Figure 7‑7:
The rate of tapping for each inger,for each melody length and each
ISI in Experiments 7‑1,7‑2,&Experiment 7‑3(N=8).
Noteso Experiment 7‑1:blank interval condition, Experiment 7‑2:interfering melody cOndition, Experilnent 7‑3:interfering note names condition。
mse 700
１ ２ ３ 一 一 一 ７ ７ ７
●
○
▲
In contrast,in the present experilnents,the rate of tapping for each finger became faster (Figure 7‑7)and the latency became shorter(Figure 7‑8)as me10dy length increased.
Furthermore the latency in Experiinents 7‑2 and 7‑3 was shorter than that in Experiinent 7‑1;tapping started earlier in Experiments 7‑2 and 7‑3(interference condiions)than in Experiment 7‑l olank―interval condition)。 ]hiS may indicate that in the challenging condi―
tions in terms of melody length and interfering stimuli,the sutteCtS may have been men―
tally prepared to start tapping earlier and to repeat the pattem as many tilnes as possible, before the memory of the standard melody was disturbed by interfering stilnulio When the standard melody had ten tones,the latency was remarkably shortero As shown in Figure 7‑
8,in the hterference conditions suttects Started tapping about 450 msec ater they heard the last tone of the 10‑tone standard melody.(Э n the other hand,in the blank― interval condition,latency was about 610 msec for the 10‑tone melody,Therefore the latency could be reduced about 160 1nsec by mental preparation and effort.
Latency period could well be an important indicator of cognitive processes,because this period would involve various stages such as:auditory stiinuli are transmitted through sensory nerves to the auditory areas Of the brain and are perceived;then via various audi―
tory information processing stages they are replaced by motor codes and are transmitted through motor nerves,thus starting the finger rnovements.During the retention interval,the SutteCtS manage to use the appropriate rmgers to match the pitch information in memory, and they repeat the finger movement pattem as many tilnes as possibleo With the repetition
of finger inovements,the movement becomes more accurate and the rate gradually
becomes fastero Ъe elaborate rmgering iS transllnitted to the motor area of the braln,and then the lntermodal coordination behveen auditory pitch information and rnger movements would be formed.Thus,the pitch information would be encoded and retained by means of the rnotor representations.A series of studies orl the latency properties of typing (Sllaffer, 19173, 19175 ;Shaffer̀し Hardwick,1970)has led tO the conclusion that output is produced in two stages.It is assumed that the first stage transiates its string simultaneously and deposits the response codes in a buffer inemory,while the second stage converts response codes iteratively lnto finger movements.The two stages overlap in tilne,so that the contents of the buffer can be regarded as a queue of elements with service(reSpOnse translation)at One end and bulk renewal at the other.■ e second stage would require supplementary information about the location ofthe hand following the previous responses。
Rumelhan and Norman(1982)propOSed the simulation model ofinformation pЮ cessing systenl involved in typing:The input of the model is a string of characters that constitute the text to be typed.The perceptual processes output their identification of the input to a buffer which maintains the hformation while the appropriate re,pOnse eey press)sChemata are activated and take control of the actions.The output is a sequence of finger rnovements, either displayed on a visual computer― controlled display as the movement ofthe hands and fingers over a typewriter keyboard,or as a series of coordinate locations for the relevant body parts.
In Figure 7‑9,an example ofthe rmgering ofthe tapping with the 6‑tone series is illus―
trated.ne rlve steps of bar height缶om bottom to top correspond to the rlve rmgers ilom thumb to li■le finger.■ e bar width indicates the duration of touching between the tip of the finger and the alummum boardo An overlap between two successive bars indicates that the hvo rmgers were silnultaneously touching the aluminum boardo Figure 7‑9 shows the following:(→ Latency in Experiment 7‑2(interfering melody)waS ShOrter than in Exper―
iment 7‑1(blank̲interval condition);that iS,tapping started earher in Experirnent 7‑2 than in Experiment 7‑1。 (b)During the retention interval,subjects repeated the tapping much faster and more often in Experilnent 7‑2 than in Experiinent 7‑1.It appears that,
especially in the interference condition, suttects COncentrated on moving their fmgers to memorize and encode the pitches。 (c)SubjeCtS gradually tried to use more appropriate fingers.Tapping with accurate and elaborate fingering was repeated gradually faster and the amount of tapping increased as tilne passedo lt appeared that during the retention lnterval SuЦeCtS Came to repeat the movement oftapping automaticallyo When the comparison melody started,subiectS reconstructed their rnemory for the pitches frorn their finger movements,inatching the pitches ofthe comparison melody one by one。
The tapping data indicated other resultso When the comparison series was the same as the standard series,the subjects continued tapping to lnatch tones and taps one by one, until they hettd all the tones of the comparison series.Ъus sutteCtS Carried out exhaust市 e scanning(Stemberg,1966).When the comparison series was the different iom the stand―
ard series;m the case of Cb(loWer panel of Figure 7‑9),cXhaustive scanning also tended to be performed;while in the case of Es(upper panel of Figure 7‑9),the n101nent they listened to a different pitch from the standard series sutteCtS tended to stop tapping。 lhat is,they performed self― terminating search(Sternberg,1966)。
In other words,when the
SubjeCtS elnployed the tapplng strategy (in SeSSiOn 2),they COuld detect the di13erent pitch more accurate in Es than in Q缶 om their motor representations(Figure 7‑5)。Experirnent 7 was designed to investigate whether the finger― tapping would be effective as a pitch encoding strategy.The conclusions based on these experilnents were as follows:
First,for suЦects WhO Were highly trained in music,employing the external motor encoding strategy of tapping could be more effective than using intemal encoding strate―
gieS(pitCh rehearsal,representations of melodic contour or staff notation,or verbal re―
hearsal of note names)tO encode and retain the pitches of melodies。 ■e finding is similar to the view that rnotor― enactlnent encoding is rnore effective than visual― imagery encoding
on■
ee recall performance ofwords(Engelkamp,1986,1988)。Second,the tapping effect became stronger as the lnelody length and as ISI duration in―
creased.1llis was especially true where there were interfering melodies or series of note names during the retention intervalo While it would be difficult for suttectS tO use inに
mal
encoding strategies in these challenging situation,Inotor encoding strategy would be stable or robust. Subjects made the effortto rehearse the tapped pattern much faster and more often in order to retain the standard series.During the retention interval,they gradually tried to use more appropriate,accurate,and elaborate rmgering(Figure 7‑9)。
While cohen
(1983)suggeSted that in subjeCt― perforlned tasks(SPTS),Subjects's conscious rehearsal was not observed and there are no effects of elaboration on recall performance,in Experi―
ment 7 motor elaboration and suttectゞ COnscious efforts to rehearse action were observed ln the process of rnotor encoding.
Third,in order to repeatthe tapping many times in certain situations,sutteCtS WOuld start the tapping as early as possible,as reflected in the reduction of the latency period。
Intemal en∞ ding sttategies(Such as humming,宙 sualizing,and verbalizinD cOuld not be observed by lneasuring the number of tilnes and the rate of rehearsal,or the duration of latency between the end of the auditory stimulus and the start of rehearsal.On the other hand,the external encoding strategy oftapping could be observed and analyzed by these measureso Ъ erefore,the second and third conclusions are supported by the data。
Fourth,when not employing the tapping strategy,subieCtS processed contour and pitch as independent features, and each of them could be an effective cue for melody recogni―
tion,as found in Experiment l(e.g。
,Deutsch,1977;Dowling,1971,1972,1978;Dowling
&Fttitani,1971;Kallman&Massaro,1979;Mikumo,1992d)。
SuttectS COuld thus use contour as a cue for inelody recognition,especially under lnterference conditions and as melody length increased(c.g"Edwonhy,1985)。 MoreOVer,sutteCtS used contour as a cuc with short ISI durations,while they used pitch as a cue with long ISI durations(eog。 ,Dewi■
&Crowder,1986;Dowlhg&Ba■
lett,1981)。When the extemal motor encoding
strategy Oftapping was employed,the finger inovement tended to assiIInilate the cues of contour and pitch as ISI duration increased;that is,the finger inovement seⅣ ed as an effective means of encoding。Fith,each suttect WOuld have their own individual dominant intemal encoding strategy in ordinary conditions without interferenceo When suttectS Were instructed to employ the tapping strategy or when they were under conditions where it was difflcult to use their own strategies,they could employ the mOtOr encoding strategy effectively on their owno Since some subjects could not employ the motor encoding strategy independently of verbal encoding,it、″as necessary for them to employ a multi― coding strategy.This finding is similar to the宙ew that action…event memory is not independent of verbal memory(Ohta,
1993)。
The results regarding explicit inotor Fepresentations found in Experilnent 7 provide some evidence supporting important views proposed in the levels― of―processing theory.
The greater the degree of challenge in terms of rnelody length,ISI duration and interfering stimuli,the greater the efforts of the suljectS tO reduce the latency and to make elaborative and rapid finger movements.This finding supports the view that cognit市
e(conSCiOus) effort is used for encoding(Battig,1979;Jacoby&Craik,1979;Lockhart,Craik,&
Jacob勇 197oo As shown in Figure 7‑9,it was also found thatthe inger movements gradu―
ally became more appropriate,accurate and rapid during the retention lnterval.11lis rnding supports the view of a cο″″″ ″of rehearsal operations nlnning ttom the rninimal process―
ing necessary to repeat a word continuously to various types of elaborative processing involving either further enrichment of one item or associative linkage of several items (Craik,1979),and the view that the encoding process gradually spreads and becomes
richer and more elaborative cAnderson&Reder,1979;Craik&Tulvhg,1975;bckhart,
Craik,&Jacoby,1976).Craik and Tul宙
ng(1975)explained in terms of verbal stimulus that the lninilnal core encoding can be elaborated by a context of further structural,phonemic,and semantic encodings.■
us,the more the suttectS rehearsed elaborat市 e tap―ping,the greater the recognition performance became(e.g。
,Rundus,1971,1977,1980;
Rundus&Atkinson,1970;Rundus,Loftus,&Atkinson,1970)。
C}raphic illustration of the rmger inovements as in Figure 7‑9 revealed that the contour of bar lines was siinilar to the melodic contour of the standard series;this provides strong evidence that there is auro― motor coordination oith ViSual mediator)・ Furthelll.ore,this intermodal analogy would be based on spatio― motor representations of the relationship between the internal representation of the keyboardis spatial properties and the finger movement pattem. The relationship between this spatio― motor representation and visuo―
spatial representation was investigated in Experiments 8 and 9.