Rabinovitz Brian E, Peynircioğlu Zehra F
American University, Department of Psychology, Washington, DC 20016-1023, USA.
Acta Psychol (Amst). 2011 Sep;138(1):74-84. doi: 10.1016/j.actpsy.2011.05.008. Epub 2011 Jun 8.
We explored the differences between metamemory judgments for titles as well as for melodies of instrumental music and those for songs with lyrics. Participants were given melody or title cues and asked to provide the corresponding titles or melodies or feeling of knowing (FOK) ratings. FOK ratings were higher but less accurate for titles with melody cues than vice versa, but only in instrumental music, replicating previous findings. In a series of seven experiments, we ruled out style, instrumentation, and strategy differences as explanations for this asymmetry. A mediating role of lyrics between the title and the melody in songs was also ruled out. What emerged as the main explanation was the degree of familiarity with the musical pieces, which was manipulated either episodically or semantically, and within this context, lyrics appeared to serve as an additional source of familiarity. Results are discussed using the Interactive Theory of how FOK judgments are made.
我们探究了针对器乐旋律和标题以及带歌词歌曲的元记忆判断之间的差异。研究人员向参与者提供旋律或标题线索，并要求他们给出相应的标题、旋律或知晓感（FOK）评分。对于有旋律线索的标题，FOK评分更高，但准确性更低，反之亦然，但这种情况仅出现在器乐中，这重复了之前的研究结果。在一系列七个实验中，我们排除了风格、乐器编制和策略差异作为这种不对称现象的解释。歌曲中歌词在标题和旋律之间的中介作用也被排除。最终出现的主要解释是对音乐作品的熟悉程度，这种熟悉程度通过情景或语义方式进行操控，在此背景下，歌词似乎充当了额外的熟悉度来源。我们运用关于FOK判断如何形成的交互理论对研究结果进行了讨论。
