Implicit knowledge and memory for musical stimuli in musicians and non-musicians

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 in...

Ausführliche Beschreibung

Gespeichert in:
Bibliographische Detailangaben
Veröffentlicht in:Psychology of music 2020-11, Vol.48 (6), p.836-845
Hauptverfasser: Thorpe, Lisa, Cousins, Margaret, Bramwell, Ros
Format: Artikel
Sprache:eng
Online-Zugang:Volltext
Tags: Tag hinzufügen
Keine Tags, Fügen Sie den ersten Tag hinzu!
container_end_page 845
container_issue 6
container_start_page 836
container_title Psychology of music
container_volume 48
creator Thorpe, Lisa
Cousins, Margaret
Bramwell, Ros
description 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.
doi_str_mv 10.1177/0305735619833456
format Article
fullrecord <record><control><sourceid>sage_cross</sourceid><recordid>TN_cdi_crossref_primary_10_1177_0305735619833456</recordid><sourceformat>XML</sourceformat><sourcesystem>PC</sourcesystem><sage_id>10.1177_0305735619833456</sage_id><sourcerecordid>10.1177_0305735619833456</sourcerecordid><originalsourceid>FETCH-LOGICAL-c323t-17e3d4c53d18985325a059c4e5e86c0973e469ee40ff27b5c8677485cdb04e0e3</originalsourceid><addsrcrecordid>eNp1UE1LwzAYDqJgnd495g9E3zRJkx5l-DEY6EHPJUvfjsw2HUmL7N-72uFB8PTA88XDQ8gthzvOtb4HAUoLVfDSCCFVcUYyriVnAow-J9kks0m_JFcp7QC4hCLPyNuq27fe-YF-hv6rxXqL1Iaadtj18UCbPtJuTN7ZlqbBd2PrqQ8z5W1IP97QB_bLXJOLxrYJb064IB9Pj-_LF7Z-fV4tH9bMiVwMjGsUtXRK1NyURolcWVClk6jQFA5KLVAWJaKEpsn1RjlTaC2NcvUGJAKKBYG518U-pYhNtY--s_FQcaimR6q_jxwjbI4ku8Vq148xHBf-7_8G4itgqQ</addsrcrecordid><sourcetype>Aggregation Database</sourcetype><iscdi>true</iscdi><recordtype>article</recordtype></control><display><type>article</type><title>Implicit knowledge and memory for musical stimuli in musicians and non-musicians</title><source>SAGE Complete A-Z List</source><creator>Thorpe, Lisa ; Cousins, Margaret ; Bramwell, Ros</creator><creatorcontrib>Thorpe, Lisa ; Cousins, Margaret ; Bramwell, Ros</creatorcontrib><description>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.</description><identifier>ISSN: 0305-7356</identifier><identifier>EISSN: 1741-3087</identifier><identifier>DOI: 10.1177/0305735619833456</identifier><language>eng</language><publisher>London, England: SAGE Publications</publisher><ispartof>Psychology of music, 2020-11, Vol.48 (6), p.836-845</ispartof><rights>The Author(s) 2019</rights><lds50>peer_reviewed</lds50><oa>free_for_read</oa><woscitedreferencessubscribed>false</woscitedreferencessubscribed><citedby>FETCH-LOGICAL-c323t-17e3d4c53d18985325a059c4e5e86c0973e469ee40ff27b5c8677485cdb04e0e3</citedby><cites>FETCH-LOGICAL-c323t-17e3d4c53d18985325a059c4e5e86c0973e469ee40ff27b5c8677485cdb04e0e3</cites><orcidid>0000-0002-6553-6717</orcidid></display><links><openurl>$$Topenurl_article</openurl><openurlfulltext>$$Topenurlfull_article</openurlfulltext><thumbnail>$$Tsyndetics_thumb_exl</thumbnail><linktopdf>$$Uhttps://journals.sagepub.com/doi/pdf/10.1177/0305735619833456$$EPDF$$P50$$Gsage$$H</linktopdf><linktohtml>$$Uhttps://journals.sagepub.com/doi/10.1177/0305735619833456$$EHTML$$P50$$Gsage$$H</linktohtml><link.rule.ids>314,776,780,21799,27903,27904,43600,43601</link.rule.ids></links><search><creatorcontrib>Thorpe, Lisa</creatorcontrib><creatorcontrib>Cousins, Margaret</creatorcontrib><creatorcontrib>Bramwell, Ros</creatorcontrib><title>Implicit knowledge and memory for musical stimuli in musicians and non-musicians</title><title>Psychology of music</title><description>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.</description><issn>0305-7356</issn><issn>1741-3087</issn><fulltext>true</fulltext><rsrctype>article</rsrctype><creationdate>2020</creationdate><recordtype>article</recordtype><recordid>eNp1UE1LwzAYDqJgnd495g9E3zRJkx5l-DEY6EHPJUvfjsw2HUmL7N-72uFB8PTA88XDQ8gthzvOtb4HAUoLVfDSCCFVcUYyriVnAow-J9kks0m_JFcp7QC4hCLPyNuq27fe-YF-hv6rxXqL1Iaadtj18UCbPtJuTN7ZlqbBd2PrqQ8z5W1IP97QB_bLXJOLxrYJb064IB9Pj-_LF7Z-fV4tH9bMiVwMjGsUtXRK1NyURolcWVClk6jQFA5KLVAWJaKEpsn1RjlTaC2NcvUGJAKKBYG518U-pYhNtY--s_FQcaimR6q_jxwjbI4ku8Vq148xHBf-7_8G4itgqQ</recordid><startdate>202011</startdate><enddate>202011</enddate><creator>Thorpe, Lisa</creator><creator>Cousins, Margaret</creator><creator>Bramwell, Ros</creator><general>SAGE Publications</general><scope>AAYXX</scope><scope>CITATION</scope><orcidid>https://orcid.org/0000-0002-6553-6717</orcidid></search><sort><creationdate>202011</creationdate><title>Implicit knowledge and memory for musical stimuli in musicians and non-musicians</title><author>Thorpe, Lisa ; Cousins, Margaret ; Bramwell, Ros</author></sort><facets><frbrtype>5</frbrtype><frbrgroupid>cdi_FETCH-LOGICAL-c323t-17e3d4c53d18985325a059c4e5e86c0973e469ee40ff27b5c8677485cdb04e0e3</frbrgroupid><rsrctype>articles</rsrctype><prefilter>articles</prefilter><language>eng</language><creationdate>2020</creationdate><toplevel>peer_reviewed</toplevel><toplevel>online_resources</toplevel><creatorcontrib>Thorpe, Lisa</creatorcontrib><creatorcontrib>Cousins, Margaret</creatorcontrib><creatorcontrib>Bramwell, Ros</creatorcontrib><collection>CrossRef</collection><jtitle>Psychology of music</jtitle></facets><delivery><delcategory>Remote Search Resource</delcategory><fulltext>fulltext</fulltext></delivery><addata><au>Thorpe, Lisa</au><au>Cousins, Margaret</au><au>Bramwell, Ros</au><format>journal</format><genre>article</genre><ristype>JOUR</ristype><atitle>Implicit knowledge and memory for musical stimuli in musicians and non-musicians</atitle><jtitle>Psychology of music</jtitle><date>2020-11</date><risdate>2020</risdate><volume>48</volume><issue>6</issue><spage>836</spage><epage>845</epage><pages>836-845</pages><issn>0305-7356</issn><eissn>1741-3087</eissn><abstract>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.</abstract><cop>London, England</cop><pub>SAGE Publications</pub><doi>10.1177/0305735619833456</doi><tpages>10</tpages><orcidid>https://orcid.org/0000-0002-6553-6717</orcidid><oa>free_for_read</oa></addata></record>
fulltext fulltext
identifier ISSN: 0305-7356
ispartof Psychology of music, 2020-11, Vol.48 (6), p.836-845
issn 0305-7356
1741-3087
language eng
recordid cdi_crossref_primary_10_1177_0305735619833456
source SAGE Complete A-Z List
title Implicit knowledge and memory for musical stimuli in musicians and non-musicians
url https://sfx.bib-bvb.de/sfx_tum?ctx_ver=Z39.88-2004&ctx_enc=info:ofi/enc:UTF-8&ctx_tim=2025-01-27T05%3A36%3A53IST&url_ver=Z39.88-2004&url_ctx_fmt=infofi/fmt:kev:mtx:ctx&rfr_id=info:sid/primo.exlibrisgroup.com:primo3-Article-sage_cross&rft_val_fmt=info:ofi/fmt:kev:mtx:journal&rft.genre=article&rft.atitle=Implicit%20knowledge%20and%20memory%20for%20musical%20stimuli%20in%20musicians%20and%20non-musicians&rft.jtitle=Psychology%20of%20music&rft.au=Thorpe,%20Lisa&rft.date=2020-11&rft.volume=48&rft.issue=6&rft.spage=836&rft.epage=845&rft.pages=836-845&rft.issn=0305-7356&rft.eissn=1741-3087&rft_id=info:doi/10.1177/0305735619833456&rft_dat=%3Csage_cross%3E10.1177_0305735619833456%3C/sage_cross%3E%3Curl%3E%3C/url%3E&disable_directlink=true&sfx.directlink=off&sfx.report_link=0&rft_id=info:oai/&rft_id=info:pmid/&rft_sage_id=10.1177_0305735619833456&rfr_iscdi=true