, Clemens Wöllner
Andrea Halpern
Individuals with high working memory (WM) capacity also tend to have better selective and divided attention. Although both capacities are essential for skilled performance in many areas, evidence for potential training and expertise effects is scarce. We investigated the attentional flexibility of musical conductors by comparing them to equivalently trained pianists. Conductors must focus their attention both on individual instruments and on larger sections of different instruments. We studied students and professionals in both domains to assess the contributions of age and training to these skills. Participants completed WM span tests for auditory and visual (notated) pitches and timing durations, …
Absolute Pitch In Naturalistic Singing: A Commentary On Olthof Et Al., Andrea R. Halpern
Absolute Pitch In Naturalistic Singing: A Commentary On Olthof Et Al., Andrea R. Halpern
Andrea Halpern
The parent article looks at pitch stability in an archive of folksongs recorded over several decades. Some evidence for pitch stability was found. Here, I consider some additional aspects of the archive that could be examined, offer some extensions to relevant laboratory studies, and consider some inherent strengths and limitations of the naturalistic, archival approach.
Attraction To Sad Music: The Role Of Imagery, Absorption, And Rumination, Emery Schubert, Andrea R. Halpern, Gunter Kreutz, Sandra Garrido
Attraction To Sad Music: The Role Of Imagery, Absorption, And Rumination, Emery Schubert, Andrea R. Halpern, Gunter Kreutz, Sandra Garrido
Andrea Halpern
Previous studies have identified links between attraction to negative emotion in music with the traits of absorption and rumination. However, no studies have examined the possible interdependencies and influences of these traits. We sought to determine whether a cognitive processing path that leads to attraction to sad music could be identified. We argued that auditory imagery might be an interesting competency to add to the investigation because of the links between imagery and absorption. Participants completed validated surveys measuring the three target cognitive measures, as well as a Like Sad Music Scale. Mediation analysis revealed that absorption mediated imagery in …