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Involuntary musical imagery, colloquially known as “earworms”, is a phenomenon hypothesized to reflect involuntary rehearsal of long-term memory representations. Here we investigated musical earworms with a questionnaire adapted from Halpern and Bartlett (2011, Music Perception, 28(4), 425–432), both in typical individuals and in participants with congenital amusia. Congenital amusics have impaired short- and long-term musical memory, yet with evidence for preserved implicit processing of music. Almost all participants in both groups reported experiencing musical earworms, however less frequently so in amusics than in controls. In both groups, musical earworms were reported being mostly familiar music with lyrics, and consisted of music liked by the participants. Some features distinguished earworms in amusics and controls, with more limited familiarity effects in amusics. Moreover, amusics were deploying less voluntary strategies to stop the earworms, in keeping with less stable music memories in this group. In addition, we investigated verbal earworms in the same participants. Verbal earworms occurred less frequently than musical earworms, and were more frequent in amusics than in controls. However, the two types of earworms showed similar features and their frequencies of occurrence were correlated, suggesting they rely in part on domain-general processes. Implications for the understanding of involuntary auditory imagery and congenital amusia are discussed.

Music is often intimately linked to identity, as evidenced by the high value many people place on musical activities and the way in which music can become seemingly effortlessly coupled to important memories from throughout one’s lifespan. Previous research has revealed a consistent reminiscence bump in autobiographical memory—the disproportionate recall of memories from between ages 10 to 30 years in comparison with other lifetime periods—which also appears to extend to music-related memories. The present study represents one of the largest explorations of the musical reminiscence bump across adulthood to date. Participants ( N = 470; ages 18 to 82 years) were shown the titles and artists of 111 popular songs that had featured in the charts between 1950 and 2015 and rated the degree to which they had autobiographical memories associated with each song, as well as the degree to which they were familiar with and liked the song. We found a reminiscence bump in adolescence (peaking around age 14) for both ratings of the autobiographical salience of songs featured in the charts during that period and the familiarity of these songs. Liking ratings showed more divergent results depending on a participant’s current age, including evidence for a cascading reminiscence bump, in which liking ratings from young adults increased for music from their parents’ adolescent years. We also revealed new evidence that music-related autobiographical memories appear to invoke similar retrieval processes to the common methodology of eliciting autobiographical memories via word cues. We contextualize these results in relation to general theoretical accounts of the reminiscence bump, and age-related differences in the bump are discussed in relation to various sociocultural and technological changes in music listening habits.