The intricate relationship between hyperphantasia, memory, and the earworm effect has captured my interest. Kendrick Lamar's "Good Kid" serves as an auditory canvas, a medium through which we explore the interplay of memory, imagination, and repetition. How memory deals with shaping the sound in one’s head in the form of repetition is the main focus?

Hyperphantasia, described as the ability to conjure mental images "as vivid as real seeing," sets the stage for our exploration. Unlike a tangible record, the imagination of sound is a deeply personal realm accessible only through the framework of individual memory. Each person's description of a sound, shared in an attempt to recreate it mentally, is coloured by their unique level of excitement and vividness, making the sonic experience deeply subjective.

Examining the spectrum of mental imagery, aphantasia, the inability to create mental images, stands in contrast to hyperphantasia. Research hints at a potential correlation between working memory difficulties, such as those found in attention-deficit disorder, and a reduced likelihood of experiencing earworms. Conversely, individuals with obsessive-compulsive disorder, where mental loops persist involuntarily, may find themselves more prone to these persistent musical companions.

Parallel to hyperphantasia lies the earworm effect, also known as Involuntary Musical Imagery. Triggered by catchy tunes, this phenomenon often plays out for individuals with robust memories, those grappling with obsessive-compulsive disorder, and those possessing heightened sensitivity. Earworms embed themselves in our minds after repeated exposure, refusing to be shaken off and sometimes even demanding vocal expression. Notably, the study suggests that these musical intruders share distinct characteristics, such as specific intervals or repetitions, setting them apart from ordinary pop songs.

To probe these connections further, I turn to Kendrick Lamar's "Good Kid", which describes Lamar’s memory of the eternal struggle of the hood. The experiment involves presenting three versions of the song to the participants: the original sound clip, a version with added repetitions, and a rendition with the repetitive lyrics erased, which will serve as the musical stimuli. Before playing each version, I will provide a brief introduction to set the stage. Subsequently, after each rendition, I will prompt the participants to articulate what they have memorised, allowing for an immediate comparison of their recollections. To capture the evolution of their memorisation, each version will be played multiple times. As viewers, we will be privy to the lyrical glimpses of what resonated within the earphones.