journal article Oct 01, 2003

Time course of melody recognition: A gating paradigm study

View at Publisher Save 10.3758/bf03194831
Topics

No keywords indexed for this article. Browse by subject →

References
48
[1]
Altmann, G., Wathanasin, S., Birkett, T., &Russell, P. (1992).Experimenter program. Brighton, U.K.: University of Sussex, Network Analysis Ltd.
[2]
Attneave, F., &Olson, R. K. (1971). Pitch as a medium: A new approach to psychophysical scaling.American Journal of Psychology,84, 147–166. 10.2307/1421351
[3]
Bartlett, J. C., &Dowling, W. J. (1980). Recognition of transposed melodies: A key-distance effect in developmental perspective.Journal of Experimental Psychology: Human Perception & Performance,6, 501–515. 10.1037/0096-1523.6.3.501
[4]
Berthier, J. E. (1979).1000 chants [1,000 songs]. Paris: Presses de l’Ile-de-France.
[5]
Bigand, E., &Parncutt, R. (1999). Perceiving musical tension in long chord sequences.Psychological Research,62, 237–254. 10.1007/s004260050053
[6]
Brown, A. S. (1991). A review of the tip-of-the-tongue experience.Psychological Bulletin,109, 204–223. 10.1037/0033-2909.109.2.204
[7]
Cohen, J., MacWhinney, B., Flatt, M., &Provost, J. (1993). PsyScope: An interactive graphic system for designing and controlling experiments in the psychology laboratory using Macintosh computers.Behavior Research Methods, Instruments, & Computers,25, 257–271. 10.3758/bf03204507
[8]
Cotton, S., &Grosjean, F. (1984). The gating paradigm: A comparison of successive and individual presentation formats.Perception & Psychophysics,35, 41–48. 10.3758/bf03205923
[9]
Deliége, I. (1987). Grouping conditions in listening to music: An approach to Lerdahl and Jackendoff`s grouping preference rules.Music Perception,4, 325–360. 10.2307/40285378
[10]
Deutsch, D. (1972). Octave generalization and tune recognition.Perception & Psychophysics,11, 411–412. 10.3758/bf03206280
[11]
Dowling, W. J. (1978). Scale and contour: Two components of a theory of memory for melodies.Psychological Review,85, 341–354. 10.1037/0033-295x.85.4.341
[12]
Dowling, W. J. (1984). Musical experience and tonal scales in the recognition of octave-scrambled melodies.Psychomusicology,4, 13–32. 10.1037/h0094206
[13]
Dowling, W. J., &Fujitani, D. S. (1971). Contour, interval, and pitch recognition in memory for melodies.Journal of the Acoustical Society of America,49, 524–531. 10.1121/1.1912382
[14]
Dowling, W. J., &Harwood, D. L. (1986).Music cognition. Orlando, FL: Academic Press.
[15]
Dowling, W. J., &Hollombe, A. W. (1977). The perception of melodies distorted by splitting into several octaves: Effects of increasing proximity and melodic contour.Perception & Psychophysics,21, 60–64. 10.3758/bf03199469
[16]
Frauenfelder, U. H. (1996). Computational models of spoken word recognition. In T. Dijkstra & K. de Smedt (Eds.),Computational psycholinguistics: AI and connectionist models of human language processing. London: Taylor & Francis.
[17]
Grosjean, F. (1980). Spoken word recognition processes and the gating paradigm.Perception & Psychophysics,28, 267–283. 10.3758/bf03204386
[18]
Grosjean, F. (1996). Gating.Language & Cognitive Processes,11, 597–604. 10.1080/016909696386999
[19]
Halpern, A. R., Bartlett, J. C., &Dowling, W. J. (1995). Aging and experience in the recognition of musical transpositions.Psychology & Aging,10, 325–342. 10.1037/0882-7974.10.3.325
[20]
Handel, S. (1989).Listening: An introduction to the perception of auditory events. Cambridge, MA: MIT Press.
[21]
Hébert, S., &Peretz, I. (1997). Recognition of music in long-term memory: Are melodic and temporal patterns equal partners?Memory & Cognition,25, 518–533. 10.3758/bf03201127
[22]
Idson, W. L., &Massaro, D. W. (1978). A bidimensional model of pitch in the recognition of melodies.Perception & Psychophysics,24, 551–565. 10.3758/bf03198783
[23]
A Cohort Model of Visual Word Recognition

N.F. Johnson, K.R. Pugh

Cognitive Psychology 1994 10.1006/cogp.1994.1008
[24]
Kallman, H. J., &Massaro, D. W. (1979). Tone chroma is functional in melody recognition.Perception & Psychophysics,26, 32–36. 10.3758/bf03199859
[25]
Koriat, A. (1993). How do we know that we know? The accessibility model of the feeling of knowing.Psychological Review,100, 609–639. 10.1037/0033-295x.100.4.609
[26]
Koriat, A., &Levy-Sadot, R. (2001). The combined contributions of the cue-familiarity and accessibility heuristics to feelings of knowing.Journal of Experimental Psychology: Learning, Memory, & Cognition,27, 34–53. 10.1037/0278-7393.27.1.34
[27]
Krumhansl, C. L. (1990).Cognitive foundations of musical pitch. Oxford: Oxford University Press.
[28]
Krumhansl, C. L., &Shepard, R. N. (1979). Quantification of the hierarchy of tonal functions within a diatonic context.Journal of Experimental Psychology: Human Perception & Performance,5, 579–594. 10.1037/0096-1523.5.4.579
[29]
Lerdahl, F., &Jackendoff, R. S. (1983).A generative theory of tonal music. Cambridge, MA: MIT Press.
[30]
Marslen-Wilson, W. D. (1987). Functional parallelism in spoken word-recognition.Cognition,25, 71–102. 10.1016/0010-0277(87)90005-9
[31]
Processing interactions and lexical access during word recognition in continuous speech

William D Marslen-Wilson, Alan Welsh

Cognitive Psychology 1978 10.1016/0010-0285(78)90018-x
[32]
Narmour, E. (1990).The analysis and cognition of basic melodic structures: The implication-realization model. Chicago: University of Chicago Press.
[33]
Palmer, C., &Krumhansl, C. L. (1987a). Independent temporal and pitch structures in determination of musical phrases.Journal of Experimental Psychology: Human Perception & Performance,13, 116–126. 10.1037/0096-1523.13.1.116
[34]
Palmer, C., &Krumhansl, C. L. (1987b). Pitch and temporal contributions to musical phrase perception: Effects of harmony, performance timing, and familiarity.Perception & Psychophysics,41, 505–518. 10.3758/bf03210485
[35]
Peretz, I. (1989). Clustering in music: An appraisal of task factors.International Journal of Psychology,24, 157–178. 10.1080/00207594.1989.10600040
[36]
Peretz, I., Babaï, M., Lussier, I., Hébert, S., &Gagnon, L. (1995). Corpus d’extraits musicaux: Indices relatifs á la familiarité, à l’âge d’acquisition et aux évocations verbales.Canadian Journal of Experimental Psychology,49, 211–239. 10.1037/1196-1961.49.2.211
[37]
Peretz, I., Gagnon, L., &Bouchard, B. (1998). Music and emotion: Perceptual determinants, immediacy, and isolation after brain damage.Cognition,68, 111–141. 10.1016/s0010-0277(98)00043-2
[38]
Peretz, I., Gaudreau, D., &Bonnel, A.-M. (1998). Exposure effects on music preference and recognition.Memory & Cognition,26, 884–902. 10.3758/bf03201171
[39]
Peynircioĝlu, Z. F., Tekcan, A. I., Wagner, J. L., Baxter, T. L., &Shaffer, S. D. (1998). Name or hum that tune: Feeling of knowing for music.Memory & Cognition,26, 1131–1137. 10.3758/bf03201190
[40]
Protopapas, A. (1999). Connectionist modeling of speech perception.Psychological Bulletin,125, 410–436. 10.1037/0033-2909.125.4.410
[41]
Schellenberg, E. G. (1996). Expectancy in melody: Tests of the implication-realization model.Cognition,58, 75–125. 10.1016/0010-0277(95)00665-6
[42]
Schellenberg, E. G., Iverson, P., &McKinnon, M. C. (1999). Name that tune: Identifying popular recordings from brief excerpts.Psychonomic Bulletin & Review,6, 641–646. 10.3758/bf03212973
[43]
Smith, J. D. (1997). The place of musical novices in music science.Music Perception,14, 227–262. 10.2307/40285720
[44]
Smith, J. D., Nelson, D. G., Grohskopf, L. A., &Appleton, T. (1994). What child is this? What interval was that? Familiar tunes and music perception in novice listeners.Cognition,52, 23–54. 10.1016/0010-0277(94)90003-5
[45]
Tyler, L. K. (1984). The structure of the initial cohort: Evidence from gating.Perception & Psychophysics,36, 417–427. 10.3758/bf03207496
[46]
Tyler, L. K., &Wessels, J. (1985). Is gating an on-line task? Evidence from naming latency data.Perception & Psychophysics,38, 217–222. 10.3758/bf03207148
[47]
Walley, A. C., Michela, V. L., &Wood, D. R. (1995). The gating paradigm: Effects of presentation format on spoken word recognition by children and adults.Perception & Psychophysics,57, 343–351. 10.3758/bf03213059
[48]
White, B. W. (1960). Recognition of distorted melodies.American Journal of Psychology,73, 100–107. 10.2307/1419120
Metrics
53
Citations
48
References
Details
Published
Oct 01, 2003
Vol/Issue
65(7)
Pages
1019-1028
License
View
Cite This Article
Simone Dalla Bella, Isabelle Peretz, Neil Aronoff (2003). Time course of melody recognition: A gating paradigm study. Perception & Psychophysics, 65(7), 1019-1028. https://doi.org/10.3758/bf03194831
Related

You May Also Like

Effects of noise letters upon the identification of a target letter in a nonsearch task

Barbara A. Eriksen, Charles W. Eriksen · 1974

5,675 citations

Visual attention within and around the field of focal attention: A zoom lens model

Charles W. Eriksen, James D. St. James · 1986

1,287 citations

Iconic memory and visible persistence

Max Coltheart · 1980

684 citations