# The Effect of Isomorphic Pitch Layouts on the Transfer of Musical Learning +
## 2 Materials and Methods
### Procedure  
Each participant completed three phases of experimental tasks involving (1) scales, (2) arpeggios, and (3) the melody _Frere Jacques_ on two different layouts. These three phases were completed on both an isomorphic and non-isomorphic version of either a Wicki-like or a Bosanquet-like layout. Those who were assessed on the Wicki-like layouts completed all of the training and retention tasks in the key B\(\flat\) major or in the key of E\(\flat\) major and the transfer task in both keys; hence, one key was untrained in the transfer task. Those who were assessed on the Bosanquet-like layouts completed the training and retention tasks in B\(\flat\) major or F major and the transfer task in both keys; hence, one key was untrained in the transfer task. The choice of layout type and training key was randomised and balanced, and the order in which the layouts were presented was counterbalanced across participants. These tasks proceeded in a manner similar to that of the study by [PERSON] and [PERSON] (2015). The scale and arpeggio phases comprised a training task and an immediate retention task. The training tasks involved participants watching one audiovisual demonstration of either a scale (phase 1) or an arpeggio (phase 2), played at a tempo of 90 bpm on the tablet. Participants then played the scale/arpeggio on the tablet at the same time as the audiovisual demonstration a further three times. Each audiovisual demonstration was preceded by eight metronome beats. The immediate retention tasks involved participants giving two performances of the previously trained sequence  
Figure 8: The non-isomorphic Bosanquet-like layout. The red and green lines show the respective paths traced by two octaves of the B\(\flat\) and F major scales. Note how—compared with the isomorphic version—after every 12 columns, the pitches are cumulatively shifted northeast. This means that the same spatial relationship will produce inconsistent interval sizes. For example, the button two steps to the right of F\({}_{4}\) is a major third (4 semitones) higher (A\({}_{4}\)); the button two steps to the right of G\({}_{4}\) is a minor third (3 semitones) higher (B\({}_{4}\)). Such inconsistencies mean there is no consistent pitch axis. Figure 7: The isomorphic Bosanquet layout. The red and green lines show the respective paths traced by two octaves of the B\(\flat\) and F major scales. The blue arrow shows the pitch axis—it is perfectly horizontal, so the pitch of every button is proportional to its left–right position. without any audiovisual support. A metronome beat at 90 bpm was provided during these tasks as a timing reference. Phase 3 involved a transfer task to test the generalisation of learning. Participants listened to an audio recording of a well-known, but unlearned melody (_Frere Jacques_) in either the same key in which they had completed the previous tasks or in an untrained key. The first note of the melody was then indicated to participants by the experimenter. Following this, participants were given either 20 s (musicians) or 60 s (non-musicians) to explore the layout in order to determine the correct notes, timing, and rhythm of the melody. After the onset of a 90 bpm metronome beat indicating the end of the exploration time, participants were required to give two performances of the melody. In the same manner, participants then completed the transfer task again in the alternate key. The order in which keys were presented in this phase was counterbalanced across participants. Similarly, the keys in which participants completed the first two phases was also counterbalanced. As in [29], following the experimental tasks, 66 out of 68 participants completed a semi-structured interview with the experimenter. These were audio-recorded and transcribed. The interview consisted of three primary questions with follow up questions asked when necessary to further clarify meaning.