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Dive into the research topics where Lola L. Cuddy is active.

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Featured researches published by Lola L. Cuddy.


Journal of Experimental Psychology: Human Perception and Performance | 1981

Perception of Structure in Short Melodic Sequences.

Lola L. Cuddy; Annabel J. Cohen; D. J. K. Mewhort

Three experiments studied the perception of tone sequences having various degrees of musical structure. Ratings of perceived structure and ease of recognition in transposition were both influenced by harmonic progression (as defined by music theory), the contour (directional changes in pitch), and the excursion or repetition pattern within the sequence. The relation between the original and transposed sequence also affected ease of recognition in accordance with the number of tones shared between the two sequences. The results are described in terms of the abstraction and analysis of levels of pitch relations, an analysis conducted even by musically untrained listeners. The conceptual framework emphasizes the application of musical rules as an illustration of rules governing auditory sequences in general.


Attention Perception & Psychophysics | 1987

Recovery of the tonal hierarchy: Some comparisons across age and levels of musical experience

Lola L. Cuddy; Betsy Badertscher

Two experiments examined the recovery of the tonal hierarchy from three melodic patterns—the major triad, the major scale, and the diminished triad. In the probe-tone technique, for each pattern, each of the 12 tones of the chromatic scale was rated as a completion note for the pattern. Pattern tones and probe tones were synthetic complexes of octave partials, amplitude-weighted according to Shepard (1964). First- through sixth-grade children participated in the first experiment, adults with three levels of musical experience in the second. For all subjects, the probe-tone ratings for the major-triad pattern indicated recovery of the full tonal hierarchy. For the major-scale pattern, children and adults successfully differentiated tonal function within the scale. Adults, however, showed greater sensitivity to key organization than did the children and were less influenced by pitch proximity. The diminished-triad pattern conveyed no musical meaning to the children and was tonally ambiguous for the adults. The importance of the major triad in establishing a sense of key is underscored. As patterns depart from this prototype, recovery of the tonal hierarchy may depend on the degree to which musical knowledge (intuitive and formal) is applied.


Memory & Cognition | 2000

Music training and rate of presentation as mediators of text and song recall.

Andrea R. Kilgour; Lorna S. Jakobson; Lola L. Cuddy

The present research addresses whether music training acts as a mediator of the recall of spoken and sung lyrics and whether presentation rate is the essential variable, rather than the inclusion of melody. In Experiment 1, 78 undergraduates, half with music training and half without, heard spoken or sung lyrics. Recall for sung lyrics was superior to that for spoken lyrics for both groups. In Experiments 2 and 3, presentation rate was manipulated so that the durations of the spoken and the sung materials were equal. With presentation rate equated, there was no advantage for sung over spoken lyrics. In all the experiments, those participants with music training outperformed those without training in all the conditions. The results suggest that music training leads to enhanced memory for verbal material. Previous findings of melody’s aiding text recall may be attributed to presentation rate.


Attention Perception & Psychophysics | 1995

Expectancies generated by melodic intervals: Perceptual judgments of melodic continuity

Lola L. Cuddy; Carole A. Lunney

The present study tested quantified predictors based on the bottom-up principles of Narmour’s (1990) implication-realization model of melodic expectancy against continuity ratings collected for a tone that followed a two-tone melodic beginning. Twenty-four subjects (12 musically trained, 12 untrained) were presented with each of eight melodic intervals—two successive tones which they were asked to consider as the beginning of a melody. On each trial, a melodic interval was followed by a third tone, one of the 25 chromatic notes within the range one octave below to one octave above the second tone of the interval. The subjects were asked to rate how well the third tone continued the melody. A series of regression analyses was performed on the continuation ratings, and a final model to account for the variance in the ratings is proposed. Support was found for three of Narmour’s principles and a modified version of a fourth. Support was also found for predictor variables based on the pitch organization of tonal harmonic music. No significant differences between the levels of musical training were encountered.


American Journal of Psychology | 1984

Music, mind, and brain : the neuropsychology of music

Lola L. Cuddy; Manfred Clynes

1 Concerning the Language of Music.- I: Music, Mind, and Meaning.- II: Brain Mechanism in Music: Prolegomena for a Theory of the Meaning of Meaning.- III: Physical and Neuropsychological Foundations of Music: the Basic Questions.- IV: The Living Quality of Music: Neurobiologic Basis of Communicating Feeling.- V: A Grammatical Parallel Between Music and Language.- VI: Organizational Processes in Music.- 2 Music and Neurobiologie Function.- VII: Speech, Song, and Emotions.- VIII: Prosody and Musical Rhythm are Controlled By the Speech Hemisphere.- IX: Perception and Performance of Musical Rhythm.- X: Neurobiologic Functions of Rhythm, Time and Pulse in Music.- XI: The Judgment of Musical intervals.- XII: affective Versus analytic Perception of Musical intervals.- XIII: Two Channel Pitch Perception.- XIV: Spectral-Pitch Pattern: a Concept Representing the Tonal Features of Sounds.- XV: Spectral Fusion and the Creation of auditory Images.- XVI: The Perceptual Onset of Musical Tones.- XVII: The Pitch Set as a Level of Description For Studying Musical Pitch Perception.- 3 Concerning Music and Computers.- XVIII: Impact of Computers On Music: an Outline.- XIX: Electronic Music: a Bridge Between Psychoacoustics and Music.- A Note - New Music and Neurobiologic Research: Can they Meet?.- XX: A Computer Model of Music Recognition.- Appendix: List of Sound Examples on the included Soundsheet.- Contributors.- Author index.


Quarterly Journal of Experimental Psychology | 1976

Recognition of Transposed Melodic Sequences

Lola L. Cuddy; Annabel J. Cohen

Accuracy of recognition for short (three-note) transposed melodic sequences was measured and compared with accuracy predicted by three models of recognition each of which described a different degree of abstraction and synthesis of the musical intervals contained in the sequence. For subjects with musical training, recognition was best described by a model that assumed abstraction and synthesis of the musical intervals between both adjacent and non-adjacent tones of the sequence. For subjects without musical training, recognition was much less accurate but there was some evidence that intervals between adjacent tones were abstracted. Of major theoretical interest, however, was the finding that none of the models provided a comprehensive account of the data. Not merely the size of the intervals contained in a sequence determines accuracy of recognition of the sequence, but also the order or configuration of the intervals. It is suggested that particular interval configurations facilitate the abstraction of tonal structure.


Journal of Experimental Psychology: Human Learning & Memory | 1977

Recognition memory for single tones with and without context.

Kathryn M. Dewar; Lola L. Cuddy; D. J. Mewhort

Sequences of seven tones were presented, and recognition memory for individual tones of each sequence was tested under varying degrees of context. With no context, the test required recognition of a tone isolated from the sequence; with full context, the tone to be recognized was embedded in the original sequence. A series of three experiments demonstrated that recognition memory was far more accurate under full-context conditions than under no-context conditions and that the superiority was not wholly attributable to the serial position information or the order information provided by the full context. It is suggested that in addition to the processing of limited information for the pitch of isolated tones, pattern (or relational) information is abstracted from a tone sequence and is retrieved in the presence of full context.


Journal of the Acoustical Society of America | 1968

Practice Effects in the Absolute Judgment of Pitch

Lola L. Cuddy

Three experiments are reported in which the relation between practice and the absolute judgment of pitch was examined. Experiment 1 showed that students with training in music could judge pitch more accurately than students with little or no music training. In Expts. 2 and 3, listeners were given systematic training that stressed the identification of a single reference standard −A4, 440 Hz. Following such training, listeners showed improved recognition of A4 (Expt. 2) and improved recognition of a series of 10 tones (Expt. 3). Training on the reference standard A4 was more effective in improving the performance of music students than was training in which the listener was required to name each tone and was then told the correct response (regular feedback).


Attention Perception & Psychophysics | 1970

Training the absolute identification of pitch

Lola L. Cuddy

Two methods for training the absolute judgment of pitch, reference training and series training, were studied. Reference training concentrated during training on the identification of three reference tones in a set of nine pure tones, while series training gave equal weight during training to the identification of all nine tones. Results of pre- and posttraining tests, scored for the number of correct judgments, showed that reference training was more effective than series training for listeners with musical experience. In addition, discriminability (d′) scaling of pre- and posttest performance indicated that reference training was particularly effective for training listeners with musical experience when the nine tones of a set were grouped into three pitch classes—high, medium, and low pitch. Listeners without musical experience benefited from both training methods, but their overall improvement was less than that for musical listeners.


Journal of Experimental Psychology: Human Perception and Performance | 1989

Effects of metric and harmonic rhythm on the detection of pitch alterations in melodic sequences

Karen C. Smith; Lola L. Cuddy

Tested response time to alterations. Metric rhythm and harmonic rhythm of 13-note tonal sequences were either matched or mismatched. Metric rhythm (3/4 or 4/4 meter) was induced by dynamic accents. Harmonic rhythm was induced by implied chord progressions initiated on the first note and on either every third or every fourth note. Responses were not always faster for matched rhythms or for alterations occurring on the dynamic accent. Responses were consistently faster for sequences presented in 4/4 meter. Musically untrained Ss performed similarly to trained Ss, but were slower and more variable. Accuracy of recall on a music dictation task also favored 4/4 meter rather than matched rhythms. Coding of pitch content may have been facilitated by the structural framework of 4/4 meter rather than by expectancies arising from the match of temporal and pitch organization.

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