To capture in the laboratory the influence that memories for a previously experienced stimulus may have on the speech-to-song illusion, we presented listeners with lists of words that are known to evoke the speech-to-song illusion-namely, the stimuli from Experiment 1of Castro et al. Approaching the speech-to-song illusion from the “speech” perspective contrasts with the more typical approach of research on the speech-to-song illusion, which more often has been from the “song” perspective of music cognition (e.g., Deutsch et al., 2011 Margulis & Simchy-Gross, 2016). In the two experiments reported here we used methods typically employed in the study of spoken word recognition to examine how memory for a previously heard phrase might influence the subsequent illusory perception of it. Given the anecdotal and empirical evidence of previous exposure to a phrase influencing the subsequent illusory perception of it (e.g., Gronveld et al., 2020), evidence that learned experience can influence the perception of certain optical illusions (e.g., Scocchia et al., 2014), the enhanced memory for rhythmic groupings of word lists (Ryan, 1969), and a rhythm-based account of the speech-to-song illusion based on the mechanisms of the language model NST (e.g., Castro et al., 2018), we sought in the present studies to examine how memory might influence the speech-to-song illusion. Said another way, the initial memory trace of a canonical, song-like stimulus influenced (i.e., increased) song ratings for subsequent presentations of the phrase even when the auditory signal in the subsequent presentations was less than optimal for eliciting the speech-to-song illusion. They found only in the decreasing condition of F0 contour manipulations (shifting from song-like to not-song-like) that listeners continued to give higher overall song-like ratings in the experimental session, which they interpreted as evidence “that it is hard to ‘unhear’ the illusion once a speech segment has been perceived as song” (Gronveld et al., 2020, p. ( 2020) study were then presented repeatedly with the speech samples in three conditions: increasing from not-song-like to song-like (the stimulus with 0% contour manipulation, then the same stimulus with 30% contour manipulation, etc.), decreasing from song-like to not-song-like (the stimulus with 90% contour manipulation, then the same stimulus with 60% contour manipulation, etc.), or with the contour manipulations presented in random order. The results of the present experiments demonstrate that memory traces of the stimulus also influence the speech-to-song illusion. Many previous studies have examined how various aspects of the stimulus itself influences the perception of the speech-to-song illusion. The results showed that word lists played in the same voice were rated as more song-like at the end of the experiment than word lists played in different voices. In Experiment 2, we examined if the memory traces that influenced the speech-to-song illusion were abstract in nature or exemplar-based by playing some word lists several times during the experiment in the same voice and playing other word lists several times during the experiment but in different voices. The results showed that word lists that were played several times throughout the experimental session were rated as being more song-like at the end of the experiment than word lists that were played only once in the experimental session. In Experiment 1, we examined in a controlled laboratory setting whether memory traces for a previously heard phrase would influence song-like ratings to a subsequent presentation of that phrase. Anecdotal reports suggest that subsequent presentations of a previously heard phrase enhance the illusion, even if several hours or days have elapsed between presentations. In the speech-to-song illusion a spoken phrase is presented repeatedly and begins to sound as if it is being sung.
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