Prototype effects in music listening:: An empirical approach to the notion of imprint
Prototype effects in music listening:: An empirical approach to the notion of imprint
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DOI：
10.1525/mp.2001.18.3.371
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发表时间：
2001-03-01
期刊：
影响因子：
2.3
通讯作者：
Deliège, I
中科院分区：
文献类型：
--
作者：
Deliège, I
从线索抽象的想法开始，印记形成的概念被假设为在听音乐时是可操作的。这一概念接近于20世纪60年代末在分类研究中提出的原型概念，即一组突出的属性，其本身显示了更广泛的项目集合的主要维度的平均值。本研究的目的是进一步发展的初步实验结果，以探讨新的实验因素的影响：培训，熟悉和项目配置。这些程序的灵感来自原型研究中开发的方法。在习得阶段，600名成年受试者（音乐家和非音乐家）听一首曲子的第一部分。然后向他们展示一组一到两个小节的项目，分为三个部分：听到的项目（从作品的第一部分中选择：已经听到）、未听到的项目（从第二部分中选择）和修改的项目（包括轻微的音调变化或音调和节奏的变化）。潜在的印记假设是，未听过的项目会被错误地认为之前已经被感知过。材料在三种不同的熟悉条件下呈现：在获取阶段听作品的第一部分10次，6次或2次。在识别阶段，受试者必须指出该项目以前是否被听到过，并对他们的反应给予一定程度的信心。音乐家比非音乐家表现得更好，而且这种训练的效果通过之前对作品的演奏次数而得到加强。此外，更多的正确的反应，记录了两个酒吧的项目比一个酒吧的项目。最后，音高和节奏的变化被认为比单独的音高变化要好得多。一个明显的印记效应，观察到在不同阶段的做法。
Starting from the idea of cue abstraction, the notion of imprint formation has been hypothesized as being operational in listening to music. This notion is close to the concept of prototype put forth in the late 1960s in categorization research, that is, a set of prominent properties showing in itself an average of the main dimensions of a broader set of items. The present study aims to further develop results of a preliminary experiment in order to investigate the effect of new experimental factors: training, familiarization, and item configurations. The procedures were inspired by the methods developed in prototype research. In an acquisition phase, 600 adult subjects (musicians and nonmusicians) listened to the first part of a piece. They were then presented with a set of items of one or two bars, divided into three parts: Heard items (selected from the first part of the piece: already heard), Unheard items (selected from the second part), and Modified items (including slight pitch changes or changes in pitch and rhythm). The underlying imprint hypothesis was that unheard items would be erroneously felt to have already been perceived before. The material was presented in three different familiarization conditions: listening to the first part of the piece either 10, 6, or 2 times during the acquisition phase. In the recognition phase, subjects had to indicate whether the item had previously been heard and to give a degree of confidence in their response. Musicians performed better than nonmusicians performed, and this effect of training was reinforced by the number of previous listenings to the piece. In addition, more correct responses were recorded for items of two bars than for items of one bar. Finally pitch and rhythm modifications were perceived much better than were pitch changes alone. A clear imprint effect was observed in the different stages of the approach.