Implicit knowledge and memory for musical stimuli in musicians and non-musicians.
AffiliationUniversity of Chester
MetadataShow full item record
AbstractThe phoneme monitoring task used by Bigand, Tillmann, Poulin, D’Adamo and Madurell (2001) 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.
CitationThorpe, L., Cousins., M., & Bramwell, R. (2019). Implicit knowledge and memory musical stimuli in musicians and non-musicians. Psychology of Music, 0305735619833456.
JournalPsychology of Music
Except where otherwise noted, this item's license is described as http://creativecommons.org/licenses/by-nc-nd/4.0/