Norming the odd: Creation, norming, and validation of a stimulus set for the study of incongruities across music and language

Research into similarities between music and language processing is currently experiencing a strong renewed interest. Recent methodological advances have led to neuroimaging studies presenting striking similarities between neural patterns associated with the processing of music and language—notably, in the study of participants’ responses to elements that are incongruous with their musical or linguistic context. Responding to a call for greater systematicity by leading researchers in the field of music and language psychology, this article describes the creation, selection, and validation of a set of auditory stimuli in which both congruence and resolution were manipulated in equivalent ways across harmony, rhythm, semantics, and syntax. Three conditions were created by changing the contexts preceding and following musical and linguistic incongruities originally used for effect by authors and composers: Stimuli in the incongruous–resolved condition reproduced the original incongruity and resolution into the same context; stimuli in the incongruous–unresolved condition reproduced the incongruity but continued postincongruity with a new context dictated by the incongruity; and stimuli in the congruous condition presented the same element of interest, but the entire context was adapted to match it so that it was no longer incongruous. The manipulations described in this article rendered unrecognizable the original incongruities from which the stimuli were adapted, while maintaining ecological validity. The norming procedure and validation study resulted in a significant increase in perceived oddity from congruous to incongruous–resolved and from incongruous–resolved to incongruous–unresolved in all four components of music and language, making this set of stimuli a theoretically grounded and empirically validated resource for this growing area of research.