The flashbulb-like nature of memory for the first COVID-19 case and the impact of the emergency. A cross-national survey.

Flashbulb memories (FBMs) refer to vivid and long-lasting autobiographical memories for the circumstances in which people learned of a shocking and consequential public event. A cross-national study across eleven countries aimed to investigate FBM formation following the first COVID-19 case news in each country and test the effect of pandemic-related variables on FBM. Participants had detailed memories of the date and others present when they heard the news, and had partially detailed memories of the place, activity, and news source. China had the highest FBM specificity. All countries considered the COVID-19 emergency as highly significant at both the individual and global level. The Classification and Regression Tree Analysis revealed that FBM specificity might be influenced by participants' age, subjective severity (assessment of COVID-19 impact in each country and relative to others), residing in an area with stringent COVID-19 protection measures, and expecting the pandemic effects. Hierarchical regression models demonstrated that age and subjective severity negatively predicted FBM specificity, whereas sex, pandemic impact expectedness, and rehearsal showed positive associations in the total sample. Subjective severity negatively affected FBM specificity in Turkey, whereas pandemic impact expectedness positively influenced FBM specificity in China and negatively in Denmark.

Perceived rhythmic regularity is greater for song than speech: examining acoustic correlates of rhythmic regularity in speech and song.

Rhythm is a key feature of music and language, but the way rhythm unfolds within each domain differs. Music induces perception of a beat, a regular repeating pulse spaced by roughly equal durations, whereas speech does not have the same isochronous framework. Although rhythmic regularity is a defining feature of music and language, it is difficult to derive acoustic indices of the differences in rhythmic regularity between domains. The current study examined whether participants could provide subjective ratings of rhythmic regularity for acoustically matched (syllable-, tempo-, and contour-matched) and acoustically unmatched (varying in tempo, syllable number, semantics, and contour) exemplars of speech and song. We used subjective ratings to index the presence or absence of an underlying beat and correlated ratings with stimulus features to identify acoustic metrics of regularity. Experiment 1 highlighted that ratings based on the term "rhythmic regularity" did not result in consistent definitions of regularity across participants, with opposite ratings for participants who adopted a beat-based definition (song greater than speech), a normal-prosody definition (speech greater than song), or an unclear definition (no difference). Experiment 2 defined rhythmic regularity as how easy it would be to tap or clap to the utterances. Participants rated song as easier to clap or tap to than speech for both acoustically matched and unmatched datasets. Subjective regularity ratings from Experiment 2 illustrated that stimuli with longer syllable durations and with less spectral flux were rated as more rhythmically regular across domains. Our findings demonstrate that rhythmic regularity distinguishes speech from song and several key acoustic features can be used to predict listeners' perception of rhythmic regularity within and across domains as well.