Commonality and variation in mental representations of music revealed by a cross-cultural comparison of rhythm priors in 15 countries.

Music is present in every known society but varies from place to place. What, if anything, is universal to music cognition? We measured a signature of mental representations of rhythm in 39 participant groups in 15 countries, spanning urban societies and Indigenous populations. Listeners reproduced random 'seed' rhythms; their reproductions were fed back as the stimulus (as in the game of 'telephone'), such that their biases (the prior) could be estimated from the distribution of reproductions. Every tested group showed a sparse prior with peaks at integer-ratio rhythms. However, the importance of different integer ratios varied across groups, often reflecting local musical practices. Our results suggest a common feature of music cognition: discrete rhythm 'categories' at small-integer ratios. These discrete representations plausibly stabilize musical systems in the face of cultural transmission but interact with culture-specific traditions to yield the diversity that is evident when mental representations are probed across many cultures.

Music cues impact the emotionality but not richness of episodic memory retrieval.

Previous studies have found that music evokes more vivid and emotional memories of autobiographical events than various other retrieval cues. However, it is possible such findings can be explained by pre-existing differences between disparate events that are retrieved in response to each cue type. To test whether music exhibits differential effects to other cues even when memory encoding is controlled, we compared music and environmental sounds as cues for memories of the same set of dynamic visual scenes. Following incidental encoding of 14 scenes (7 with music, 7 with sounds), the music and sounds were presented to participants (N = 56), who were asked to describe the scenes associated with these cues, and rate various memory properties. Music elicited fewer correct memories and more effortful retrieval than sound cues, and no difference was found in memory detail/vividness between cue types. However, music-evoked memories were rated as more positive and less arousing. These findings provide important critical insights that only partially support the common notion that music differs from other cue types in its effects on episodic memory retrieval.

Comparing music- and food-evoked autobiographical memories in young and older adults: A diary study.

Previous research has found that music brings back more vivid and emotional autobiographical memories than various other retrieval cues. However, such studies have often been low in ecological validity and constrained by relatively limited cue selection and predominantly young adult samples. Here, we compared music to food as cues for autobiographical memories in everyday life in young and older adults. In two separate four-day periods, 39 younger (ages 18-34) and 39 older (ages 60-77) adults recorded their music- and food-evoked autobiographical memories in paper diaries. Across both age groups, music triggered more frequent autobiographical memories, a greater proportion of involuntary memories, and memories rated as more personally important in comparison to food cues. Age differences impacted music- and food-evoked memories similarly, with older adults consistently recalling older and less specific memories, which they rated as more positive, vivid, and rehearsed. However, young and older adults did not differ in the number or involuntary nature of their recorded memories. This work represents an important step in understanding the phenomenology of naturally occurring music-evoked autobiographical memories across adulthood and provides new insights into how and why music may be a more effective trigger for personally valued memories than certain other everyday cues.

Differences in autobiographical memories reported using text and voice during everyday life.

Autobiographical memories frequently occur during everyday life. One of the most common approaches to measuring memories in everyday life is a diary method: Participants record memories as they occur by writing down these memories in a paper diary or typing them on a smartphone. Conversely, many laboratory-based studies of autobiographical memory require participants to describe their memories out loud in a spoken manner. Here, we sought to directly compare memories recorded via typing to those spoken out loud in a smartphone diary study. Participants reported or, autobiographical memories that occurred over a period of four days either by typing (n = 43) or recording themselves orally describing memories (n = 39) using a smartphone app. Results indicated that the audio recording group reported memories more frequently and these memories contained a greater number of words, while the text group reported memories more promptly after they occurred. Additionally, the typing group reported memories that were episodically richer and contained a greater proportion of perceptual details. This work has important implications for future autobiographical memory studies in the lab, online, and using diary methods, and suggests that certain reporting modalities may be advantageous depending on the specific research focus.

Differential effects of familiarity and emotional expression of musical cues on autobiographical memory properties.

Features of visual cues, such as their familiarity and emotionality, influence the quantity and qualities of the autobiographical memories they evoke. Despite increasing use in autobiographical memory research, comparatively little is known about how such features of musical cues influence memory properties. In a repeated-measures design, we presented 24 musical cues selected to vary on their familiarity (high/low), emotional valence (positive/negative), and emotional arousal (high/low) to 100 young adults, who recorded details of any autobiographical memories that were evoked. Familiarity of the music primarily impacted memory accessibility, with high-familiarity music evoking more memories that were retrieved more quickly. More familiar music also elicited more positive and arousing memories; however, these differences were found to be attributed to greater liking of the high-familiarity music. The emotional expression of the music impacted the emotionality and evaluation of the memories, with negative valence/low-arousal (e.g., "sad") music evoking the most negative memories, high-arousal and positively valenced music evoking more arousing memories, and low-arousal music evoking memories rated as more important. These results provide important insights for developing effective paradigms for triggering (particular types of) autobiographical memories via music and highlight the need to critically consider potential differences in cue familiarity and emotionality in studies comparing musical with non-musical cues. Future research should extend this approach to other cue types (e.g., visual, olfactory, other auditory cues), to probe how familiarity and emotional qualities of cues conjunctively or interactively constrain autobiographical memory recall across different domains.

Aesthetics of musical timing: Culture and expertise affect preferences for isochrony but not synchrony.

Expressive communication in the arts often involves deviations from stylistic norms, which can increase the aesthetic evaluation of an artwork or performance. The detection and appreciation of such expressive deviations may be amplified by cultural familiarity and expertise of the observer. One form of expressive communication in music is playing "out of time," including asynchrony (deviations from synchrony between different instruments) and non-isochrony (deviations from equal spacing between subsequent note onsets or metric units). As previous research has provided somewhat conflicting perspectives on the degree to which deviations from synchrony and isochrony are aesthetically relevant, we aimed to shed new light on this topic by accounting for the effects of listeners' cultural familiarity and expertise. We manipulated (a)synchrony and (non-)isochrony separately in excerpts from three groove-based musical styles (jazz, candombe, and jembe), using timings from real performances. We recruited musician and non-musician participants (N = 176) from three countries (UK, Uruguay, and Mali), selected to vary in their prior experience of hearing and performing these three styles. Participants completed both an aesthetic preference rating task and a perceptual discrimination task for the stimuli. Our results indicate an overall preference toward synchrony in these styles, but culturally contingent, expertise-dependent preferences for deviations from isochrony. This suggests that temporal processing relies on mechanisms that vary in their dependence on low-level and high-level perception, and emphasizes the role of cultural familiarity and expertise in shaping aesthetic preferences.

Involuntary musical imagery as a component of ordinary music cognition: A review of empirical evidence.

Involuntary musical imagery (INMI) refers to a conscious mental experience of music that occurs without deliberate efforts to initiate or sustain it. This experience often consists of the repetition of a short fragment of a melody, colloquially called an "earworm." Here, we present the first comprehensive, qualitative review of published empirical research on INMI to date. We performed an extensive literature search and discovered, in total, 47 studies from 33 peer-reviewed articles that met the inclusion criteria for the review. In analyzing the content of these studies, we identified four major research themes, which concern the phenomenology, dynamics, individual differences, and musical features of INMI. The findings answer many questions of scientific interest-for instance, what is typical in terms of INMI frequency, duration, and content; which factors influence INMI onset; and whether demographic and personality factors can explain individual differences in susceptibility and responses to INMI. This review showcases INMI as a well-established phenomenon in light of a substantial body of empirical studies that have accumulated consistent results. Although the populations under study show an unfavorable bias towards Western, educated participants, the evidence depicts INMI as a universal psychological phenomenon, the possible function of which we do not yet fully understand. The concluding section introduces several suggestions for future research to expand on the topic.

Decoding emotions in expressive music performances: A multi-lab replication and extension study.

With over 560 citations reported on Google Scholar by April 2018, a publication by Juslin and Gabrielsson (1996) presented evidence supporting performers' abilities to communicate, with high accuracy, their intended emotional expressions in music to listeners. Though there have been related studies published on this topic, there has yet to be a direct replication of this paper. A replication is warranted given the paper's influence in the field and the implications of its results. The present experiment joins the recent replication effort by producing a five-lab replication using the original methodology. Expressive performances of seven emotions (e.g. happy, sad, angry, etc.) by professional musicians were recorded using the same three melodies from the original study. Participants (N = 319) were presented with recordings and rated how well each emotion matched the emotional quality using a 0-10 scale. The same instruments from the original study (i.e. violin, voice, and flute) were used, with the addition of piano. In an effort to increase the accessibility of the experiment and allow for a more ecologically-valid environment, the recordings were presented using an internet-based survey platform. As an extension to the original study, this experiment investigated how musicality, emotional intelligence, and emotional contagion might explain individual differences in the decoding process. Results found overall high decoding accuracy (57%) when using emotion ratings aggregated for the sample of participants, similar to the method of analysis from the original study. However, when decoding accuracy was scored for each participant individually the average accuracy was much lower (31%). Unlike in the original study, the voice was found to be the most expressive instrument. Generalised Linear Mixed Effects Regression modelling revealed that musical training and emotional engagement with music positively influences emotion decoding accuracy.

Discriminating autism and language impairment and specific language impairment through acuity of musical imagery.

Deficits in auditory short-term memory have been widely reported in children with Specific Language Impairment (SLI), and recent evidence suggests that children with Autism Spectrum Disorder and co-morbid language impairment (ALI) experience similar difficulties. Music, like language relies on auditory memory and the aim of the study was to extend work investigating the impact of auditory short-term memory impairments to musical perception in children with neurodevelopmental disorders. Groups of children with SLI and ALI were matched on chronological age (CA), receptive vocabulary, non-verbal intelligence and digit span, and compared with CA matched typically developing (TD) controls, on tests of pitch and temporal acuity within a voluntary musical imagery paradigm. The SLI participants performed at significantly lower levels than the ALI and TD groups on both conditions of the task and their musical imagery and digit span scores were positively correlated. In contrast ALI participants performed as well as TD controls on the tempo condition and better than TD controls on the pitch condition of the task. Whilst auditory short-term memory and receptive vocabulary impairments were similar across ALI and SLI groups, these were not associated with a deficit in voluntary musical imagery performance in the ALI group.

Shared periodic performer movements coordinate interactions in duo improvisations.

Human interaction involves the exchange of temporally coordinated, multimodal cues. Our work focused on interaction in the visual domain, using music performance as a case for analysis due to its temporally diverse and hierarchical structures. We made use of two improvising duo datasets-(i) performances of a jazz standard with a regular pulse and (ii) non-pulsed, free improvizations-to investigate whether human judgements of moments of interaction between co-performers are influenced by body movement coordination at multiple timescales. Bouts of interaction in the performances were manually annotated by experts and the performers' movements were quantified using computer vision techniques. The annotated interaction bouts were then predicted using several quantitative movement and audio features. Over 80% of the interaction bouts were successfully predicted by a broadband measure of the energy of the cross-wavelet transform of the co-performers' movements in non-pulsed duos. A more complex model, with multiple predictors that captured more specific, interacting features of the movements, was needed to explain a significant amount of variance in the pulsed duos. The methods developed here have key implications for future work on measuring visual coordination in musical ensemble performances, and can be easily adapted to other musical contexts, ensemble types and traditions.

Involuntary and voluntary recall of musical memories: A comparison of temporal accuracy and emotional responses.

Comparisons between involuntarily and voluntarily retrieved autobiographical memories have revealed similarities in encoding and maintenance, with differences in terms of specificity and emotional responses. Our study extended this research area into the domain of musical memory, which afforded a unique opportunity to compare the same memory as accessed both involuntarily and voluntarily. Specifically, we compared instances of involuntary musical imagery (INMI, or "earworms")-the spontaneous mental recall and repetition of a tune-to deliberate recall of the same tune as voluntary musical imagery (VMI) in terms of recall accuracy and emotional responses. Twenty participants completed two 3-day tasks. In an INMI task, participants recorded information about INMI episodes as they occurred; in a VMI task, participants were prompted via text message to deliberately imagine each tune they had previously experienced as INMI. In both tasks, tempi of the imagined tunes were recorded by tapping to the musical beat while wearing an accelerometer and additional information (e.g., tune name, emotion ratings) was logged in a diary. Overall, INMI and VMI tempo measurements for the same tune were strongly correlated. Tempo recall for tunes that have definitive, recorded versions was relatively accurate, and tunes that were retrieved deliberately (VMI) were not recalled more accurately in terms of tempo than spontaneous and involuntary instances of imagined music (INMI). Some evidence that INMI elicited stronger emotional responses than VMI was also revealed. These results demonstrate several parallels to previous literature on involuntary memories and add new insights on the phenomenology of INMI.

A developmental study of latent absolute pitch memory.

The ability to recall the absolute pitch level of familiar music (latent absolute pitch memory) is widespread in adults, in contrast to the rare ability to label single pitches without a reference tone (overt absolute pitch memory). The present research investigated the developmental profile of latent absolute pitch (AP) memory and explored individual differences related to this ability. In two experiments, 288 children from 4 to12 years of age performed significantly above chance at recognizing the absolute pitch level of familiar melodies. No age-related improvement or decline, nor effects of musical training, gender, or familiarity with the stimuli were found in regard to latent AP task performance. These findings suggest that latent AP memory is a stable ability that is developed from as early as age 4 and persists into adulthood.

The speed of our mental soundtracks: Tracking the tempo of involuntary musical imagery in everyday life.

The study of spontaneous and everyday cognitions is an area of rapidly growing interest. One of the most ubiquitous forms of spontaneous cognition is involuntary musical imagery (INMI), the involuntarily retrieved and repetitive mental replay of music. The present study introduced a novel method for capturing temporal features of INMI within a naturalistic setting. This method allowed for the investigation of two questions of interest to INMI researchers in a more objective way than previously possible, concerning (1) the precision of memory representations within INMI and (2) the interactions between INMI and concurrent affective state. Over the course of 4 days, INMI tempo was measured by asking participants to tap to the beat of their INMI with a wrist-worn accelerometer. Participants documented additional details regarding their INMI in a diary. Overall, the tempo of music within INMI was recalled from long-term memory in a highly veridical form, although with a regression to the mean for recalled tempo that parallels previous findings on voluntary musical imagery. A significant positive relationship was found between INMI tempo and subjective arousal, suggesting that INMI interacts with concurrent mood in a similar manner to perceived music. The results suggest several parallels between INMI and voluntary imagery, music perceptual processes, and other types of involuntary memories.

Tunes stuck in your brain: The frequency and affective evaluation of involuntary musical imagery correlate with cortical structure.

Recent years have seen a growing interest in the neuroscience of spontaneous cognition. One form of such cognition is involuntary musical imagery (INMI), the non-pathological and everyday experience of having music in one's head, in the absence of an external stimulus. In this study, aspects of INMI, including frequency and affective evaluation, were measured by self-report in 44 subjects and related to variation in brain structure in these individuals. Frequency of INMI was related to cortical thickness in regions of right frontal and temporal cortices as well as the anterior cingulate and left angular gyrus. Affective aspects of INMI, namely the extent to which subjects wished to suppress INMI or considered them helpful, were related to gray matter volume in right temporopolar and parahippocampal cortices respectively. These results provide the first evidence that INMI is a common internal experience recruiting brain networks involved in perception, emotions, memory and spontaneous thoughts.

The effect of exercise-induced arousal on chosen tempi for familiar melodies.

Many previous studies have shown that arousal affects time perception, suggesting a direct influence of arousal on the speed of the pacemaker of the internal clock. However, it is unknown whether arousal influences the mental representation of tempo (speed) for highly familiar and complex stimuli, such as well-known melodies, that have long-term representations in memory. Previous research suggests that mental representations of the tempo of familiar melodies are stable over time; the aim of the present study was to investigate whether these representations can be systematically altered via an increase in physiological arousal. Participants adjusted the tempo of 14 familiar melodies in real time until they found a tempo that matched their internal representation of the appropriate tempo for that piece. The task was carried out before and after a physiologically arousing (exercise) or nonarousing (anagrams) manipulation. Participants completed this task both while hearing the melodies aloud and while imagining them. Chosen tempi increased significantly following exercise-induced arousal, regardless of whether a melody was heard aloud or imagined. These findings suggest that a change in internal clock speed affects temporal judgments even for highly familiar and complex stimuli such as music.

Sticky tunes: how do people react to involuntary musical imagery?

The vast majority of people experience involuntary musical imagery (INMI) or 'earworms'; perceptions of spontaneous, repetitive musical sound in the absence of an external source. The majority of INMI episodes are not bothersome, while some cause disruption ranging from distraction to anxiety and distress. To date, little is known about how the majority of people react to INMI, in particular whether evaluation of the experience impacts on chosen response behaviours or if attempts at controlling INMI are successful or not. The present study classified 1046 reports of how people react to INMI episodes. Two laboratories in Finland and the UK conducted an identical qualitative analysis protocol on reports of INMI reactions and derived visual descriptive models of the outcomes using grounded theory techniques. Combined analysis carried out across the two studies confirmed that many INMI episodes were considered neutral or pleasant, with passive acceptance and enjoyment being among the most popular response behaviours. A significant number of people, however, reported on attempts to cope with unwanted INMI. The most popular and effective behaviours in response to INMI were seeking out the tune in question, and musical or verbal distraction. The outcomes of this study contribute to our understanding of the aetiology of INMI, in particular within the framework of memory theory, and present testable hypotheses for future research on successful INMI coping strategies.

The influence of music-elicited emotions and relative pitch on absolute pitch memory for familiar melodies.

Levitin's findings that nonmusicians could produce from memory the absolute pitches of self-selected pop songs have been widely cited in the music psychology literature. These findings suggest that latent absolute pitch (AP) memory may be a more widespread trait within the population than traditional AP labelling ability. However, it has been left unclear what factors may facilitate absolute pitch retention for familiar pieces of music. The aim of the present paper was to investigate factors that may contribute to latent AP memory using Levitin's sung production paradigm for AP memory and comparing results to the outcomes of a pitch labelling task, a relative pitch memory test, measures of music-induced emotions, and various measures of participants' musical backgrounds. Our results suggest that relative pitch memory and the quality and degree of music-elicited emotions impact on latent AP memory.