Papers by Stephanie Stalinski
Topics in Cognitive Science, 2012
Although music is universal, there is a great deal of cultural variability in music structures. N... more Although music is universal, there is a great deal of cultural variability in music structures. Nevertheless, some aspects of music processing generalize across cultures, whereas others rely heavily on the listening environment. Here, we discuss the development of musical knowledge, focusing on four themes: (a) capabilities that are present early in development; (b) culture-general and culture-specific aspects of pitch and rhythm processing; (c) age-related changes in pitch perception; and (d) developmental changes in how listeners perceive emotion in music.
Psychological Research, 2014
A melody's identity is determined by relations between consecutive tones in terms of pitch and du... more A melody's identity is determined by relations between consecutive tones in terms of pitch and duration, whereas surface features (i.e., pitch level or key, tempo, and timbre) are irrelevant. Although surface features of highly familiar recordings are encoded into memory, little is known about listeners' mental representations of melodies heard once or twice. It is also unknown whether musical pitch is represented additively or interactively with temporal information. In two experiments, listeners heard unfamiliar melodies twice in an initial exposure phase. In a subsequent test phase, they heard the same (old) melodies interspersed with new melodies. Some of the old melodies were shifted in key, tempo, or key and tempo. Listeners' task was to rate how well they recognized each melody from the exposure phase while ignoring changes in key and tempo. Recognition ratings were higher for old melodies that stayed the same compared to those that were shifted in key or tempo, and detrimental effects of key and tempo changes were additive in between-subjects (Experiment 1) and within-subjects (Experiment 2) designs. The results confirm that surface features are remembered for melodies heard only twice. They also imply that key and tempo are processed and stored independently.
Journal of Experimental Psychology: Learning, Memory, and Cognition, 2013
Emotions have important and powerful effects on cognitive processes. Although it is well establis... more Emotions have important and powerful effects on cognitive processes. Although it is well established that memory influences liking, we sought to document whether liking influences memory. A series of 6 experiments examined whether liking is related to recognition memory for novel music excerpts. In the general method, participants listened to a set of music excerpts and rated how much they liked each one. After a delay, they heard the same excerpts plus an equal number of novel excerpts and made recognition judgments, which were then examined in conjunction with liking ratings. Higher liking ratings were associated with improved recognition performance after a 10-min (Experiment 1) or 24-hr (Experiment 2) delay between the exposure and test phases. The findings were similar when participants made liking ratings after recognition judgments (Experiments 3 and 6), when possible confounding effects of similarity and familiarity were held constant (Experiment 4), and when a deeper level of processing was encouraged for all the excerpts (Experiment 5). Recognition did not vary as a function of liking for previously unheard excerpts (Experiment 6). The results implicate a direct association between liking and recognition. Considered jointly with previous findings, it is now clear that listeners tend to like music that they remember and to remember music that they like.
Journal of Experimental Child Psychology, 2011
Adults and children 5, 8, and 11 years of age listened to short excerpts of unfamiliar music that... more Adults and children 5, 8, and 11 years of age listened to short excerpts of unfamiliar music that sounded happy, scary, peaceful, or sad. Listeners initially rated how much they liked each excerpt. They subsequently made a forced-choice judgment about the emotion that each excerpt conveyed. Identification accuracy was higher for young girls than for young boys, but both genders reached adult-like levels by age 11. High-arousal emotions (happiness and fear) were better identified than low-arousal emotions (peacefulness and sadness), and this advantage was exaggerated among younger children. Whereas children of all ages preferred excerpts depicting high-arousal emotions, adults favored excerpts depicting positive emotions (happiness and peacefulness). A preference for positive emotions over negative emotions was also evident among females of all ages. As identification accuracy improved, liking for positively valenced music increased among 5-and 8-year-olds but decreased among 11-year-olds.
Developmental Psychology, 2010
Musical melodies are recognized on the basis of pitch and temporal relations between consecutive ... more Musical melodies are recognized on the basis of pitch and temporal relations between consecutive tones. Although some previous evidence (e.g., Saffran & Griepentrog, 2001) points to an absolute-to-relative developmental shift in listeners' perception of pitch, other evidence (e.g., Plantinga & Trainor, 2005; Schellenberg & Trehub, 2003) suggests that both absolute- and relative-pitch processing are evident among listeners of all ages (infants, children, and adults). We attempted to resolve this apparent discrepancy by testing adults as well as children 5-12 years of age. On each trial, listeners rated how similar or how different 2 melodies sounded. The melodies were identical, transposed (all tones shifted in pitch by the same amount), different (same tones reordered, changing pitch relations between successive tones), or transposed and different. Listeners of all ages were sensitive to both changes, but younger listeners attended selectively to transpositions as a source of perceived differences. With increasing age, melodic differences played an increasingly important role, whereas transpositions became less relevant.
Canadian Journal of Experimental Psychology/Revue canadienne de psychologie expérimentale, 2008
The authors used a cognitive load manipulation (rehearsing a string of digits during the trial) t... more The authors used a cognitive load manipulation (rehearsing a string of digits during the trial) to test the automaticity of (a) masked repetition priming and (b) the masked repetition proportion (RP) effect (i.e., greater priming when the proportion of repetition-prime trials is higher) in the lexical decision task. The RP (.2 vs. .8) was varied across blocks. Masked priming was not reduced under load compared with a no-load group. Surprisingly, only the load group showed an RP effect in response latencies, although the no-load group showed an RP effect in the error rates. Our results show that masked priming is automatic, yet the influence of masked primes can nonetheless be adjusted at an unconscious level. Implications for accounts of masked priming are discussed.
Journal of the Acoustical Society of America, 2008
Musically untrained participants in five age groups ͑5-, 6-, 8-, and 11-year-olds, and adults͒ he... more Musically untrained participants in five age groups ͑5-, 6-, 8-, and 11-year-olds, and adults͒ heard sequences of three 1 s piano tones in which the first and third tones were identical ͑A5, or 880 Hz͒ but the middle tone was displaced upward or downward in pitch. Their task was to identify whether the middle tone was higher or lower than the other two tones. In experiment 1, 5-year-olds successfully identified upward and downward shifts of 4, 2, 1, 0.5, and 0.3 semitones. In experiment 2, older children ͑6-, 8-, and 11-year-olds͒ and adults successfully identified the same shifts as well as a smaller shift ͑0.1 semitone͒. For all age groups, performance accuracy decreased as the size of the shift decreased. Performance improved from 5 to 8 years of age, reaching adult levels at 8 years.
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Papers by Stephanie Stalinski