Does attention capacity correlate with the effects of chord function on phoneme monitoring?

Author(s):  
Nart Bedin Atalay ◽  
Mine Misirlisoy
Author(s):  
Ton Dijkstra ◽  
Ardi Roelofs ◽  
Steffen Fieuws
Keyword(s):  

2010 ◽  
Vol 22 (10) ◽  
pp. 2251-2262 ◽  
Author(s):  
Stefan Koelsch ◽  
Sebastian Jentschke

The music we usually listen to in everyday life consists of either single melodies or harmonized melodies (i.e., of melodies “accompanied” by chords). However, differences in the neural mechanisms underlying melodic and harmonic processing have remained largely unknown. Using EEG, this study compared effects of music-syntactic processing between chords and melodies. In melody blocks, sequences consisted of five tones, the final tone being either regular or irregular (p = .5). Analogously, in chord blocks, sequences consisted of five chords, the final chord function being either regular or irregular. Melodies were derived from the top voice of chord sequences, allowing a proper comparison between melodic and harmonic processing. Music-syntactic incongruities elicited an early anterior negativity with a latency of approximately 125 msec in both the melody and the chord conditions. This effect was followed in the chord condition, but not in the melody condition, by an additional negative effect that was maximal at approximately 180 msec. Both effects were maximal at frontal electrodes, but the later effect was more broadly distributed over the scalp than the earlier effect. These findings indicate that melodic information (which is also contained in the top voice of chords) is processed earlier and with partly different neural mechanisms than harmonic information of chords.


1991 ◽  
Vol 89 (4B) ◽  
pp. 2010-2011
Author(s):  
Scott E. Lively ◽  
David B. Pisoni

2019 ◽  
Vol 48 (6) ◽  
pp. 836-845
Author(s):  
Lisa Thorpe ◽  
Margaret Cousins ◽  
Ros Bramwell

The phoneme monitoring task is a musical priming paradigm that demonstrates that both musicians and non-musicians have gained implicit understanding of prevalent harmonic structures. Little research has focused on implicit music learning in musicians and non-musicians. This current study aimed to investigate whether the phoneme monitoring task would identify any implicit memory differences between musicians and non-musicians. It focuses on both implicit knowledge of musical structure and implicit memory for specific musical sequences. Thirty-two musicians and non-musicians (19 female and 13 male) were asked to listen to a seven-chord sequence and decide as quickly as possible whether the final chord ended on the syllable /di/ or /du/. Overall, musicians were faster at the task, though non-musicians made more gains through the blocks of trials. Implicit memory for musical sequence was evident in both musicians and non-musicians. Both groups of participants reacted quicker to sequences that they had heard more than once but showed no explicit knowledge of the familiar sequences.


1990 ◽  
Vol 29 (2) ◽  
pp. 160-180 ◽  
Author(s):  
Peter D. Eimas ◽  
Susan B. Marcovitz Hornstein ◽  
Paula Payton

1995 ◽  
Vol 16 (1) ◽  
pp. 59-81 ◽  
Author(s):  
Bernadette Dejean De La Batie ◽  
Dianne C. Bradley

ABSTRACTThe segmentation strategies used by native and non-native listeners of French were examined in two phoneme-monitoring experiments which required the subjects to detect the presence of word-initial /t/ in potential liaison phrases (e.g.,excellent tableau/excellent acteur) and in non-liaison phrases (e.g.,vrai tableau/vrai acteur). The essentially faultless performance of the natives suggested that the optimal segmentation routine in such phrases is primarily based on the identification of the critical word and, to a lesser extent, on the contextual information, which was more efficiently used to check the outcome of word recognition. In contrast, non-natives tended to rely on guessing strategies, not based on contextual information (contrary to the widely held language teaching recommendation), but on an incomplete acoustic–phonetic/lexical analysis of the signal.


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