The speed of pitch resolution in a musical context.

In five experiments, we investigated the speed of pitch resolution in a musical context. In experiments 1-3, listeners were presented an incomplete scale (doh, re, mi, fa, sol, la, ti) and then a probe tone. Listeners were instructed to make a rapid key-press response to probe tones that were relatively proximal in pitch to the last note of the scale (valid trials), and to ignore other probe tones (invalid trials). Reaction times were slower if the pitch of the probe tone was dissonant with the expected pitch (i.e., the completion of the scale, or doh) or if the probe tone was nondiatonic to the key implied by the scale. In experiments 4 and 5, listeners were presented a two-octave incomplete arpeggio, and then a probe tone. In this case, listeners were asked to make a rapid key-press response to probe tones that were relatively distant in pitch from the last note of the arpeggio. Under these conditions, registral direction and pitch proximity were the dominant influences on reaction time. Results are discussed in view of research on auditory attention and models of musical pitch.

Expectancies generated by recent exposure to melodic sequences.

In four experiments, we examined the effects of exposure to unfamiliar tone sequences on melodic expectancy and memory. In Experiment 1, 30 unfamiliar tone sequences (target sequences) were presented to listeners three times each in random order (exposure phase), and listeners recorded the number of notes in each sequence. Listeners were then presented target and novel sequences and rated how well the final note continued the pattern of notes that preceded it. Novel sequences were identical to target sequences, except for the final note. Ratings were significantly higher for target sequences than for novel sequences, illustrating the influence of exposure on melodic expectancy. Experiment 2 confirmed that without exposure to target sequences, ratings were equivalent for target and novel sequences. In Experiment 3, new listeners were assessed for explicit memory for target sequences following the exposure phase. Recognition of target sequences was above chance, but unrelated to expectancy judgments in Experiment 1. Experiment 4 replicated the exposure effect, using a modified experiment design, and confirmed that the effect is not dependent on explicit memory for sequences. We discuss the idea that melodic expectancies are influenced by implicit memory for recently heard melodic patterns.