Associations between musical abilities and precursors of reading in preschool aged children

OpenAIRE

Degé, Franziska; Kubicek, Claudia; Schwarzer, Gudrun

2015-01-01

The association between music and language, in particular, the overlap in their processing results in the possibility to use one domain for the enhancement of the other. Especially in the preschool years music may be a valuable tool to train language abilities (e.g., precursors of reading). Therefore, detailed knowledge about associations between musical abilities and precursors of reading can be of great use for designing future music intervention studies that target language-related abiliti...

Music and Dance Instruction in Basic Schools in Ghana: v ...

African Journals Online (AJOL)

The study investigated factors militating against the girl – child's music and dance education in basic schools in Ghana. The Population were music and dance teachers in Ghanaian pre-tertiary institutions, while purposive sampling technique was used to select the sample that covered all the 2005 of the 400 level music ...

Singing Ability, Musical Self-Concept, and Future Music Participation

Science.gov (United States)

Demorest, Steven M.; Kelley, Jamey; Pfordresher, Peter Q.

2017-01-01

Research on adults who identify as "tone deaf" suggest that their poor musical self-concept is shaped by a view of themselves as nonsingers even when their perceptual skills and singing ability are not significantly worse than the general population. Many of these adults self-selected out of further participation as children but…

Influence of music on steroid hormones and the relationship between receptor polymorphisms and musical ability: a pilot study.

Science.gov (United States)

Fukui, Hajime; Toyoshima, Kumiko

2013-01-01

Studies have shown that music confers plasticity to the brain. In a preliminary pilot study, we examined the effect of music listening on steroid hormones and the relationship between steroid hormone receptor polymorphisms and musical ability. Twenty-one subjects (10 males and 11 females) were recruited and divided into musically talented and control groups. The subjects selected (1) music they preferred (chill-inducing music) and (2) music they did not like. Before and after the experiments, saliva was collected to measure the levels of steroid hormones such as testosterone, estradiol, and cortisol. DNA was also isolated from the saliva samples to determine the androgen receptor (AR) and arginine vasopressin receptor 1A genotypes. Advanced Measures of Music Audiation (AMMA) was used to determine the musical ability of the subjects. With both types of music, the cortisol levels decreased significantly in both sexes. The testosterone (T) levels declined in males when they listened to both types of music. In females, the T levels increased in those listening to chill-inducing music but declined when they listened to music they disliked. However, these differences were not significant. The 17-beta estradiol levels increased in males with both types of music, whereas the levels increased with chill-inducing music but declined with disliked music in females. The AMMA scores were higher for the short repeat length-type AR than for the long repeat length-type. Comparisons of AR polymorphisms and T levels before the experiments showed that the T levels were within the low range in the short repeat length-type group and there was a positive relationship with the repeat length, although it was not significant. This is the first study conducted in humans to analyze the relationships between the AR gene, T levels, and musical ability.

Imagining the Music: Methods for Assessing Musical Imagery Ability

Science.gov (United States)

Clark, Terry; Williamon, Aaron

2012-01-01

Timing profiles of live and imagined performances were compared with the aim of creating a context-specific measure of musicians' imagery ability. Thirty-two advanced musicians completed imagery use and vividness surveys, and then gave two live and two mental performances of a two-minute musical excerpt, tapping along with the beat of the mental…

Basic, specific, mechanistic? Conceptualizing musical emotions in the brain.

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Omigie, Diana

2016-06-01

The number of studies investigating music processing in the human brain continues to increase, with a large proportion of them focussing on the correlates of so-called musical emotions. The current Review highlights the recent development whereby such studies are no longer concerned only with basic emotions such as happiness and sadness but also with so-called music-specific or "aesthetic" ones such as nostalgia and wonder. It also highlights how mechanisms such as expectancy and empathy, which are seen as inducing musical emotions, are enjoying ever-increasing investigation and substantiation with physiological and neuroimaging methods. It is proposed that a combination of these approaches, namely, investigation of the precise mechanisms through which so-called music-specific or aesthetic emotions may arise, will provide the most important advances for our understanding of the unique nature of musical experience. © 2015 Wiley Periodicals, Inc.

Geographies of American Popular Music: Introducing Students to Basic Geographic Concepts

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McClain, Stephen S.

2010-01-01

Popular music can be used to study many subjects and issues related to the social sciences. "Geographies of American Popular Music" was a workshop that not only examined the history and development of select genres of American music, it also introduced students to basic geographic concepts such as the culture hearth and spatial diffusion. Through…

Trained Musical Performers' and Musically Untrained College Students' Ability to Discriminate Music Instrument Timbre as a Function of Duration.

Science.gov (United States)

Johnston, Dennis Alan

The purpose of this study was to investigate the ability of trained musicians and musically untrained college students to discriminate music instrument timbre as a function of duration. Specific factors investigated were the thresholds for timbre discrimination as a function of duration, musical ensemble participation as training, and the relative discrimination abilities of vocalists and instrumentalists. The subjects (N = 126) were volunteer college students from intact classes from various disciplines separated into musically untrained college students (N = 43) who had not participated in musical ensembles and trained musicians (N = 83) who had. The musicians were further divided into instrumentalists (N = 51) and vocalists (N = 32). The Method of Constant Stimuli, using a same-different response procedure with 120 randomized, counterbalanced timbre pairs comprised of trumpet, clarinet, or violin, presented in durations of 20 to 100 milliseconds in a sequence of pitches, in two blocks was used for data collection. Complete, complex musical timbres were recorded digitally and presented in a sequence of changing pitches to more closely approximate an actual music listening experience. Under the conditions of this study, it can be concluded that the threshold for timbre discrimination as a function of duration is at or below 20 ms. Even though trained musicians tended to discriminate timbre better than musically untrained college students, musicians cannot discriminate timbre significantly better then those subjects who have not participated in musical ensembles. Additionally, instrumentalists tended to discriminate timbre better than vocalists, but the discrimination is not significantly different. Recommendations for further research include suggestions for a timbre discrimination measurement tool that takes into consideration the multidimensionality of timbre and the relationship of timbre discrimination to timbre source, duration, pitch, and loudness.

A novel tool for evaluating children's musical abilities across age and culture.

Science.gov (United States)

Peretz, Isabelle; Gosselin, Nathalie; Nan, Yun; Caron-Caplette, Emilie; Trehub, Sandra E; Béland, Renée

2013-01-01

THE PRESENT STUDY INTRODUCES A NOVEL TOOL FOR ASSESSING MUSICAL ABILITIES IN CHILDREN: The Montreal Battery of Evaluation of Musical Abilities (MBEMA). The battery, which comprises tests of memory, scale, contour, interval, and rhythm, was administered to 245 children in Montreal and 91 in Beijing (Experiment 1), and an abbreviated version was administered to an additional 85 children in Montreal (in less than 20 min; Experiment 2). All children were 6-8 years of age. Their performance indicated that both versions of the MBEMA are sensitive to individual differences and to musical training. The sensitivity of the tests extends to Mandarin-speaking children despite the fact that they show enhanced performance relative to French-speaking children. Because this Chinese advantage is not limited to musical pitch but extends to rhythm and memory, it is unlikely that it results from early exposure to a tonal language. In both cultures and versions of the tests, amount of musical practice predicts performance. Thus, the MBEMA can serve as an objective, short and up-to-date test of musical abilities in a variety of situations, from the identification of children with musical difficulties to the assessment of the effects of musical training in typically developing children of different cultures.

Basic timing abilities stay intact in patients with musician's dystonia.

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M C van der Steen

Full Text Available Task-specific focal dystonia is a movement disorder that is characterized by the loss of voluntary motor control in extensively trained movements. Musician's dystonia is a type of task-specific dystonia that is elicited in professional musicians during instrumental playing. The disorder has been associated with deficits in timing. In order to test the hypothesis that basic timing abilities are affected by musician's dystonia, we investigated a group of patients (N = 15 and a matched control group (N = 15 on a battery of sensory and sensorimotor synchronization tasks. Results did not show any deficits in auditory-motor processing for patients relative to controls. Both groups benefited from a pacing sequence that adapted to their timing (in a sensorimotor synchronization task at a stable tempo. In a purely perceptual task, both groups were able to detect a misaligned metronome when it was late rather than early relative to a musical beat. Overall, the results suggest that basic timing abilities stay intact in patients with musician's dystonia. This supports the idea that musician's dystonia is a highly task-specific movement disorder in which patients are mostly impaired in tasks closely related to the demands of actually playing their instrument.

Basic Timing Abilities Stay Intact in Patients with Musician's Dystonia

Science.gov (United States)

van der Steen, M. C.; van Vugt, Floris T.; Keller, Peter E.; Altenmüller, Eckart

2014-01-01

Task-specific focal dystonia is a movement disorder that is characterized by the loss of voluntary motor control in extensively trained movements. Musician's dystonia is a type of task-specific dystonia that is elicited in professional musicians during instrumental playing. The disorder has been associated with deficits in timing. In order to test the hypothesis that basic timing abilities are affected by musician's dystonia, we investigated a group of patients (N = 15) and a matched control group (N = 15) on a battery of sensory and sensorimotor synchronization tasks. Results did not show any deficits in auditory-motor processing for patients relative to controls. Both groups benefited from a pacing sequence that adapted to their timing (in a sensorimotor synchronization task at a stable tempo). In a purely perceptual task, both groups were able to detect a misaligned metronome when it was late rather than early relative to a musical beat. Overall, the results suggest that basic timing abilities stay intact in patients with musician's dystonia. This supports the idea that musician's dystonia is a highly task-specific movement disorder in which patients are mostly impaired in tasks closely related to the demands of actually playing their instrument. PMID:24667273

Influence of musical expertise and musical training on pitch processing in music and language.

Science.gov (United States)

Besson, Mireille; Schön, Daniele; Moreno, Sylvain; Santos, Andréia; Magne, Cyrille

2007-01-01

We review a series of experiments aimed at studying pitch processing in music and speech. These studies were conducted with musician and non musician adults and children. We found that musical expertise improved pitch processing not only in music but also in speech. Demonstrating transfer of training between music and language has interesting applications for second language learning. We also addressed the issue of whether the positive effects of musical expertise are linked with specific predispositions for music or with extensive musical practice. Results of longitudinal studies argue for the later. Finally, we also examined pitch processing in dyslexic children and found that they had difficulties discriminating strong pitch changes that are easily discriminate by normal readers. These results argue for a strong link between basic auditory perception abilities and reading abilities. We used conjointly the behavioral method (Reaction Times and error rates) and the electrophysiological method (recording of the changes in brain electrical activity time-locked to stimulus presentation, Event-Related brain Potentials or ERPs). A set of common processes may be responsible for pitch processing in music and in speech and these processes are shaped by musical practice. These data add evidence in favor of brain plasticity and open interesting perspectives for the remediation of dyslexia using musical training.

A novel tool for evaluating children’s musical abilities across age and culture

Directory of Open Access Journals (Sweden)

Isabelle ePeretz

2013-07-01

Full Text Available The present study introduces a novel tool for assessing musical abilities in children: The Montreal Battery of Evaluation of Musical Abilities (MBEMA. The battery comprises tests of memory, scale, contour, interval, and rhythm, is administered to 245 children in Montreal and 91 in Beijing (Experiment 1, and an abbreviated version is administered to an additional 85 children in Montreal (in less than 20 min.; Experiment 2. All children are 6 to 8 years of age. Their performance indicates that both versions of the MBEMA are sensitive to individual differences and to musical training. The sensitivity of the tests extends to Mandarin-speaking children despite the fact that they show enhanced performance relative to French-speaking children. Because this Chinese advantage is not limited to musical pitch but extends to rhythm and memory, it is unlikely that it results from early exposure to a tonal language. In both cultures and versions of the tests, amount of musical practice predicts performance. Thus, the MBEMA can serve as an objective, short and up-to-date test of musical abilities in a variety of situations, from the identification of children with musical difficulties to the assessment of the effects of musical training in typically developing children of different cultures.

Music listening and cognitive abilities in 10- and 11-year-olds: the blur effect.

Science.gov (United States)

Schellenberg, E Glenn; Hallam, Susan

2005-12-01

The spatial abilities of a large sample of 10 and 11 year olds were tested after they listened to contemporary pop music, music composed by Mozart, or a discussion about the present experiment. After being assigned at random to one of the three listening experiences, each child completed two tests of spatial abilities. Performance on one of the tests (square completion) did not differ as a function of the listening experience, but performance on the other test (paper folding) was superior for children who listened to popular music compared to the other two groups. These findings are consistent with the view that positive benefits of music listening on cognitive abilities are most likely to be evident when the music is enjoyed by the listener.

What does music express? Basic emotions and beyond

Science.gov (United States)

Juslin, Patrik N.

2013-01-01

Numerous studies have investigated whether music can reliably convey emotions to listeners, and—if so—what musical parameters might carry this information. Far less attention has been devoted to the actual contents of the communicative process. The goal of this article is thus to consider what types of emotional content are possible to convey in music. I will argue that the content is mainly constrained by the type of coding involved, and that distinct types of content are related to different types of coding. Based on these premises, I suggest a conceptualization in terms of “multiple layers” of musical expression of emotions. The “core” layer is constituted by iconically-coded basic emotions. I attempt to clarify the meaning of this concept, dispel the myths that surround it, and provide examples of how it can be heuristic in explaining findings in this domain. However, I also propose that this “core” layer may be extended, qualified, and even modified by additional layers of expression that involve intrinsic and associative coding. These layers enable listeners to perceive more complex emotions—though the expressions are less cross-culturally invariant and more dependent on the social context and/or the individual listener. This multiple-layer conceptualization of expression in music can help to explain both similarities and differences between vocal and musical expression of emotions. PMID:24046758

What does music express? Basic emotions and beyond

Directory of Open Access Journals (Sweden)

Patrik N. Juslin

2013-09-01

Full Text Available Numerous studies have investigated whether music can reliably convey emotions to listeners, and - if so - what musical parameters might carry this information. Far less attention has been devoted to the actual contents of the communicative process. The goal of this article is thus to consider what types of emotional content are possible to convey in music. I will argue that the content is mainly constrained by the type of coding involved, and that distinct types of content are related to different types of coding. Based on these premises, I suggest a conceptualization in terms of ‘multiple layers’ of musical expression of emotions. The ‘core’ layer is constituted by iconically-coded basic emotions. I attempt to clarify the meaning of this concept, dispel the myths that surround it, and provide examples of how it can be heuristic in explaining findings in this domain. However, I also propose that this ‘core’ layer may be extended, qualified, and even modified by additional layers of expression that involve intrinsic and associative coding. These layers enable listeners to perceive more complex emotions - though the expressions are less cross-culturally invariant and more dependent on the social context and/or the individual listener. This multiple-layer conceptualization of expression in music can help to explain both similarities and differences between vocal and musical expression of emotions.

What does music express? Basic emotions and beyond.

Science.gov (United States)

Juslin, Patrik N

2013-01-01

Numerous studies have investigated whether music can reliably convey emotions to listeners, and-if so-what musical parameters might carry this information. Far less attention has been devoted to the actual contents of the communicative process. The goal of this article is thus to consider what types of emotional content are possible to convey in music. I will argue that the content is mainly constrained by the type of coding involved, and that distinct types of content are related to different types of coding. Based on these premises, I suggest a conceptualization in terms of "multiple layers" of musical expression of emotions. The "core" layer is constituted by iconically-coded basic emotions. I attempt to clarify the meaning of this concept, dispel the myths that surround it, and provide examples of how it can be heuristic in explaining findings in this domain. However, I also propose that this "core" layer may be extended, qualified, and even modified by additional layers of expression that involve intrinsic and associative coding. These layers enable listeners to perceive more complex emotions-though the expressions are less cross-culturally invariant and more dependent on the social context and/or the individual listener. This multiple-layer conceptualization of expression in music can help to explain both similarities and differences between vocal and musical expression of emotions.

Musical Activity Tunes Up Absolute Pitch Ability

DEFF Research Database (Denmark)

Dohn, Anders; Garza-Villarreal, Eduardo A.; Ribe, Lars Riisgaard

2014-01-01

Absolute pitch (AP) is the ability to identify or produce pitches of musical tones without an external reference. Active AP (i.e., pitch production or pitch adjustment) and passive AP (i.e., pitch identification) are considered to not necessarily coincide, although no study has properly compared...

Musical ability and non-native speech-sound processing are linked through sensitivity to pitch and spectral information.

Science.gov (United States)

Kempe, Vera; Bublitz, Dennis; Brooks, Patricia J

2015-05-01

Is the observed link between musical ability and non-native speech-sound processing due to enhanced sensitivity to acoustic features underlying both musical and linguistic processing? To address this question, native English speakers (N = 118) discriminated Norwegian tonal contrasts and Norwegian vowels. Short tones differing in temporal, pitch, and spectral characteristics were used to measure sensitivity to the various acoustic features implicated in musical and speech processing. Musical ability was measured using Gordon's Advanced Measures of Musical Audiation. Results showed that sensitivity to specific acoustic features played a role in non-native speech-sound processing: Controlling for non-verbal intelligence, prior foreign language-learning experience, and sex, sensitivity to pitch and spectral information partially mediated the link between musical ability and discrimination of non-native vowels and lexical tones. The findings suggest that while sensitivity to certain acoustic features partially mediates the relationship between musical ability and non-native speech-sound processing, complex tests of musical ability also tap into other shared mechanisms. © 2014 The British Psychological Society.

Exploring the association between visual perception abilities and reading of musical notation.

Science.gov (United States)

Lee, Horng-Yih

2012-06-01

In the reading of music, the acquisition of pitch information depends primarily upon the spatial position of notes as well as upon an individual's spatial processing ability. This study investigated the relationship between the ability to read single notes and visual-spatial ability. Participants with high and low single-note reading abilities were differentiated based upon differences in musical notation-reading abilities and their spatial processing; object recognition abilities were then assessed. It was found that the group with lower note-reading abilities made more errors than did the group with a higher note-reading abilities in the mental rotation task. In contrast, there was no apparent significant difference between the two groups in the object recognition task. These results suggest that note-reading may be related to visual spatial processing abilities, and not to an individual's ability with object recognition.

Practicing a musical instrument in childhood is associated with enhanced verbal ability and nonverbal reasoning.

Science.gov (United States)

Forgeard, Marie; Winner, Ellen; Norton, Andrea; Schlaug, Gottfried

2008-01-01

In this study we investigated the association between instrumental music training in childhood and outcomes closely related to music training as well as those more distantly related. Children who received at least three years (M = 4.6 years) of instrumental music training outperformed their control counterparts on two outcomes closely related to music (auditory discrimination abilities and fine motor skills) and on two outcomes distantly related to music (vocabulary and nonverbal reasoning skills). Duration of training also predicted these outcomes. Contrary to previous research, instrumental music training was not associated with heightened spatial skills, phonemic awareness, or mathematical abilities. While these results are correlational only, the strong predictive effect of training duration suggests that instrumental music training may enhance auditory discrimination, fine motor skills, vocabulary, and nonverbal reasoning. Alternative explanations for these results are discussed.

Effect of Musical Expertise on Visuospatial Abilities: Evidence from Reaction Times and Mental Imagery

Science.gov (United States)

Brochard, Renaud; Dufour, Andre; Despres, Olivier

2004-01-01

Recently, the relationship between music and nonmusical cognitive abilities has been highly debated. It has been documented that formal music training would improve verbal, mathematical or visuospatial performance in children. In the experiments described here, we tested if visual perception and imagery abilities were enhanced in adult musicians…

A novel tool for evaluating children's musical abilities across age and culture

OpenAIRE

Peretz, Isabelle; Gosselin, Nathalie; Nan, Yun; Caron-Caplette, Emilie; Trehub, Sandra E.; B?land, Ren?e

2013-01-01

The present study introduces a novel tool for assessing musical abilities in children: The Montreal Battery of Evaluation of Musical Abilities (MBEMA). The battery, which comprises tests of memory, scale, contour, interval, and rhythm, was administered to 245 children in Montreal and 91 in Beijing (Experiment 1), and an abbreviated version was administered to an additional 85 children in Montreal (in less than 20 min; Experiment 2). All children were 6–8 years of age. Their performance indica...

Statistical learning of speech, not music, in congenital amusia.

Science.gov (United States)

Peretz, Isabelle; Saffran, Jenny; Schön, Daniele; Gosselin, Nathalie

2012-04-01

The acquisition of both speech and music uses general principles: learners extract statistical regularities present in the environment. Yet, individuals who suffer from congenital amusia (commonly called tone-deafness) have experienced lifelong difficulties in acquiring basic musical skills, while their language abilities appear essentially intact. One possible account for this dissociation between music and speech is that amusics lack normal experience with music. If given appropriate exposure, amusics might be able to acquire basic musical abilities. To test this possibility, a group of 11 adults with congenital amusia, and their matched controls, were exposed to a continuous stream of syllables or tones for 21-minute. Their task was to try to identify three-syllable nonsense words or three-tone motifs having an identical statistical structure. The results of five experiments show that amusics can learn novel words as easily as controls, whereas they systematically fail on musical materials. Thus, inappropriate musical exposure cannot fully account for the musical disorder. Implications of the results for the domain specificity of statistical learning are discussed. © 2012 New York Academy of Sciences.

The Long-Term Effects of Childhood Music Instruction on Intelligence and General Cognitive Abilities

Science.gov (United States)

Costa-Giomi, Eugenia

2015-01-01

This article reviews research on the effects of music instruction on general cognitive abilities. The review of more than 75 reports shows (1) the consistency in results pertaining to the short-term effects of music instruction on cognitive abilities and the lack of clear evidence on the long-term effects on intelligence; (2) the complex nature of…

Enhanced timing abilities in percussionists generalize to rhythms without a musical beat.

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Cameron, Daniel J; Grahn, Jessica A

2014-01-01

The ability to entrain movements to music is arguably universal, but it is unclear how specialized training may influence this. Previous research suggests that percussionists have superior temporal precision in perception and production tasks. Such superiority may be limited to temporal sequences that resemble real music or, alternatively, may generalize to musically implausible sequences. To test this, percussionists and nonpercussionists completed two tasks that used rhythmic sequences varying in musical plausibility. In the beat tapping task, participants tapped with the beat of a rhythmic sequence over 3 stages: finding the beat (as an initial sequence played), continuation of the beat (as a second sequence was introduced and played simultaneously), and switching to a second beat (the initial sequence finished, leaving only the second). The meters of the two sequences were either congruent or incongruent, as were their tempi (minimum inter-onset intervals). In the rhythm reproduction task, participants reproduced rhythms of four types, ranging from high to low musical plausibility: Metric simple rhythms induced a strong sense of the beat, metric complex rhythms induced a weaker sense of the beat, nonmetric rhythms had no beat, and jittered nonmetric rhythms also had no beat as well as low temporal predictability. For both tasks, percussionists performed more accurately than nonpercussionists. In addition, both groups were better with musically plausible than implausible conditions. Overall, the percussionists' superior abilities to entrain to, and reproduce, rhythms generalized to musically implausible sequences.

Enhanced Timing Abilities in Percussionists Generalize to Rhythms Without a Musical Beat

Directory of Open Access Journals (Sweden)

Daniel J Cameron

2014-12-01

Full Text Available The ability to entrain movements to music is arguably universal, but it is unclear how specialized training may influence this. Previous research suggests that percussionists have superior temporal precision in perception and production tasks. Such superiority may be limited to temporal sequences that resemble real music or, alternatively, may generalize to musically implausible sequences. To test this, percussionists and nonpercussionists completed two tasks that used rhythmic sequences varying in musical plausibility. In the beat tapping task, participants tapped with the beat of a rhythmic sequence over 3 stages: finding the beat (as an initial sequence played, continuation of the beat (as a second sequence was introduced and played simultaneously, and switching to a second beat (the initial sequence finished, leaving only the second. The metres of the two sequences were either congruent or incongruent, as were their tempi (minimum inter-onset intervals. In the rhythm reproduction task, participants reproduced rhythms of four types, ranging from high to low musical plausibility: Metric simple rhythms induced a strong sense of the beat, metric complex rhythms induced a weaker sense of the beat, nonmetric rhythms had no beat, and jittered nonmetric rhythms also had no beat as well as low temporal predictability. For both tasks, percussionists performed more accurately than nonpercussionists. In addition, both groups were better with musically plausible than implausible conditions. Overall, the percussionists’ superior abilities to entrain to, and reproduce, rhythms generalized to musically implausible sequences.

Brain lateralization and neural plasticity for musical and cognitive abilities in an epileptic musician

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Isabel eTrujillo-Pozo

2013-12-01

Full Text Available The use of intracarotid propofol procedure (IPP when assessing musical lateralization has not been reported in literature up to now. This procedure (similar to Wada Test has provided the opportunity to investigate not only lateralization of language and memory functions on epileptic patients but also offers a functional mapping approach with superior spatial and temporal resolution to analyze the lateralization of musical abilities. Findings in literature suggest that musical training modifies functional and structural brain organization. We studied hemispheric lateralization in a professional musician, a 33 years old woman with refractory left medial temporal lobe epilepsy. A longitudinal neuropsychological study was performed over a period of 21 months. Before epilepsy surgery, musical abilities, language and memory were tested during IPP by means of a novel and exhaustive neuropsychological battery focusing on the processing of music. We used a selection of stimuli to analyze listening, score reading, and tempo discrimination. Our results suggested that IPP is an excellent method to determine not only language, semantic and episodic memory, but also musical dominance in a professional musician who may be candidate for epilepsy surgery. Neuropsychological testing revealed that right hemisphere’s patient is involved in semantic and episodic musical memory processes, whereas her score reading and tempo processing require contribution from both hemispheres. At 1-year follow-up, outcome was excellent with respect to seizures and professional skills, meanwhile cognitive abilities improved. These findings indicate that IPP helps to predict who might be at risk for postoperative musical, language and memory deficits after epilepsy surgery. Our research suggests that musical expertise and epilepsy critically modifies long-term memory processes and induces brain structural and functional plasticity.

Long-term musical training may improve different forms of visual attention ability.

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Rodrigues, Ana Carolina; Loureiro, Maurício Alves; Caramelli, Paulo

2013-08-01

Many studies have suggested that structural and functional cerebral neuroplastic processes result from long-term musical training, which in turn may produce cognitive differences between musicians and non-musicians. We aimed to investigate whether intensive, long-term musical practice is associated with improvements in three different forms of visual attention ability: selective, divided and sustained attention. Musicians from symphony orchestras (n=38) and non-musicians (n=38), who were comparable in age, gender and education, were submitted to three neuropsychological tests, measuring reaction time and accuracy. Musicians showed better performance relative to non-musicians on four variables of the three visual attention tests, and such an advantage could not solely be explained by better sensorimotor integration. Moreover, in the group of musicians, significant correlations were observed between the age at the commencement of musical studies and reaction time in all visual attention tests. The results suggest that musicians present augmented ability in different forms of visual attention, thus illustrating the possible cognitive benefits of long-term musical training. Copyright © 2013 Elsevier Inc. All rights reserved.

Musical Ability and the Drake Music Memory Test

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Griffin, Lawrence R.; Eisenman, Russell

1972-01-01

Results show that the Drake Music Memory Test should be able to discriminate between the poorest and strongest prospects for success in profiting from musical instruction, although it may not be particularly useful in individual counseling. (Authors)

A Comparison of the Basic Song Repertoire of Vocal/Choral and Instrumental Music Education Majors.

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Prickett, Carol A.; Bridges, Madeline S.

2000-01-01

Explores whether the basic song repertoire of vocal/choral music education majors is significantly better than instrumental music education majors. Participants attempted to identify 25 standard songs. Reveals no significant difference between the two groups, indicating that neither had developed a strong repertoire of songs. (CMK)

Gender Differences in Musical Aptitude, Rhythmic Ability and Motor Performance in Preschool Children

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Pollatou, Elisana; Karadimou, Konstantina; Gerodimos, Vasilios

2005-01-01

Most of the preschool curricula involve integrated movement activities that combine music, rhythm and locomotor skills. The purpose of the current study was to examine whether there are any differences between boys and girls at the age of five concerning their musical aptitude, rhythmic ability and performance in gross motor skills. Ninety-five…

The relation between musical abilities and the phonological awareness in pre-school children

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Anja Božič

2007-06-01

Full Text Available The pre-school period plays a very important role in the language development. One of the significant indicators of this development is the phonological awareness. Some of the previous studies reported the presence of the relation between the phonological awareness and musical abilities. Our main goal was to examine this relation with the Test of the phonological awareness and the Test of musical abilities on 67 Slovene preschool children, aged from 5 to 6. We also wanted to investigate the differences between boys (N = 36 and girls (N = 31 and the differences between two age groups (aged from 5 to 5.5 years, N = 32, and from 5.5 to 6 years, N = 35. The results confirmed the connection between musical abilities and the phonological awareness. They also indicated that the recognition of the first and the last phoneme is related to melodic awareness and that phoneme merging is mainly related to rhythm awareness. No significant differences were found between male and female children or between the groups of the children of different ages.

At-risk elementary school children with one year of classroom music instruction are better at keeping a beat.

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Slater, Jessica; Tierney, Adam; Kraus, Nina

2013-01-01

Temporal processing underlies both music and language skills. There is increasing evidence that rhythm abilities track with reading performance and that language disorders such as dyslexia are associated with poor rhythm abilities. However, little is known about how basic time-keeping skills can be shaped by musical training, particularly during critical literacy development years. This study was carried out in collaboration with Harmony Project, a non-profit organization providing free music education to children in the gang reduction zones of Los Angeles. Our findings reveal that elementary school children with just one year of classroom music instruction perform more accurately in a basic finger-tapping task than their untrained peers, providing important evidence that fundamental time-keeping skills may be strengthened by short-term music training. This sets the stage for further examination of how music programs may be used to support the development of basic skills underlying learning and literacy, particularly in at-risk populations which may benefit the most.

The Interrelation of Intelligence, Involvement in Musical Activities, and Supportive Musical Family Environment in Ninth-Graders

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Barbara Kopacin

2014-06-01

Full Text Available Intelligence has increasingly been becoming a desirable human trait, so she scientists from different fields devote it a lot of attention. We were interested in the interconnectedness of intelligence, musical activities and family environment in ninth graders. Correlations were determined with the differences in student achievement in measuring educative components of general intellectual abilities with standard progressive matrices (SPM. The survey results confirm that intelligence, musical activities and musical family environment significantly correlated with each other. The study included 177 randomly selected ninth graders from six basic schools in the region of Primorska.

The Relationship between a Linear Combination of Intelligence, Musical Background, Rhythm Ability and Tapping Ability to Typewriting Speed and Accuracy.

Science.gov (United States)

Fante, Cheryl H.

This study was conducted in an attempt to identify any predictor or combination of predictors of a beginning typewriting student's success. Variables of intelligence, rhythmic ability, musical background, and tapping ability were combined to study their relationship to typewriting speed and accuracy. A sample of 109 high school students was…

Field Dependence/Independence in College Nonmusic Majors and Their Ability to Discern Form in Music.

Science.gov (United States)

Ellis, Mark C.; McCoy, Clair W.

1990-01-01

Measures the effects of cognitive-style field dependence/field independence on students' ability to discern form in music. Applies tests to 119 nonmusic majors enrolled in an introductory music course. Finds field-independent subjects scored significantly higher than field-dependent subjects. Identifies variables affecting learning for both…

Are there pre-existing neural, cognitive, or motoric markers for musical ability?

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Norton, Andrea; Winner, Ellen; Cronin, Karl; Overy, Katie; Lee, Dennis J; Schlaug, Gottfried

2005-11-01

Adult musician's brains show structural enlargements, but it is not known whether these are inborn or a consequence of long-term training. In addition, music training in childhood has been shown to have positive effects on visual-spatial and verbal outcomes. However, it is not known whether pre-existing advantages in these skills are found in children who choose to study a musical instrument nor is it known whether there are pre-existing associations between music and any of these outcome measures that could help explain the training effects. To answer these questions, we compared 5- to 7-year-olds beginning piano or string lessons (n=39) with 5- to 7-year-olds not beginning instrumental training (n=31). All children received a series of tests (visual-spatial, non-verbal reasoning, verbal, motor, and musical) and underwent magnetic resonance imaging. We found no pre-existing neural, cognitive, motor, or musical differences between groups and no correlations (after correction for multiple analyses) between music perceptual skills and any brain or visual-spatial measures. However, correlations were found between music perceptual skills and both non-verbal reasoning and phonemic awareness. Such pre-existing correlations suggest similarities in auditory and visual pattern recognition as well a sharing of the neural substrates for language and music processing, most likely due to innate abilities or implicit learning during early development. This baseline study lays the groundwork for an ongoing longitudinal study addressing the effects of intensive musical training on brain and cognitive development, and making it possible to look retroactively at the brain and cognitive development of those children who emerge showing exceptional musical talent.

Interpretation of basic concepts in theories of human motor abilities

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Petrović Adam

2014-01-01

Full Text Available The basic aim of this research is to point to the possible language, logical and knowledge problems in interpretation and understanding of basic concepts in theories of motor abilities (TMA. Such manner of review is not directed only to 'mere understanding', it can lead to a new growth of scientific knowledge. Accordingly, the research question is set, i.e. the research issue: Is there a language, logical and knowledge agreement between basic concepts in the theories of human motor abilities? The answer to the set question direct that a more complete agreement between the basic concepts in the theories of human motor abilities should be searched in a scientific dialog between researchers of various beliefs.

Sign and Symptom and Ability to Control Violent Behaviour with Music Therapy and Rational Emotive Cognitive Behaviour Therapy

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Heri Setiawan

2015-10-01

Full Text Available Introduction: Prevalence of violence is highly occur in mental disorders clients at psychiatric hospitals. The impact is injure to others. This research aims to examine the effectiveness of music therapy and RECBT to sign and symptom and ability to control violent behaviour. Methods: Quasi-experimental research design with a sample of 64 respondents. Result: The study found a decrease symptoms of violent behaviour, ability to control violent behavior include relaxation, change negative thingking, irational belief, and negative behavior have increased significantly than the clients that did not receiving therapy. Discussion: Music therapy and RECBT is recommended as a therapeutic nursing at the client’s violent behaviour. Key Word: violent, sign and simptom, ability, music therapy, RECBT

Musical training influences linguistic abilities in 8-year-old children: more evidence for brain plasticity.

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Moreno, Sylvain; Marques, Carlos; Santos, Andreia; Santos, Manuela; Castro, São Luís; Besson, Mireille

2009-03-01

We conducted a longitudinal study with 32 nonmusician children over 9 months to determine 1) whether functional differences between musician and nonmusician children reflect specific predispositions for music or result from musical training and 2) whether musical training improves nonmusical brain functions such as reading and linguistic pitch processing. Event-related brain potentials were recorded while 8-year-old children performed tasks designed to test the hypothesis that musical training improves pitch processing not only in music but also in speech. Following the first testing sessions nonmusician children were pseudorandomly assigned to music or to painting training for 6 months and were tested again after training using the same tests. After musical (but not painting) training, children showed enhanced reading and pitch discrimination abilities in speech. Remarkably, 6 months of musical training thus suffices to significantly improve behavior and to influence the development of neural processes as reflected in specific pattern of brain waves. These results reveal positive transfer from music to speech and highlight the influence of musical training. Finally, they demonstrate brain plasticity in showing that relatively short periods of training have strong consequences on the functional organization of the children's brain.

Investigating the Value of DJ Performance for Contemporary Music Education and Sensorimotor Synchronisation (SMS Abilities

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Douglas MacCutcheon

2016-11-01

Full Text Available Two studies were conducted to establish a more complete picture of the skills that might be accessed through learning to DJ and the potential value of those skills for music education. The first employed open-ended methods to explore perspectives on the value of DJing for music education. The second employed experimental methods to compare the ability of DJs to synchronise movement to auditory metronomes. Twenty-one participants (seven professionally trained musicians, seven informally trained DJs, seven non-musicians took part in both studies. Qualitative data suggested that all participant groups felt DJs learn valuable musical skills such as rhythm perception, instrumental skills, knowledge of musical structure, performance skills, and a majority agreed that DJing had equal relevance with other musical forms e.g. classical music. Quantitative data showed that informally trained DJs produced more regular timing intervals under baseline and distracting conditions than the other experimental groups. The implications of the findings for the inclusion of DJing into formal music curricula are discussed.

Instruction in Musical Education during the Transitory Stage from Kindergarten to Elementary School

OpenAIRE

田中, 宏明; Hiroaki, TANAKA; 藤女子大学人間生活学部保育学科非常勤講師; Department of Erarly Childhood Care and Dducation, Faculty of Human Life Sciences, Fuji Women's University

2015-01-01

Kindergarten curricula are designed to encourage children to naturally learn music through everyday activities centered on playing as prescribed for the field of expression in Japan's Educational Guidelines for Kindergartens. In the revised 2008 Educational Guidelines for Elementary Schools, the phase "basic ability in musical activity"was added. The term "expression,"which appears at the beginning of the objectives in the Educational Guidelines for Elementary Schools, is not an ability consi...

Music Memory Following Short-term Practice and Its Relationship with the Sight-reading Abilities of Professional Pianists

OpenAIRE

Aiba, Eriko; Matsui, Toshie

2016-01-01

This study investigated the relationship between the ability to sight-read and the ability to memorize a score using a behavioral experiment. By measuring the amount of memorization following short-term practice, we examined whether better sight-readers not only estimate forthcoming notes but also memorize musical structures and phrases with more practice. Eleven pianists performed the music first by sight-reading. After a 20-minute practice, the participants were asked to perform from memory...

Evidence for shared cognitive processing of pitch in music and language.

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Perrachione, Tyler K; Fedorenko, Evelina G; Vinke, Louis; Gibson, Edward; Dilley, Laura C

2013-01-01

Language and music epitomize the complex representational and computational capacities of the human mind. Strikingly similar in their structural and expressive features, a longstanding question is whether the perceptual and cognitive mechanisms underlying these abilities are shared or distinct--either from each other or from other mental processes. One prominent feature shared between language and music is signal encoding using pitch, conveying pragmatics and semantics in language and melody in music. We investigated how pitch processing is shared between language and music by measuring consistency in individual differences in pitch perception across language, music, and three control conditions intended to assess basic sensory and domain-general cognitive processes. Individuals' pitch perception abilities in language and music were most strongly related, even after accounting for performance in all control conditions. These results provide behavioral evidence, based on patterns of individual differences, that is consistent with the hypothesis that cognitive mechanisms for pitch processing may be shared between language and music.

Examining the relationship between skilled music training and attention.

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Wang, Xiao; Ossher, Lynn; Reuter-Lorenz, Patricia A

2015-11-01

While many aspects of cognition have been investigated in relation to skilled music training, surprisingly little work has examined the connection between music training and attentional abilities. The present study investigated the performance of skilled musicians on cognitively demanding sustained attention tasks, measuring both temporal and visual discrimination over a prolonged duration. Participants with extensive formal music training were found to have superior performance on a temporal discrimination task, but not a visual discrimination task, compared to participants with no music training. In addition, no differences were found between groups in vigilance decrement in either type of task. Although no differences were evident in vigilance per se, the results indicate that performance in an attention-demanding temporal discrimination task was superior in individuals with extensive music training. We speculate that this basic cognitive ability may contribute to advantages that musicians show in other cognitive measures. Copyright © 2015 Elsevier Inc. All rights reserved.

Music training improves the ability to understand speech-in-noise in older adults

OpenAIRE

Belleville, Sylvie; Zendel, Benjamin; West, Greg; Peretz, Isabelle

2017-01-01

It is well known that hearing abilities decline with age, and one of the most commonly reported hearing difficulties reported in older adults is a reduced ability to understand speech in noisy environments. Older musicians have an enhanced ability to understand speech in noise, and this has been associated with enhanced brain responses related to both speech processing and the deployment of attention, however the causal impact of music lessons in older adults is poorly understood. A sample of...

Personality and music preferences: the influence of personality traits on preferences regarding musical elements.

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Kopacz, Malgorzata

2005-01-01

The purpose of this scientific study was to determine how personality traits, as classified by Cattell, influence preferences regarding musical elements. The subject group consisted of 145 students, male and female, chosen at random from different Polish universities. For the purpose of determining their personality traits the participants completed the 16PF Questionnaire (Cattell, Saunders, & Stice, 1957; Russel & Karol, 1993), in its Polish adaptation by Choynowski (Nowakowska, 1970). The participants' musical preferences were determined by their completing a Questionnaire of Musical Preferences (specifically created for the purposes of this research), in which respondents indicated their favorite piece of music. Next, on the basis of the Questionnaire of Musical Preferences, a list of the works of music chosen by the participants was compiled. All pieces were collected on CDs and analyzed to separate out their basic musical elements. The statistical analysis shows that some personality traits: Liveliness (Factor F), Social Boldness (Factor H), Vigilance (Factor L), Openness to Change (Factor Q1), Extraversion (a general factor) have an influence on preferences regarding musical elements. Important in the subjects' musical preferences were found to be those musical elements having stimulative value and the ability to regulate the need for stimulation. These are: tempo, rhythm in relation to metrical basis, number of melodic themes, sound voluminosity, and meter.

The Effect of Concurrent Music Reading and Performance on the Ability to Detect Tempo Change.

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Ellis, Mark Carlton

1989-01-01

Measures the ability of three groups of musicians to detect tempo change while reading and performing music. Compares this ability with that of the same musicians to detect tempo change while listening only. Found that for all groups the ability to detect tempo changes was inhibited by the playing task, although to different degrees for each…

Berimbau: A simple instrument for teaching basic concepts in the physics and psychoacoustics of music

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Vilão, Rui C.; Melo, Santino L. S.

2014-12-01

We address the production of musical tones by a simple musical instrument of the Brazilian tradition: the berimbau-de-barriga. The vibration physics of the string and of the air mass inside the gourd are reviewed. Straightforward measurements of an actual berimbau, which illustrate the basic physical phenomena, are performed using a PC-based "soundcard oscilloscope." The inharmonicity of the string and the role of the gourd are discussed in the context of known results in the psychoacoustics of pitch definition.

Student Musicians' Ear-Playing Ability as a Function of Vernacular Music Experiences

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Woody, Robert H.; Lehmann, Andreas C.

2010-01-01

This study explored the differences in ear-playing ability between formal "classical" musicians and those with vernacular music experience (N = 24). Participants heard melodies and performed them back, either by singing or playing on their instruments. The authors tracked the number of times through the listen-then-perform cycle that each…

Playing Music, Playing with Music: A Proposal for Music Coding in Primary School

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Baratè, Adriano; Ludovico, Luca Andrea; Mangione, Giuseppina Rita; Rosa, Alessia

2015-01-01

In this work we will introduce the concept of "music coding," namely a new discipline that employs basic music activities and simplified languages to teach the computational way of thinking to musically-untrained children who attend the primary school. In this context, music represents both a mean and a goal: in fact, from one side…

Library Resources in Special Areas of Music: Film Music.

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Wright, H. Stephen

Intended as an orientation for music librarians unfamiliar with the film music field, this presentation addresses the most common film music questions received from library patrons, including queries about composers, soundtrack albums, the subject of the music, and scores, and describes the basic film music reference sources to consult for…

Perceptual Training of Second-Language Vowels: Does Musical Ability Play a Role?

Science.gov (United States)

Ghaffarvand Mokari, Payam; Werner, Stefan

2018-01-01

The present study attempts to extend the research on the effects of phonetic training on the production and perception of second-language (L2) vowels. We also examined whether success in learning L2 vowels through high-variability intensive phonetic training is related to the learners' general musical abilities. Forty Azerbaijani learners of…

Effects of Culture on Musical Pitch Perception

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Wong, Patrick C. M.; Ciocca, Valter; Chan, Alice H. D.; Ha, Louisa Y. Y.; Tan, Li-Hai; Peretz, Isabelle

2012-01-01

The strong association between music and speech has been supported by recent research focusing on musicians' superior abilities in second language learning and neural encoding of foreign speech sounds. However, evidence for a double association—the influence of linguistic background on music pitch processing and disorders—remains elusive. Because languages differ in their usage of elements (e.g., pitch) that are also essential for music, a unique opportunity for examining such language-to-music associations comes from a cross-cultural (linguistic) comparison of congenital amusia, a neurogenetic disorder affecting the music (pitch and rhythm) processing of about 5% of the Western population. In the present study, two populations (Hong Kong and Canada) were compared. One spoke a tone language in which differences in voice pitch correspond to differences in word meaning (in Hong Kong Cantonese, /si/ means ‘teacher’ and ‘to try’ when spoken in a high and mid pitch pattern, respectively). Using the On-line Identification Test of Congenital Amusia, we found Cantonese speakers as a group tend to show enhanced pitch perception ability compared to speakers of Canadian French and English (non-tone languages). This enhanced ability occurs in the absence of differences in rhythmic perception and persists even after relevant factors such as musical background and age were controlled. Following a common definition of amusia (5% of the population), we found Hong Kong pitch amusics also show enhanced pitch abilities relative to their Canadian counterparts. These findings not only provide critical evidence for a double association of music and speech, but also argue for the reconceptualization of communicative disorders within a cultural framework. Along with recent studies documenting cultural differences in visual perception, our auditory evidence challenges the common assumption of universality of basic mental processes and speaks to the domain generality of culture

Effects of culture on musical pitch perception.

Science.gov (United States)

Wong, Patrick C M; Ciocca, Valter; Chan, Alice H D; Ha, Louisa Y Y; Tan, Li-Hai; Peretz, Isabelle

2012-01-01

The strong association between music and speech has been supported by recent research focusing on musicians' superior abilities in second language learning and neural encoding of foreign speech sounds. However, evidence for a double association--the influence of linguistic background on music pitch processing and disorders--remains elusive. Because languages differ in their usage of elements (e.g., pitch) that are also essential for music, a unique opportunity for examining such language-to-music associations comes from a cross-cultural (linguistic) comparison of congenital amusia, a neurogenetic disorder affecting the music (pitch and rhythm) processing of about 5% of the Western population. In the present study, two populations (Hong Kong and Canada) were compared. One spoke a tone language in which differences in voice pitch correspond to differences in word meaning (in Hong Kong Cantonese, /si/ means 'teacher' and 'to try' when spoken in a high and mid pitch pattern, respectively). Using the On-line Identification Test of Congenital Amusia, we found Cantonese speakers as a group tend to show enhanced pitch perception ability compared to speakers of Canadian French and English (non-tone languages). This enhanced ability occurs in the absence of differences in rhythmic perception and persists even after relevant factors such as musical background and age were controlled. Following a common definition of amusia (5% of the population), we found Hong Kong pitch amusics also show enhanced pitch abilities relative to their Canadian counterparts. These findings not only provide critical evidence for a double association of music and speech, but also argue for the reconceptualization of communicative disorders within a cultural framework. Along with recent studies documenting cultural differences in visual perception, our auditory evidence challenges the common assumption of universality of basic mental processes and speaks to the domain generality of culture

Effects of culture on musical pitch perception.

Directory of Open Access Journals (Sweden)

Patrick C M Wong

Full Text Available The strong association between music and speech has been supported by recent research focusing on musicians' superior abilities in second language learning and neural encoding of foreign speech sounds. However, evidence for a double association--the influence of linguistic background on music pitch processing and disorders--remains elusive. Because languages differ in their usage of elements (e.g., pitch that are also essential for music, a unique opportunity for examining such language-to-music associations comes from a cross-cultural (linguistic comparison of congenital amusia, a neurogenetic disorder affecting the music (pitch and rhythm processing of about 5% of the Western population. In the present study, two populations (Hong Kong and Canada were compared. One spoke a tone language in which differences in voice pitch correspond to differences in word meaning (in Hong Kong Cantonese, /si/ means 'teacher' and 'to try' when spoken in a high and mid pitch pattern, respectively. Using the On-line Identification Test of Congenital Amusia, we found Cantonese speakers as a group tend to show enhanced pitch perception ability compared to speakers of Canadian French and English (non-tone languages. This enhanced ability occurs in the absence of differences in rhythmic perception and persists even after relevant factors such as musical background and age were controlled. Following a common definition of amusia (5% of the population, we found Hong Kong pitch amusics also show enhanced pitch abilities relative to their Canadian counterparts. These findings not only provide critical evidence for a double association of music and speech, but also argue for the reconceptualization of communicative disorders within a cultural framework. Along with recent studies documenting cultural differences in visual perception, our auditory evidence challenges the common assumption of universality of basic mental processes and speaks to the domain generality of

From the Functions of Music to Music Preference

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Schafer, Thomas; Sedlmeier, Peter

2009-01-01

To date, not much is known about how the functions of music relate to music preference. This article examines the basic hypothesis that the strength of preference for a given kind of music depends on the degree to which that kind of music serves the needs of the listener; that is, how well the respective functions of music are fulfilled. Study 1,…

Assessing musical abilities objectively: construction and validation of the profile of music perception skills.

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Lily N C Law

Full Text Available A common approach for determining musical competence is to rely on information about individuals' extent of musical training, but relying on musicianship status fails to identify musically untrained individuals with musical skill, as well as those who, despite extensive musical training, may not be as skilled. To counteract this limitation, we developed a new test battery (Profile of Music Perception Skills; PROMS that measures perceptual musical skills across multiple domains: tonal (melody, pitch, qualitative (timbre, tuning, temporal (rhythm, rhythm-to-melody, accent, tempo, and dynamic (loudness. The PROMS has satisfactory psychometric properties for the composite score (internal consistency and test-retest r>.85 and fair to good coefficients for the individual subtests (.56 to.85. Convergent validity was established with the relevant dimensions of Gordon's Advanced Measures of Music Audiation and Musical Aptitude Profile (melody, rhythm, tempo, the Musical Ear Test (rhythm, and sample instrumental sounds (timbre. Criterion validity was evidenced by consistently sizeable and significant relationships between test performance and external musical proficiency indicators in all three studies (.38 to.62, p<.05 to p<.01. An absence of correlations between test scores and a nonmusical auditory discrimination task supports the battery's discriminant validity (-.05, ns. The interrelationships among the various subtests could be accounted for by two higher order factors, sequential and sensory music processing. A brief version of the full PROMS is introduced as a time-efficient approximation of the full version of the battery.

Music, Music Education, and Institutional Ideology: A Praxial Philosophy of Musical Sociality

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Regelski, Thomas A.

2016-01-01

Music is a human action (praxis), guided by intentionality, that embodies sociality. The many significant "social" values of music, however, get lost in high-minded but faulty claims that music's essential value is to promote aesthetic experience. A survey of some basic aesthetic premises demonstrates that claims for "proper"…

Phonological Memory, Attention Control, and Musical Ability: Effects of Individual Differences on Rater Judgments of Second Language Speech

Science.gov (United States)

Isaacs, Talia; Trofimovich, Pavel

2011-01-01

This study examines how listener judgments of second language speech relate to individual differences in listeners' phonological memory, attention control, and musical ability. Sixty native English listeners (30 music majors, 30 nonmusic majors) rated 40 nonnative speech samples for accentedness, comprehensibility, and fluency. The listeners were…

(A)musicality in Williams syndrome: examining relationships among auditory perception, musical skill, and emotional responsiveness to music.

Science.gov (United States)

Lense, Miriam D; Shivers, Carolyn M; Dykens, Elisabeth M

2013-01-01

Williams syndrome (WS), a genetic, neurodevelopmental disorder, is of keen interest to music cognition researchers because of its characteristic auditory sensitivities and emotional responsiveness to music. However, actual musical perception and production abilities are more variable. We examined musicality in WS through the lens of amusia and explored how their musical perception abilities related to their auditory sensitivities, musical production skills, and emotional responsiveness to music. In our sample of 73 adolescents and adults with WS, 11% met criteria for amusia, which is higher than the 4% prevalence rate reported in the typically developing (TD) population. Amusia was not related to auditory sensitivities but was related to musical training. Performance on the amusia measure strongly predicted musical skill but not emotional responsiveness to music, which was better predicted by general auditory sensitivities. This study represents the first time amusia has been examined in a population with a known neurodevelopmental genetic disorder with a range of cognitive abilities. Results have implications for the relationships across different levels of auditory processing, musical skill development, and emotional responsiveness to music, as well as the understanding of gene-brain-behavior relationships in individuals with WS and TD individuals with and without amusia.

UPDATING THE BASIC PRINCIPLES OF PROJECT EDUCATION TECHNOLOGY IN FUTURE MUSIC TEACHERS’ VOCAL AND CHORAL TRAINING

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Liang Haiye

2017-04-01

Full Text Available The article is devoted to characterizing features of implementing project technology into future music teachers’ vocal and choral training. The analysis of scientific papers of outstanding scientists in philosophy, psychology, and art education, which deal with modern directions of using project technology, highlight its role in art education process. A methodological base is supported by considering contemporary scientific researches, in particular the theory and methodology of musical studies in accordance with forming students’ independence in the process of solving educational problems by means of project technology; developing principles of students’ professional training optimization on the basis of project activity; innovative development of future music teachers’ professional training that gives to the presented material novelty and presentable appearance. Studying future music teachers’ vocal and choral training as a process of constructing that has a special purpose of improving the quality descriptions of educational vocal and choral collective sound functioning, the author of the article discloses the basic principles of implementing project technology into future music teachers’ vocal and choral training. The author of the article pays the special attention to revealing specific features and maintenance of project technology in vocal and choral training of future leaders of child's art groups. An emphasis is made on the following basic factors that influence development of students’ creative individuality: constructing projects of their own becoming; setting aims, tasks, strategies and facilities of vocal and choral work; directing to the result; independent creative activity; presentation, reflection and correction of a project. On the basis of the obtained data the following principles of project technology are put forward in future music teachers’ vocal and choral training: principle of independence; principle of

We "Are" Musical

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Welch, Graham F.

2005-01-01

The challenge for music education is to nurture and develop each individual's basic musicality. Assuming normal neurological functioning and development, we are all musical. Our musical development begins pre-birth, with musical behaviours in one form or another being evident across the lifespan. Nevertheless, early enculturation can both foster…

Impairments in musical abilities reflected in the auditory brainstem: evidence from congenital amusia.

Science.gov (United States)

Lehmann, Alexandre; Skoe, Erika; Moreau, Patricia; Peretz, Isabelle; Kraus, Nina

2015-07-01

Congenital amusia is a neurogenetic condition, characterized by a deficit in music perception and production, not explained by hearing loss, brain damage or lack of exposure to music. Despite inferior musical performance, amusics exhibit normal auditory cortical responses, with abnormal neural correlates suggested to lie beyond auditory cortices. Here we show, using auditory brainstem responses to complex sounds in humans, that fine-grained automatic processing of sounds is impoverished in amusia. Compared with matched non-musician controls, spectral amplitude was decreased in amusics for higher harmonic components of the auditory brainstem response. We also found a delayed response to the early transient aspects of the auditory stimulus in amusics. Neural measures of spectral amplitude and response timing correlated with participants' behavioral assessments of music processing. We demonstrate, for the first time, that amusia affects how complex acoustic signals are processed in the auditory brainstem. This neural signature of amusia mirrors what is observed in musicians, such that the aspects of the auditory brainstem responses that are enhanced in musicians are degraded in amusics. By showing that gradients of music abilities are reflected in the auditory brainstem, our findings have implications not only for current models of amusia but also for auditory functioning in general. © 2015 Federation of European Neuroscience Societies and John Wiley & Sons Ltd.

(A)musicality in Williams syndrome: examining relationships among auditory perception, musical skill, and emotional responsiveness to music

Science.gov (United States)

Lense, Miriam D.; Shivers, Carolyn M.; Dykens, Elisabeth M.

2013-01-01

Williams syndrome (WS), a genetic, neurodevelopmental disorder, is of keen interest to music cognition researchers because of its characteristic auditory sensitivities and emotional responsiveness to music. However, actual musical perception and production abilities are more variable. We examined musicality in WS through the lens of amusia and explored how their musical perception abilities related to their auditory sensitivities, musical production skills, and emotional responsiveness to music. In our sample of 73 adolescents and adults with WS, 11% met criteria for amusia, which is higher than the 4% prevalence rate reported in the typically developing (TD) population. Amusia was not related to auditory sensitivities but was related to musical training. Performance on the amusia measure strongly predicted musical skill but not emotional responsiveness to music, which was better predicted by general auditory sensitivities. This study represents the first time amusia has been examined in a population with a known neurodevelopmental genetic disorder with a range of cognitive abilities. Results have implications for the relationships across different levels of auditory processing, musical skill development, and emotional responsiveness to music, as well as the understanding of gene-brain-behavior relationships in individuals with WS and TD individuals with and without amusia. PMID:23966965

Music Reading in Digital Environments; Apps for Tablets

Directory of Open Access Journals (Sweden)

Javier Félix MERCHÁN SÁNCHEZ-JARA

2016-05-01

Full Text Available Reading music allows, through different processes, learnt abilities and previous experiences, for the recreation or interpretation of the musical message which had been previously coded using one of the many notation systems available. In the same way, reading music enables the experienced musician to generate musical images internally, which silently represent the coded message. The most generic processes and characteristics amongst musical reading will be analysed, along with the most common forms and applications of these reading models and the most widely used codes and notation systems. In the second part, the development and use of new tecnologies for reading music in electronic devices are described and the penetration of these tools in the musical community analysed and classified, bearing in mind the most common types and functions and the characteristics and basic functionalities of the most representative applications. Some solutions, developed in order to deal with historical problems within the reading of music, such as the turning over of the page, are also considered.

[Tracking study to improve basic academic ability in chemistry for freshmen].

Science.gov (United States)

Sato, Atsuko; Morone, Mieko; Azuma, Yutaka

2010-08-01

The aims of this study were to assess the basic academic ability of freshmen with regard to chemistry and implement suitable educational guidance measures. At Tohoku Pharmaceutical University, basic academic ability examinations are conducted in chemistry for freshmen immediately after entrance into the college. From 2003 to 2009, the examination was conducted using the same questions, and the secular changes in the mean percentage of correct response were statistically analyzed. An experience survey was also conducted on 2007 and 2009 freshmen regarding chemical experiments at senior high school. Analysis of the basic academic ability examinations revealed a significant decrease in the mean percentage of correct responses after 2007. With regard to the answers for each question, there was a significant decrease in the percentage of correct answers for approximately 80% of questions. In particular, a marked decrease was observed for calculation questions involving percentages. A significant decrease was also observed in the number of students who had experiences with chemical experiments in high school. However, notable results have been achieved through the implementation of practice incorporating calculation problems in order to improve calculation ability. Learning of chemistry and a lack of experimental experience in high school may be contributory factors in the decrease in chemistry academic ability. In consideration of the professional ability demanded of pharmacists, the decrease in calculation ability should be regarded as a serious issue and suitable measures for improving calculation ability are urgently required.

THE INFLUENCE OF RECREATIVE SYNCHRONIZED SWIMMING ON MUSIC AND INTELLECTUAL FACTORS AND PERSONAL CHARACTERISTICS

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Jadranka Kocić

2012-09-01

Full Text Available Synchronized swimming is way of acivitie connected with music. Emotional character in it could be very efficiency mean of childs` and youth` sport-recreative activities. The research was lead on 60 girls 7-15 years old, elementary schools pupils in Niš, members „Sirene“ Niš synchronized swimming clyb. Music abilities research was obtained using Seashore test for basic music abilities. For testing input procesors, perceptive reason, it was used IT-1 test. For testing efficiency parallel prosecor it was used S-1 test. For testing serial procesors, symbolic reason, it was used AL-4 test sinonime-atimime. For testing personal characteristics it was used instruments for testing dimensions of functional konnative regulatione mechanisms model. It was used bases statistics for every researcg area (music abilities, intellectual abilities, konnative characteristics and criteria variable; to estimate influence each predictor variable on criteria variable, it was used regression analysis. Results showed statistic efficiency in music and konnative factors. Synchronized swimming activities influence on growing spontaneous, independence developing, tense releases, and it is exellent area for emotional health and society desirable behaveour norm. These activities are reached by music, which in melodie and rithm diversity, gives complete enjoyment, and psychosisical relax and refreshment.

Attitude of the future teaching staff towards the subject music education in the elementary education

OpenAIRE

Zelenkovska Leshkova, Stefanija; Islam, Aida

2009-01-01

The basic doctrine for the music education in most of the countries in the world supports the fact that, starting with the youngest age, it contributes for the development of the children and better results in the other areas of the educational system. These opinions emerge from a great number of researches that stress the benefits from the music education for the development of the personality of the young population, as: IQ, cognitive abilities, spatial-visual perception, motor abilities, v...

Music memory following short-term practice and its relationship with the sight-reading abilities of professional pianists

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Eriko eAiba

2016-05-01

Full Text Available This study investigated the relationship between the ability to sight-read and the ability to memorize a score using a behavioural experiment. By measuring the amount of memorization following short-term practice, we examined whether better sight-readers not only estimate forthcoming notes but also memorize musical structures and phrases with more practice.Eleven pianists performed the music first by sight-reading. After a 20-minute practice, the participants were asked to perform from memory without any advance notice. The number of mistakes was used as an index of performance.There were no correlations in the numbers of mistakes between sight-reading and memory trial performance. Some pianists memorized almost the entire score, while others hardly remembered it despite demonstrating almost completely accurate performance just before memory trial performance. However, judging from the participants’ responses to a questionnaire regarding their practice strategies, we found auditory memory was helpful for memorizing music following short-term practice.

Music Memory Following Short-term Practice and Its Relationship with the Sight-reading Abilities of Professional Pianists.

Science.gov (United States)

Aiba, Eriko; Matsui, Toshie

2016-01-01

This study investigated the relationship between the ability to sight-read and the ability to memorize a score using a behavioral experiment. By measuring the amount of memorization following short-term practice, we examined whether better sight-readers not only estimate forthcoming notes but also memorize musical structures and phrases with more practice. Eleven pianists performed the music first by sight-reading. After a 20-minute practice, the participants were asked to perform from memory without any advance notice. The number of mistakes was used as an index of performance. There were no correlations in the numbers of mistakes between sight-reading and memory trial performance. Some pianists memorized almost the entire score, while others hardly remembered it despite demonstrating almost completely accurate performance just before memory trial performance. However, judging from the participants' responses to a questionnaire regarding their practice strategies, we found auditory memory was helpful for memorizing music following short-term practice.

Using open source music software to teach live electronics in pre-college music education

OpenAIRE

Roels, Hans

2010-01-01

A basic course of live electronics is needed in pre- college music education to teach children how to perform on a digital musical instrument. This paper describes the basic components of such a live electronics course, examines whether open source music software is suited to realize these components and finally presents Abunch, a library in Pure Data created by the author, as a solution for the potential educational disadvantages of open source music softw...

Profile of Scientific Ability of Chemistry Education Students in Basic Physics Course

Science.gov (United States)

Suastika, K. G.; Sudyana, I. N.; Lasiani, L.; Pebriyanto, Y.; Kurniawati, N.

2017-09-01

The weakness of scientific ability of students in college has been being a concern in this case, especially in terms of laboratory activities to support Laboratory Based Education. Scientific ability is a basic ability that must be dominated by students in basic physics lecturing process as a part of scientific method. This research aims to explore the indicators emergence of the scientific ability of students in Chemistry Education of Study Program, Faculty of Teaching and Education University of Palangka Raya through Inquiry Based Learning in basic physics courses. This research is a quantitative research by using descriptive method (descriptive-quantitative). Students are divided into three categories of group those are excellent group, low group, and heterogeneous group. The result shows that the excellent group and low group have same case that were occured decreasing in the percentage of achievement of scientific ability, while in heterogeneous group was increased. The differentiation of these results are caused by enthusiastic level of students in every group that can be seen in tables of scientific ability achievement aspects. By the results of this research, hoping in the future can be a references for further research about innovative learning strategies and models that can improve scientific ability and scientific reasoning especially for science teacher candidates.

THE CATEGORIZATION OF THE ESTONIAN DOMAIN OF “MUSICAL INSTRUMENTS” ‒ LISTENERS VS MUSICIANS AND THE COMPARISON OF BASIC LEVELS

Directory of Open Access Journals (Sweden)

Martin Eessalu

2012-01-01

Full Text Available The article examines the prototypicality phenomena in the Estonian language’s lexical-semantic domain of “musical instruments”. There are two groups of people under examination: (i those who consider themselves actively involved in music (practitioners, and (iithose who don’t (listeners. To elicit basic terms, a cognitive salience index is used. The results show that the main common feature between the groups is that the basic level consists of the same members: klaver ‘piano’, kitarr ‘guitar’ and viiul ‘violin’. While klaver and viiul are stable in their nature, the salience of kitarr varies greatly, as listeners put it in the leading position and practitioners nearly leave it out of the basic level. Generally, the two groups share the same category structure,as based on cognitive salience index values both have: (i three basic terms, (ii a connecting group, and (iii the rest of the category members with their index values decreasing toward zero.

Music training, cognition, and personality.

Science.gov (United States)

Corrigall, Kathleen A; Schellenberg, E Glenn; Misura, Nicole M

2013-01-01

Although most studies that examined associations between music training and cognitive abilities had correlational designs, the prevailing bias is that music training causes improvements in cognition. It is also possible, however, that high-functioning children are more likely than other children to take music lessons, and that they also differ in personality. We asked whether individual differences in cognition and personality predict who takes music lessons and for how long. The participants were 118 adults (Study 1) and 167 10- to 12-year-old children (Study 2). We collected demographic information and measured cognitive ability and the Big Five personality dimensions. As in previous research, cognitive ability was associated with musical involvement even when demographic variables were controlled statistically. Novel findings indicated that personality was associated with musical involvement when demographics and cognitive ability were held constant, and that openness-to-experience was the personality dimension with the best predictive power. These findings reveal that: (1) individual differences influence who takes music lessons and for how long, (2) personality variables are at least as good as cognitive variables at predicting music training, and (3) future correlational studies of links between music training and non-musical ability should account for individual differences in personality.

Musical Experience and the Aging Auditory System: Implications for Cognitive Abilities and Hearing Speech in Noise

Science.gov (United States)

Parbery-Clark, Alexandra; Strait, Dana L.; Anderson, Samira; Hittner, Emily; Kraus, Nina

2011-01-01

Much of our daily communication occurs in the presence of background noise, compromising our ability to hear. While understanding speech in noise is a challenge for everyone, it becomes increasingly difficult as we age. Although aging is generally accompanied by hearing loss, this perceptual decline cannot fully account for the difficulties experienced by older adults for hearing in noise. Decreased cognitive skills concurrent with reduced perceptual acuity are thought to contribute to the difficulty older adults experience understanding speech in noise. Given that musical experience positively impacts speech perception in noise in young adults (ages 18–30), we asked whether musical experience benefits an older cohort of musicians (ages 45–65), potentially offsetting the age-related decline in speech-in-noise perceptual abilities and associated cognitive function (i.e., working memory). Consistent with performance in young adults, older musicians demonstrated enhanced speech-in-noise perception relative to nonmusicians along with greater auditory, but not visual, working memory capacity. By demonstrating that speech-in-noise perception and related cognitive function are enhanced in older musicians, our results imply that musical training may reduce the impact of age-related auditory decline. PMID:21589653

Musical experience and the aging auditory system: implications for cognitive abilities and hearing speech in noise.

Science.gov (United States)

Parbery-Clark, Alexandra; Strait, Dana L; Anderson, Samira; Hittner, Emily; Kraus, Nina

2011-05-11

Much of our daily communication occurs in the presence of background noise, compromising our ability to hear. While understanding speech in noise is a challenge for everyone, it becomes increasingly difficult as we age. Although aging is generally accompanied by hearing loss, this perceptual decline cannot fully account for the difficulties experienced by older adults for hearing in noise. Decreased cognitive skills concurrent with reduced perceptual acuity are thought to contribute to the difficulty older adults experience understanding speech in noise. Given that musical experience positively impacts speech perception in noise in young adults (ages 18-30), we asked whether musical experience benefits an older cohort of musicians (ages 45-65), potentially offsetting the age-related decline in speech-in-noise perceptual abilities and associated cognitive function (i.e., working memory). Consistent with performance in young adults, older musicians demonstrated enhanced speech-in-noise perception relative to nonmusicians along with greater auditory, but not visual, working memory capacity. By demonstrating that speech-in-noise perception and related cognitive function are enhanced in older musicians, our results imply that musical training may reduce the impact of age-related auditory decline.

Musical experience and the aging auditory system: implications for cognitive abilities and hearing speech in noise.

Directory of Open Access Journals (Sweden)

Alexandra Parbery-Clark

Full Text Available Much of our daily communication occurs in the presence of background noise, compromising our ability to hear. While understanding speech in noise is a challenge for everyone, it becomes increasingly difficult as we age. Although aging is generally accompanied by hearing loss, this perceptual decline cannot fully account for the difficulties experienced by older adults for hearing in noise. Decreased cognitive skills concurrent with reduced perceptual acuity are thought to contribute to the difficulty older adults experience understanding speech in noise. Given that musical experience positively impacts speech perception in noise in young adults (ages 18-30, we asked whether musical experience benefits an older cohort of musicians (ages 45-65, potentially offsetting the age-related decline in speech-in-noise perceptual abilities and associated cognitive function (i.e., working memory. Consistent with performance in young adults, older musicians demonstrated enhanced speech-in-noise perception relative to nonmusicians along with greater auditory, but not visual, working memory capacity. By demonstrating that speech-in-noise perception and related cognitive function are enhanced in older musicians, our results imply that musical training may reduce the impact of age-related auditory decline.

Exploring the Musical Interests and Abilities of Blind and Partially Sighted Children and Young People with Retinopathy of Prematurity

Science.gov (United States)

Matawa, Christina

2009-01-01

This study explores the musical interests and talents of children and young people who are blind or partially sighted as a result of retinopathy of prematurity (RoP). The results from questionnaires completed by 37 parents were analysed using methods drawn from Ockelford et al.'s (2006) study of the musical interests and abilities of children with…

The Musical Self-Concept of Chinese Music Students

Directory of Open Access Journals (Sweden)

Suse ePetersen

2016-05-01

Full Text Available The relationship between self-concept and societal settings has been widely investigated in several Western and Asian countries, with respect to the academic self-concept in an educational environment. Although the musical self-concept is highly relevant to musical development and performance, there is a lack of research exploring how the musical self-concept evolves in different cultural settings and societies. In particular, there have been no enquiries yet in the Chinese music education environment. This study’s goal was the characterization of musical self-concept types among music students at a University in Beijing, China. The Musical Self-Concept Inquiry (MUSCI—including ability, emotional, physical, cognitive, and social facets—was used to assess the students’ musical self-concepts (N=97. The data analysis led to three significantly distinct clusters and corresponding musical self-concept types. The types were especially distinct, in the students’ perception of their musical ambitions and abilities; their movement, rhythm and dancing affinity; and the spiritual and social aspects of music. The professional aims and perspectives, and the aspects of the students’ sociodemographic background also differed between the clusters. This study is one of the first research endeavors addressing musical self-concepts in China. The empirical identification of the self-concept types offers a basis for future research on the connections between education, the development of musical achievement, and the musical self-concept in societal settings with differing understandings of the self.

The Musical Self-Concept of Chinese Music Students.

Science.gov (United States)

Petersen, Suse; Camp, Marc-Antoine

2016-01-01

The relationship between self-concept and societal settings has been widely investigated in several Western and Asian countries, with respect to the academic self-concept in an educational environment. Although the musical self-concept is highly relevant to musical development and performance, there is a lack of research exploring how the musical self-concept evolves in different cultural settings and societies. In particular, there have been no enquiries yet in the Chinese music education environment. This study's goal was the characterization of musical self-concept types among music students at a University in Beijing, China. The Musical Self-Concept Inquiry-including ability, emotional, physical, cognitive, and social facets-was used to assess the students' musical self-concepts (N = 97). The data analysis led to three significantly distinct clusters and corresponding musical self-concept types. The types were especially distinct, in the students' perception of their musical ambitions and abilities; their movement, rhythm and dancing affinity; and the spiritual and social aspects of music. The professional aims and perspectives, and the aspects of the students' sociodemographic background also differed between the clusters. This study is one of the first research endeavors addressing musical self-concepts in China. The empirical identification of the self-concept types offers a basis for future research on the connections between education, the development of musical achievement, and the musical self-concept in societal settings with differing understandings of the self.

The Musical Self-Concept of Chinese Music Students

Science.gov (United States)

Petersen, Suse; Camp, Marc-Antoine

2016-01-01

The relationship between self-concept and societal settings has been widely investigated in several Western and Asian countries, with respect to the academic self-concept in an educational environment. Although the musical self-concept is highly relevant to musical development and performance, there is a lack of research exploring how the musical self-concept evolves in different cultural settings and societies. In particular, there have been no enquiries yet in the Chinese music education environment. This study’s goal was the characterization of musical self-concept types among music students at a University in Beijing, China. The Musical Self-Concept Inquiry—including ability, emotional, physical, cognitive, and social facets—was used to assess the students’ musical self-concepts (N = 97). The data analysis led to three significantly distinct clusters and corresponding musical self-concept types. The types were especially distinct, in the students’ perception of their musical ambitions and abilities; their movement, rhythm and dancing affinity; and the spiritual and social aspects of music. The professional aims and perspectives, and the aspects of the students’ sociodemographic background also differed between the clusters. This study is one of the first research endeavors addressing musical self-concepts in China. The empirical identification of the self-concept types offers a basis for future research on the connections between education, the development of musical achievement, and the musical self-concept in societal settings with differing understandings of the self. PMID:27303337

Music training, cognition, and personality

Directory of Open Access Journals (Sweden)

Kathleen A Corrigall

2013-04-01

Full Text Available Although most studies that examined associations between music training and cognitive abilities had correlational designs, the prevailing bias is that music training causes improvements in cognition. It is also possible, however, that high-functioning children are more likely than other children to take music lessons, and that they also differ in personality. We asked whether individual differences in cognition and personality predict who takes music lessons and for how long. The participants were 118 adults (Study 1 and 167 10- to 12-year-old children (Study 2. We collected demographic information and measured cognitive ability and the Big Five personality dimensions. As in previous research, cognitive ability was associated with musical involvement even when demographic variables were controlled statistically. Novel findings indicated that personality was associated with musical involvement when demographics and cognitive ability were held constant, and that openness-to-experience was the personality dimension with the best predictive power. These findings reveal that: (1 individual differences influence who takes music lessons and for how long, (2 personality variables are at least as good as cognitive variables at predicting music training, and (3 future correlational studies of links between music training and nonmusical ability should account for individual differences in personality.

History of Music and Musical Therapy – basic ideas and contexts

Directory of Open Access Journals (Sweden)

Bockmaier, Claus

2008-12-01

Full Text Available This essay intends to interpret music therapy, originated in the last century, in its creative aspects as a component of a historical process which has ultimately lead to an openness to all possible manifestations of music. The text, accesible also to readers without expert knowledge, first gives a survey of European music history in relation to problems gradually solved by composition, and then discusses some specifi c conditions, forms, and methods of music therapy, in its dependence on the diversity of 20th century musical history. The essay ends with two examples of former composition demonstrating in their own ways the “healing” power of music.

[de] Die Abhandlung unternimmt den Versuch, die im vergangenen Jahrhundert aufgekommene Musiktherapie in ihren künstlerischen Bezügen als Teil einer musikgeschichtlichen Entwicklung begreifl ich zu machen, die nach 1900 in letzter Konsequenz eine Öffnung für alle möglichen Erscheinungsformen von Musik mit sich gebracht hat. Der allgemeinverständlich gehaltene Text entfaltet zunächst eine musikhistorische Gesamtsicht unter dem Aspekt der sukzessive gelösten Aufgaben von Komposition, um dann spezifi sche Bedingungen, Ausprägungen und Methoden der Musiktherapie in ihrer Abhängigkeit von der vielschichtigen Musikgeschichte des 20. Jahrhunderts zu beleuchten. Abrundend erscheinen zwei Beispiele je eigener Art für die schon früher bewusst ins Werk gesetzte “therapeutische” Kraft der Musik. [es] El presente artículo pretende analizar la músicoterapia originada en el siglo pasado, en sus aspectos artísticos, como componente de un proceso histórico que ha conducido, a partir de 1900, a una apertura a todas las manifestaciones posibles de la música. El texto, también accesible a lectores que no posean un conocimiento experto, proporciona en primer lugar un panorama de la historia de la música europea en relación con problemas gradualmente solucionados por la composici

AVENUES FOR THE DEVELOPMENT OF MUSICAL ABILITIES IN ...

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Mitch

in Nigeria when he traced it to 1843 with the establishment of schools by Christian missions like ... Adegbite (2001) observes that in most private elementary and primary schools, music instructions ... ROMs, internet facilities and other electronic media. ... The Social Psychology of Music; USA: IOWA State University. Press.

(dis)Ability and Music Education: Paralympian Patrick Anderson and the Experience of Disability in Music

Science.gov (United States)

Bell, Adam Patrick

2017-01-01

What does it mean to experience disability in music? Based on interviews with Patrick Anderson--arguably the greatest wheelchair basketball player of all time--this article presents insights into the complexities of the experience of disability in sports and music. Contrasted with music education's tendency to adhere to a medicalized model of…

Musical anhedonia: selective loss of emotional experience in listening to music.

Science.gov (United States)

Satoh, Masayuki; Nakase, Taizen; Nagata, Ken; Tomimoto, Hidekazu

2011-10-01

Recent case studies have suggested that emotion perception and emotional experience of music have independent cognitive processing. We report a patient who showed selective impairment of emotional experience only in listening to music, that is musical anhednia. A 71-year-old right-handed man developed an infarction in the right parietal lobe. He found himself unable to experience emotion in listening to music, even to which he had listened pleasantly before the illness. In neuropsychological assessments, his intellectual, memory, and constructional abilities were normal. Speech audiometry and recognition of environmental sounds were within normal limits. Neuromusicological assessments revealed no abnormality in the perception of elementary components of music, expression and emotion perception of music. Brain MRI identified the infarct lesion in the right inferior parietal lobule. These findings suggest that emotional experience of music could be selectively impaired without any disturbance of other musical, neuropsychological abilities. The right parietal lobe might participate in emotional experience in listening to music.

Music genetics research: Association with musicality of a polymorphism in the AVPR1A gene.

Science.gov (United States)

Mariath, Luiza Monteavaro; Silva, Alexandre Mauat da; Kowalski, Thayne Woycinck; Gattino, Gustavo Schulz; Araujo, Gustavo Andrade de; Figueiredo, Felipe Grahl; Tagliani-Ribeiro, Alice; Roman, Tatiana; Vianna, Fernanda Sales Luiz; Schuler-Faccini, Lavínia; Schuch, Jaqueline Bohrer

2017-01-01

Musicality is defined as a natural tendency, sensibility, knowledge, or talent to create, perceive, and play music. Musical abilities involve a great range of social and cognitive behaviors, which are influenced by both environmental and genetic factors. Although a number of studies have yielded insights into music genetics research, genes and biological pathways related to these traits are not fully understood. Our hypothesis in the current study is that genes associated with different behaviors could also influence the musical phenotype. Our aim was to investigate whether polymorphisms in six genes (AVPR1A, SLC6A4, ITGB3, COMT, DRD2 and DRD4) related to social and cognitive traits are associated with musicality in a sample of children. Musicality was assessed through an individualized music therapy assessment profile (IMTAP) which has been validated in Brazil to measure musical ability. We show here that the RS1 microsatellite of the AVPR1A gene is nominally associated with musicality, corroborating previous results linking AVPR1A with musical activity. This study is one of the first to investigate musicality in a comprehensive way, and it contributes to better understand the genetic basis underlying musical ability.

Comparison of emotion recognition from facial expression and music.

Science.gov (United States)

Gaspar, Tina; Labor, Marina; Jurić, Iva; Dumancić, Dijana; Ilakovac, Vesna; Heffer, Marija

2011-01-01

The recognition of basic emotions in everyday communication involves interpretation of different visual and auditory clues. The ability to recognize emotions is not clearly determined as their presentation is usually very short (micro expressions), whereas the recognition itself does not have to be a conscious process. We assumed that the recognition from facial expressions is selected over the recognition of emotions communicated through music. In order to compare the success rate in recognizing emotions presented as facial expressions or in classical music works we conducted a survey which included 90 elementary school and 87 high school students from Osijek (Croatia). The participants had to match 8 photographs of different emotions expressed on the face and 8 pieces of classical music works with 8 offered emotions. The recognition of emotions expressed through classical music pieces was significantly less successful than the recognition of emotional facial expressions. The high school students were significantly better at recognizing facial emotions than the elementary school students, whereas girls were better than boys. The success rate in recognizing emotions from music pieces was associated with higher grades in mathematics. Basic emotions are far better recognized if presented on human faces than in music, possibly because the understanding of facial emotions is one of the oldest communication skills in human society. Female advantage in emotion recognition was selected due to the necessity of their communication with the newborns during early development. The proficiency in recognizing emotional content of music and mathematical skills probably share some general cognitive skills like attention, memory and motivation. Music pieces were differently processed in brain than facial expressions and consequently, probably differently evaluated as relevant emotional clues.

Achievement Identification and Evaluation of Musically Gifted Children in Lower Music School

Science.gov (United States)

Arsic, Anica

2016-01-01

Music schools are specific educational institutions which teach children to understand musical language, the rules of musical writing and how to play an instrument. It is assumed that children who enroll in music school have a certain level of "musicality," i.e. possess musical ability. Starting from this premise, in this paper we wanted…

Let the music play the feelings: the performative effect of advertising music

OpenAIRE

Alaminos, Antonio; Santacreu, Oscar

2004-01-01

Throughout history, the ability of music in order to influence people has been considered. In fact, music is a very important expressive way not ignored by sociology (Weber, Marx, Adorno...). On the other hand, the persuasive ability of music, as a basis of attraction and attention, causes that it is considered as an important and performative element of the advertising manifest.

Music-Making and Musical Comprehension with Robotic Building Blocks

DEFF Research Database (Denmark)

Nielsen, Jacob

2009-01-01

Being able to express oneself musically and experiment with music composition is traditionally determined by one’s ability to play an actual instrument with a certain degree of craftsmanship. Lack of skills may cause difficulties for children and young people to experience the joy of musical crea...

What do we need to hear a beat? The influence of attention, musical abilities, and accents on the perception of metrical rhythm

NARCIS (Netherlands)

Bouwer, F.L.

2016-01-01

In this dissertation, I examine beat perception, the process that allows us to make music together. I explore the effects of attention, musical abilities, and accents on beat perception. Additionally, I address several methodological issues that arise when probing beat perception with event-related

Neuropsychology: music of the hemispheres

DEFF Research Database (Denmark)

Stewart, Lauren; Walsh, Vincent

2001-01-01

Music may be the food of love but it is also good fodder for cognitive scientists. Here we highlight a recent study of a neuropsychological patient who has lost her ability to read music, but not text, in the absence of any other musical deficit.......Music may be the food of love but it is also good fodder for cognitive scientists. Here we highlight a recent study of a neuropsychological patient who has lost her ability to read music, but not text, in the absence of any other musical deficit....

Music genetics research: Association with musicality of a polymorphism in the AVPR1A gene

Directory of Open Access Journals (Sweden)

Luiza Monteavaro Mariath

2017-05-01

Full Text Available Abstract Musicality is defined as a natural tendency, sensibility, knowledge, or talent to create, perceive, and play music. Musical abilities involve a great range of social and cognitive behaviors, which are influenced by both environmental and genetic factors. Although a number of studies have yielded insights into music genetics research, genes and biological pathways related to these traits are not fully understood. Our hypothesis in the current study is that genes associated with different behaviors could also influence the musical phenotype. Our aim was to investigate whether polymorphisms in six genes (AVPR1A, SLC6A4, ITGB3, COMT, DRD2 and DRD4 related to social and cognitive traits are associated with musicality in a sample of children. Musicality was assessed through an individualized music therapy assessment profile (IMTAP which has been validated in Brazil to measure musical ability. We show here that the RS1 microsatellite of the AVPR1A gene is nominally associated with musicality, corroborating previous results linking AVPR1A with musical activity. This study is one of the first to investigate musicality in a comprehensive way, and it contributes to better understand the genetic basis underlying musical ability.

Music: Highly Engaged Students Connect Music to Math

Science.gov (United States)

Jones, Shelly M.; Pearson, Dunn, Jr.

2013-01-01

A musician and a mathematics educator create and implement a set of elementary school lessons integrating music and math. Students learn the basics of music theory including identifying notes and learning their fractional values. They learn about time signatures and how to determine correct note values per measure. Students are motivated by…

Principles of musical acoustics

CERN Document Server

Hartmann, William M

2013-01-01

Principles of Musical Acoustics focuses on the basic principles in the science and technology of music. Musical examples and specific musical instruments demonstrate the principles. The book begins with a study of vibrations and waves, in that order. These topics constitute the basic physical properties of sound, one of two pillars supporting the science of musical acoustics. The second pillar is the human element, the physiological and psychological aspects of acoustical science. The perceptual topics include loudness, pitch, tone color, and localization of sound. With these two pillars in place, it is possible to go in a variety of directions. The book treats in turn, the topics of room acoustics, audio both analog and digital, broadcasting, and speech. It ends with chapters on the traditional musical instruments, organized by family. The mathematical level of this book assumes that the reader is familiar with elementary algebra. Trigonometric functions, logarithms and powers also appear in the book, but co...

Music and dementia.

Science.gov (United States)

Baird, Amee; Samson, Séverine

2015-01-01

There is an increasing incidence of dementia in our aging population, and consequently an urgent need to develop treatments and activities that may alleviate the symptoms of dementia. Accumulating evidence shows that persons with dementia enjoy music, and their ability to respond to music is potentially preserved even in the late or severe stages of dementia when verbal communication may have ceased. Media interest in this topic has contributed to the public perception that music abilities are an "island of preservation" in an otherwise cognitively impaired person with dementia. In this chapter, we review the current literature on music cognition in dementia and show that there has been very scarce rigorous scientific investigation of this issue, and that various types of music memory exist and are differentially impaired in the different types of dementia. Furthermore, we discuss the recent development of music activities as a nonpharmacological treatment for dementia and highlight the methodological limitations of the current literature on this topic. While it has been reported that music activities can improve behavior, (particularly agitation), mood, and cognition in persons with dementia, recent large-scale randomized control studies have questioned the specificity of the effect of music and found that it is no more beneficial than other pleasant activities. Nevertheless, music is unique in its powerful ability to elicit both memories and emotions. This can provide an important link to individual's past and a means of nonverbal communication with carers, which make it an ideal stimulus for persons with dementia. © 2015 Elsevier B.V. All rights reserved.

(Amusicality in Williams syndrome: Examining relationships among auditory perception, musical skill, and emotional responsiveness to music

Directory of Open Access Journals (Sweden)

Miriam eLense

2013-08-01

Full Text Available Williams syndrome (WS, a genetic, neurodevelopmental disorder, is of keen interest to music cognition researchers because of its characteristic auditory sensitivities and emotional responsiveness to music. However, actual musical perception and production abilities are more variable. We examined musicality in WS through the lens of amusia and explored how their musical perception abilities related to their auditory sensitivities, musical production skills, and emotional responsiveness to music. In our sample of 73 adolescents and adults with WS, 11% met criteria for amusia, which is higher than the 4% prevalence rate reported in the typically developing population. Amusia was not related to auditory sensitivities but was related to musical training. Performance on the amusia measure strongly predicted musical skill but not emotional responsiveness to music, which was better predicted by general auditory sensitivities. This study represents the first time amusia has been examined in a population with a known neurodevelopmental genetic disorder with a range of cognitive abilities. Results have implications for the relationships across different levels of auditory processing, musical skill development, and emotional responsiveness to music, as well as the understanding of gene-brain-behavior relationships in individuals with WS and typically developing individuals with and without amusia.

Amusia and musical functioning.

Science.gov (United States)

Alossa, Nicoletta; Castelli, Lorys

2009-01-01

Music, as language, is a universal and specific trait to humans; it is a complex ability with characteristics that are unique compared to other cognitive abilities. Nevertheless, several issues are still open to debate, such as, for example, whether music is a faculty that is independent from the rest of the cognitive system, and whether musical skills are mediated by a single mechanism or by a combination of processes that are independent from one another. Moreover, the anatomical correlations of music have yet to be clarified. The goal of this review is to illustrate the current condition of the neuropsychology of music and to describe different approaches to the study of the musical functions. Hereby, we will describe the neuropsychological findings, suggesting that music is a special function carried out by different and dedicated processes that are probably subserved by different anatomical regions of the brain. Moreover, we will review the evidence obtained by working with brain-damaged patients suffering from music agnosia, a selective impairment in music recognition. Copyright 2009 S. Karger AG, Basel.

Music Education for All: The raison d’être of Music Schools

Directory of Open Access Journals (Sweden)

Baikune De Alba

2018-05-01

Full Text Available Music schools, centres of non-formal music education, bring music to people of all ages as they work to achieve their main objective of offering practical musical training, for both instruments and voice. Their activities are centred in the town or city in which they are located, and their impact extends beyond the educational sphere: music schools are also a social force whose activities stimulate the local cultural scene. This study explores the work carried out by these schools in the Basque Country (Spain, where they have been operating for over 20 years. The analysis focuses on the range of music education they offer, their ability to respond to different demands and needs and how they relate to their social and educational environment. Furthermore, the paper examines whether music schools see other potential areas for growth and development and explores the factors that could positively or negatively impact their ability to achieve their objectives. The study adopts a description-oriented empirical-analytical methodology and applies the SWOT system. A total of 67 schools were included in the study. The results reveal the relevance of this ever-evolving model of education and confirm music schools as a key force in both music education and the sociocultural sphere in this country.

Investigating the importance of self-theories of intelligence and musicality for students' academic and musical achievement.

Science.gov (United States)

Müllensiefen, Daniel; Harrison, Peter; Caprini, Francesco; Fancourt, Amy

2015-01-01

Musical abilities and active engagement with music have been shown to be positively associated with many cognitive abilities as well as social skills and academic performance in secondary school students. While there is evidence from intervention studies that musical training can be a cause of these positive relationships, recent findings in the literature have suggested that other factors, such as genetics, family background or personality traits, might also be contributing factors. In addition, there is mounting evidence that self-concepts and beliefs can affect academic performance independently of intellectual ability. Students who believe that intelligence is malleable are more likely to attribute poor academic performances to effort rather than ability, and are more likely to take remedial action to improve their performance. However, it is currently not known whether student's beliefs about the nature of musical talent also influence the development of musical abilities in a similar fashion. Therefore, this study introduces a short self-report measure termed "Musical Self-Theories and Goals," closely modeled on validated measures for self-theories in academic scenarios. Using this measure the study investigates whether musical self-theories are related to students' musical development as indexed by their concurrent musical activities and their performance on a battery of listening tests. We use data from a cross-sectional sample of 313 secondary school students to construct a network model describing the relationships between self-theories and academic as well as musical outcome measures, while also assessing potential effects of intelligence and the Big Five personality dimensions. Results from the network model indicate that self-theories of intelligence and musicality are closely related. In addition, both kinds of self-theories are connected to the students' academic achievement through the personality dimension conscientiousness and academic effort

Investigating the importance of self-theories of intelligence and musicality for students’ academic and musical achievement

Directory of Open Access Journals (Sweden)

Daniel eMüllensiefen

2015-11-01

Full Text Available Musical abilities and active engagement with music have been shown to be positively associated with many cognitive abilities as well as social skills and academic performance in secondary school students. While there is evidence from intervention studies that musical training can be a cause of these positive relationships, recent findings in the literature have suggested that other factors, such as genetics, family background or personality traits, might also be contributing factors. In addition, there is mounting evidence that self-concepts and beliefs can affect academic performance independently of intellectual ability. Students who believe that intelligence is malleable are more likely to attribute poor academic performances to effort rather than ability, and are more likely to take remedial action to improve their performance. However, it is currently not known whether student’s beliefs about the nature of musical talent also influence the development of musical abilities in a similar fashion. Therefore, this study introduces a short self-report measure termed ‘Musical Self-Theories and Goals’, closely modeled on validated measures for self-theories in academic scenarios. Using this measure the study investigates whether musical self-theories are related to students’ musical development as indexed by their concurrent musical activities and their performance on a battery of listening tests. We use data from a cross-sectional sample of 313 secondary school students to construct a network model describing the relationships between self-theories and academic as well as musical outcome measures, while also assessing potential effects of intelligence and the Big Five personality dimensions. Results from the network model indicate that self-theories of intelligence and musicality are closely related. In addition, both kinds of self-theories are connected to the students’ academic achievement through the personality dimension

Dimensions in Expressed Music Mood

NARCIS (Netherlands)

Brinker, A.C. den; Van Dinther, C.H.B.A.; Skowronek, J.

2013-01-01

Mood is an important aspect of music and knowledge on mood can be used as a basic ingredient in music recommender and retrieval systems.A music experiment was carried out establishing ratings for variousmoods and a number of attributes like valence and arousal. The analysis of these data is

Audio Mining with emphasis on Music Genre Classification

DEFF Research Database (Denmark)

Meng, Anders

2004-01-01

Audio is an important part of our daily life, basically it increases our impression of the world around us whether this is communication, music, danger detection etc. Currently the field of Audio Mining, which here includes areas of music genre, music recognition / retrieval, playlist generation...... the world the problem of detecting environments from the input audio is researched as to increase the life quality of hearing-impaired. Basically there is a lot of work within the field of audio mining. The presentation will mainly focus on music genre classification where we have a fixed amount of genres...... to choose from. Basically every audio mining system is more or less consisting of the same stages as for the music genre setting. My research so far has mainly focussed on finding relevant features for music genre classification living at different timescales using early and late information fusion. It has...

THE PERCEPTION OF THE CANDIDATES FOR MUSIC TEACHER ON MUSICAL AESTHETICS

Directory of Open Access Journals (Sweden)

Ulku Sevim SEN

2014-08-01

Full Text Available The basic aim of this study is to reveal the perception of the candidates for music teacher on musical aesthetics. In the light of this aim, the research question the study aims to answer: how is the perception of the candidates for music teacher on musical aesthetics? The participants in this research consist of overall eighty three freshman, sophomore, junior and senior students studying in the Department of Music Teaching, Ataturk Faculty of Fine Arts during spring term. The participants as the candidates for teacher involve forty nine women and thirty four men. The study is descriptive survey model of qualitative research.

Writing System Modulates the Association between Sensitivity to Acoustic Cues in Music and Reading Ability: Evidence from Chinese–English Bilingual Children

Directory of Open Access Journals (Sweden)

Juan Zhang

2017-11-01

Full Text Available Music and language share many attributes and a large body of evidence shows that sensitivity to acoustic cues in music is positively related to language development and even subsequent reading acquisition. However, such association was mainly found in alphabetic languages. What remains unclear is whether sensitivity to acoustic cues in music is associated with reading in Chinese, a morphosyllabic language. The present study aimed to answer this question by measuring music (i.e., musical metric perception and pitch discrimination, language (i.e., phonological awareness, lexical tone sensitivity, and reading abilities (i.e., word recognition among 54 third-grade Chinese–English bilingual children. After controlling for age and non-verbal intelligence, we found that both musical metric perception and pitch discrimination accounted for unique variance of Chinese phonological awareness while pitch discrimination rather than musical metric perception predicted Chinese lexical tone sensitivity. More importantly, neither musical metric perception nor pitch discrimination was associated with Chinese reading. As for English, musical metric perception and pitch discrimination were correlated with both English phonological awareness and English reading. Furthermore, sensitivity to acoustic cues in music was associated with English reading through the mediation of English phonological awareness. The current findings indicate that the association between sensitivity to acoustic cues in music and reading may be modulated by writing systems. In Chinese, the mapping between orthography and phonology is not as transparent as in alphabetic languages such as English. Thus, this opaque mapping may alter the auditory perceptual sensitivity in music to Chinese reading.

Music and Early Language Acquisition

Science.gov (United States)

Brandt, Anthony; Gebrian, Molly; Slevc, L. Robert

2012-01-01

Language is typically viewed as fundamental to human intelligence. Music, while recognized as a human universal, is often treated as an ancillary ability – one dependent on or derivative of language. In contrast, we argue that it is more productive from a developmental perspective to describe spoken language as a special type of music. A review of existing studies presents a compelling case that musical hearing and ability is essential to language acquisition. In addition, we challenge the prevailing view that music cognition matures more slowly than language and is more difficult; instead, we argue that music learning matches the speed and effort of language acquisition. We conclude that music merits a central place in our understanding of human development. PMID:22973254

浅谈培养学生音乐记忆力的方法与途径%A Brief Discussion on the Methods and Approaches of Cultivating Students' Music Memory

Institute of Scientific and Technical Information of China (English)

张建芬

2013-01-01

音乐记忆力指的是对音乐作品的记忆能力，也是我们学生学习音乐必须具备的基本能力，正确的音乐记忆应遵循记忆的规律，讲究方法，在学习中加以培养。本文旨在如何培养学生良好的音乐记忆能力上做了一些尝试。%Music memory, students' basic ability in learning mu-sic, is the memorizing ability of music works. A correct music memory obeys the rules and methods of memory and should be cultivated in learning. This paper attempts to cultivate students' correct music memory ability.

Impacts of Music on Sectional View Drawing Ability for Engineering Technology Students as Measured through Technical Drawings

Science.gov (United States)

Katsioloudis, Petros; Jones, Mildred; Jovanovic, Vukica

2016-01-01

Results from a number of studies indicate that the use of different types of music can influence cognition and behavior; however, research provides inconsistent results. Considering this, a quasi-experimental study was conducted to identify the existence of statistically significant effects on sectional view drawing ability due to the impacts of…

RELATIONS BETWEEN BASIC MOTOR ABILITIES AND SPECIFIC PRECISENESS OF FOOTBALLERS AGED 10-12

Directory of Open Access Journals (Sweden)

Miroslav Smajić

2007-05-01

Full Text Available According to the research on the sample of 256 footballers aged 10-12 and the battery including 20 tests for evaluation of the basic motor abilities and the battery of 24 tests for evaluation of specifi c preciseness, and as per canonic-correlation analysis, a general conclusion can be reached that the boys were rather different in their basic motor abilities. The differences were especially high in explosive strength, coordination, aerobic endurance and balance. One could also conclude that the sample treated in this manner (10-12 years of age is very heterogeneous with respect to basic motor abilities. The subjects showed the highest homogeneity in the tests of specifi c preciseness. They also achieved particularly good results in the tests of vertical target hitting by leg and head. Considering the relations of the basic motor abilities and specifi c preciseness, it was concluded that the structure-based basic motor-canonic factor might be interpreted as FACTOR OF SPEED ENDURANCE AND EXPLOSIVE STRENGTH, whereas structurebased canonic factor of specifi c preciseness might be interpreted as the FACTOR OF SPECIFIC PRECISENESS OF VERTICAL TARGET HITTING BY LEG AND HEAD. The structure of the relations of the fi rst pair of canonic factors indicates that footballers with lower speed endurance and lower explosive strength achieved poorer results in the tests of specifi c preciseness of vertical target hitting by leg and head, and vice versa. Structure of the relations of the second canonic factor indicates quite clearly that the footballers with lower repetitive strength achieved lower results in the tests of specifi c preciseness of horizontal and vertical target by leg and head in a newly created situation. Here of course, the opposite was true, i.e. footballers with higher repetitive strength were better in these tests too.

Musical Sound, Instruments, and Equipment

Science.gov (United States)

Photinos, Panos

2017-12-01

'Musical Sound, Instruments, and Equipment' offers a basic understanding of sound, musical instruments and music equipment, geared towards a general audience and non-science majors. The book begins with an introduction of the fundamental properties of sound waves, and the perception of the characteristics of sound. The relation between intensity and loudness, and the relation between frequency and pitch are discussed. The basics of propagation of sound waves, and the interaction of sound waves with objects and structures of various sizes are introduced. Standing waves, harmonics and resonance are explained in simple terms, using graphics that provide a visual understanding. The development is focused on musical instruments and acoustics. The construction of musical scales and the frequency relations are reviewed and applied in the description of musical instruments. The frequency spectrum of selected instruments is explored using freely available sound analysis software. Sound amplification and sound recording, including analog and digital approaches, are discussed in two separate chapters. The book concludes with a chapter on acoustics, the physical factors that affect the quality of the music experience, and practical ways to improve the acoustics at home or small recording studios. A brief technical section is provided at the end of each chapter, where the interested reader can find the relevant physics and sample calculations. These quantitative sections can be skipped without affecting the comprehension of the basic material. Questions are provided to test the reader's understanding of the material. Answers are given in the appendix.

Research and Practice on Basic Composition and Cultivation Pattern of College Students' Innovative Ability

Science.gov (United States)

Xu, Zhenhui; Chen, Hanlin

2010-01-01

Facing the increasingly fierce international competition, it has been the core of higher education to explore how to cultivate college students with innovative ability. College students' innovative ability is mainly composed of basic ability, innovative thinking and innovative actions. In conformity to the above composition, the cultivation…

New fast MMN paradigm for determining the neural prerequisites for musical ability

DEFF Research Database (Denmark)

Vuust, Peter; Brattico, Elvira; Glerean, Enrico

2011-01-01

of auditory skills and musical expertise. MMN paradigms, however, are typically very long in duration, and far from sounding musical. Therefore, we developed a novel multi-feature MMN paradigm with 6 different deviant types integrated in a complex musical context of no more than 20 min in duration. We found......Studies have consistently shown that the mismatch negativity (MMN) for different auditory features correlates with musical skills, and that this effect is more pronounced for stimuli integrated in complex musical contexts. Hence, the MMN can potentially be used for determining the development...... significant MMNs for all 6 deviant types. Hence, this short objective measure can putatively be used as an index for auditory and musical development....

Disentangling beat perception from sequential learning and examining the influence of attention and musical abilities on ERP responses to rhythm.

Science.gov (United States)

Bouwer, Fleur L; Werner, Carola M; Knetemann, Myrthe; Honing, Henkjan

2016-05-01

Beat perception is the ability to perceive temporal regularity in musical rhythm. When a beat is perceived, predictions about upcoming events can be generated. These predictions can influence processing of subsequent rhythmic events. However, statistical learning of the order of sounds in a sequence can also affect processing of rhythmic events and must be differentiated from beat perception. In the current study, using EEG, we examined the effects of attention and musical abilities on beat perception. To ensure we measured beat perception and not absolute perception of temporal intervals, we used alternating loud and soft tones to create a rhythm with two hierarchical metrical levels. To control for sequential learning of the order of the different sounds, we used temporally regular (isochronous) and jittered rhythmic sequences. The order of sounds was identical in both conditions, but only the regular condition allowed for the perception of a beat. Unexpected intensity decrements were introduced on the beat and offbeat. In the regular condition, both beat perception and sequential learning were expected to enhance detection of these deviants on the beat. In the jittered condition, only sequential learning was expected to affect processing of the deviants. ERP responses to deviants were larger on the beat than offbeat in both conditions. Importantly, this difference was larger in the regular condition than in the jittered condition, suggesting that beat perception influenced responses to rhythmic events in addition to sequential learning. The influence of beat perception was present both with and without attention directed at the rhythm. Moreover, beat perception as measured with ERPs correlated with musical abilities, but only when attention was directed at the stimuli. Our study shows that beat perception is possible when attention is not directed at a rhythm. In addition, our results suggest that attention may mediate the influence of musical abilities on beat

THE EFFECTS OF BASIC MOTOR ABILITIES ON DRIBBLING RESULTS IN SOCCER

OpenAIRE

Ismail Selimović; Mehmeti Ejup

2011-01-01

This study was conducted on a sample of 100 boys aged 12-14 years, members of Sarajevo soccer school teams; FK "ŽELJEZNIČAR", FK "SARAJEVO", FK "NOVI GRAD" and FK "BOSNA". As a predictive variable system, the 17 variables of basic motor skills were applied, and criteria variable was the level of motor control knowledge of ball dribble in football. The aim of this study was to determine the effect of multiple and partial basic motor abilities on the ball dribbling results. Results of regressio...

"When Music Speaks": Auditory Cortex Morphology as a Neuroanatomical Marker of Language Aptitude and Musicality.

Science.gov (United States)

Turker, Sabrina; Reiterer, Susanne M; Seither-Preisler, Annemarie; Schneider, Peter

2017-01-01

Recent research has shown that the morphology of certain brain regions may indeed correlate with a number of cognitive skills such as musicality or language ability. The main aim of the present study was to explore the extent to which foreign language aptitude, in particular phonetic coding ability, is influenced by the morphology of Heschl's gyrus (HG; auditory cortex), working memory capacity, and musical ability. In this study, the auditory cortices of German-speaking individuals ( N = 30; 13 males/17 females; aged 20-40 years) with high and low scores in a number of language aptitude tests were compared. The subjects' language aptitude was measured by three different tests, namely a Hindi speech imitation task (phonetic coding ability), an English pronunciation assessment, and the Modern Language Aptitude Test (MLAT). Furthermore, working memory capacity and musical ability were assessed to reveal their relationship with foreign language aptitude. On the behavioral level, significant correlations were found between phonetic coding ability, English pronunciation skills, musical experience, and language aptitude as measured by the MLAT. Parts of all three tests measuring language aptitude correlated positively and significantly with each other, supporting their validity for measuring components of language aptitude. Remarkably, the number of instruments played by subjects showed significant correlations with all language aptitude measures and musicality, whereas, the number of foreign languages did not show any correlations. With regard to the neuroanatomy of auditory cortex, adults with very high scores in the Hindi testing and the musicality test (AMMA) demonstrated a clear predominance of complete posterior HG duplications in the right hemisphere. This may reignite the discussion of the importance of the right hemisphere for language processing, especially when linked or common resources are involved, such as the inter-dependency between phonetic and musical

Music Makes the World Go Round: The Impact of Musical Training on Non-musical Cognitive Functions-A Review.

Science.gov (United States)

Benz, Sarah; Sellaro, Roberta; Hommel, Bernhard; Colzato, Lorenza S

2015-01-01

Musical training is becoming increasingly popular as a topic for scientific research. Here we review the available studies investigating whether and to which degree musical experience generalizes to cognitive functions unrelated to music abilities in healthy humans. In general, it seems that musical training is associated with enhancing effects, even if sometimes only restricted to the auditory domain, on various cognitive functions spanning from executive control to creativity. We conclude that musical engagement may be a useful cognitive training to promote cognitive enhancement, but more research using longitudinal studies and taking into account individual differences is necessary to determine actual benefits.

The Role of Psychological Needs in Ceasing Music and Music Learning Activities

Science.gov (United States)

Evans, Paul; McPherson, Gary E.; Davidson, Jane W.

2013-01-01

This article addresses individuals' decisions to continue or cease playing a musical instrument from a basic psychological needs perspective. Participants began learning music 10 years prior to the study and were the subject of previous longitudinal research. They completed a survey investigating the three psychological needs of competence,…

Computer Aided Design System for Developing Musical Fountain Programs

Institute of Scientific and Technical Information of China (English)

刘丹; 张乃尧; 朱汉城

2003-01-01

A computer aided design system for developing musical fountain programs was developed with multiple functions such as intelligent design, 3-D animation, manual modification and synchronized motion to make the development process more efficient. The system first analyzed the music form and sentiment using many basic features of the music to select a basic fountain program. Then, this program is simulated with 3-D animation and modified manually to achieve the desired results. Finally, the program is transformed to a computer control program to control the musical fountain in time with the music. A prototype system for the musical fountain was also developed. It was tested with many styles of music and users were quite satisfied with its performance. By integrating various functions, the proposed computer aided design system for developing musical fountain programs greatly simplified the design of the musical fountain programs.

A Study on Music-Cognition in Infants

OpenAIRE

福井, 隼仁; 山田, 裕美

1989-01-01

In this paper, we made a survey of researches of music-cognition on infants level. Consequently, we found that musical behavior of infants develops by steps and the ability of music-cognition is discovered in earlier stage than expected so far. But we think there is a problem in the method, because those researches have used concepts of Western musicology for appraisal. We are afraid that these concepts set music-cognition in a frame and as a result we lost the sight of the ability of music-c...

A Study of High School Music Participants' Stylistic Preferences and Identification Abilities in Music and the Visual Arts.

Science.gov (United States)

Haack, Paul

1982-01-01

Research investigated how high school students conceptualize the basic Classical-Romantic values dichotomy as exemplified by various aesthetic eras, styles, and objects, and how students operate within such aesthetic-conceptual frameworks in terms of their preferences and identification-categorization abilities. (Author/AM)

Music and Music Intervention for Therapeutic Purposes in Patients with Ventilator Support; Gamelan Music Perspective

Directory of Open Access Journals (Sweden)

Suhartini Suhartini

2011-01-01

Full Text Available Background: Gamelan music is one of folk music for Javanese people. Several research studies testing the effects of music were conducted in Western countries. The music studies for therapeutic purposes used classical music commonly. Even in Indonesia, some researchers may use that music for therapeutic purposes. This concern article explains the perspective music and music intervention as therapeutic purposes, view with Javanese classical music.Objectives: To explore the evidence of music and music intervention for therapeutic purposes and to describe the perspective of gamelan music used in nursing interventionMethods: Using five bibliography databases (MEDLINE, CINAHL, Science Direct, Interscience, and Proquest were searched from 1999-2010 for original clinical reports or reviews that evaluated the use of complementary therapy for therapeutic intervention in patients with ventilator support. The term of complementary therapy, anxiety, and pain were used in a comprehensive search of electronic databases. Articles were screened and excluded based on the title and abstract information.Results: Music brings about helpful changes in the emotional and physical health of patients, and has the ability to provide an altered state of physical arousal and subsequent mood improvement by processing a progression of musical notes of varying tone, rhythm, and instrumentation for a pleasing effect.Conclusion: Music can be used for therapeutic purposes, for instance to reduce anxiety, to decrease pain sensation, and some effects of psychological impact. Include, the gamelan music can be offer for patients for Javanese people in Indonesia.Key words: Music, music intervention, therapeutic purposes

Autism Research: Music Aptitude's Effect on Developmental/Academic Gains for Students with Significant Cognitive/Language Delays

Science.gov (United States)

Sobol, Elise S.

2014-01-01

This research study was built upon findings in neuroscience of the brain's natural ability to physically change itself through cognitive modifiability by creating new pathways and neural connections. The purpose of the research was to investigate instructional music applications for improvement in basic math skills with students who are on the…

The role of auditory abilities in basic mechanisms of cognition in older adults

Directory of Open Access Journals (Sweden)

Massimo eGrassi

2013-10-01

Full Text Available The aim of this study was to assess age-related differences between young and older adults in auditory abilities and to investigate the relationship between auditory abilities and basic mechanisms of cognition in older adults. Although there is a certain consensus that the participant’s sensitivity to the absolute intensity of sounds (such as that measured via pure tone audiometry explains his/her cognitive performance, there is not yet much evidence that the participant’s auditory ability (i.e., the whole supra-threshold processing of sounds explains his/her cognitive performance. Twenty-eight young adults (age < 35, 26 young-old adults (65 ≤ age ≤75 and 28 old-old adults (age > 75 were presented with a set of tasks estimating several auditory abilities (i.e., frequency discrimination, intensity discrimination, duration discrimination, timbre discrimination, gap detection, amplitude modulation detection, and the absolute threshold for a 1 kHz pure tone and the participant’s working memory, cognitive inhibition, and processing speed. Results showed an age-related decline in both auditory and cognitive performance. Moreover, regression analyses showed that a subset of the auditory abilities (i.e., the ability to discriminate frequency, duration, timbre, and the ability to detect amplitude modulation explained a significant part of the variance observed in processing speed in older adults. Overall, the present results highlight the relationship between auditory abilities and basic mechanisms of cognition.

“When Music Speaks”: Auditory Cortex Morphology as a Neuroanatomical Marker of Language Aptitude and Musicality

Directory of Open Access Journals (Sweden)

Sabrina Turker

2017-12-01

Full Text Available Recent research has shown that the morphology of certain brain regions may indeed correlate with a number of cognitive skills such as musicality or language ability. The main aim of the present study was to explore the extent to which foreign language aptitude, in particular phonetic coding ability, is influenced by the morphology of Heschl’s gyrus (HG; auditory cortex, working memory capacity, and musical ability. In this study, the auditory cortices of German-speaking individuals (N = 30; 13 males/17 females; aged 20–40 years with high and low scores in a number of language aptitude tests were compared. The subjects’ language aptitude was measured by three different tests, namely a Hindi speech imitation task (phonetic coding ability, an English pronunciation assessment, and the Modern Language Aptitude Test (MLAT. Furthermore, working memory capacity and musical ability were assessed to reveal their relationship with foreign language aptitude. On the behavioral level, significant correlations were found between phonetic coding ability, English pronunciation skills, musical experience, and language aptitude as measured by the MLAT. Parts of all three tests measuring language aptitude correlated positively and significantly with each other, supporting their validity for measuring components of language aptitude. Remarkably, the number of instruments played by subjects showed significant correlations with all language aptitude measures and musicality, whereas, the number of foreign languages did not show any correlations. With regard to the neuroanatomy of auditory cortex, adults with very high scores in the Hindi testing and the musicality test (AMMA demonstrated a clear predominance of complete posterior HG duplications in the right hemisphere. This may reignite the discussion of the importance of the right hemisphere for language processing, especially when linked or common resources are involved, such as the inter-dependency between

“When Music Speaks”: Auditory Cortex Morphology as a Neuroanatomical Marker of Language Aptitude and Musicality

Science.gov (United States)

Turker, Sabrina; Reiterer, Susanne M.; Seither-Preisler, Annemarie; Schneider, Peter

2017-01-01

Recent research has shown that the morphology of certain brain regions may indeed correlate with a number of cognitive skills such as musicality or language ability. The main aim of the present study was to explore the extent to which foreign language aptitude, in particular phonetic coding ability, is influenced by the morphology of Heschl’s gyrus (HG; auditory cortex), working memory capacity, and musical ability. In this study, the auditory cortices of German-speaking individuals (N = 30; 13 males/17 females; aged 20–40 years) with high and low scores in a number of language aptitude tests were compared. The subjects’ language aptitude was measured by three different tests, namely a Hindi speech imitation task (phonetic coding ability), an English pronunciation assessment, and the Modern Language Aptitude Test (MLAT). Furthermore, working memory capacity and musical ability were assessed to reveal their relationship with foreign language aptitude. On the behavioral level, significant correlations were found between phonetic coding ability, English pronunciation skills, musical experience, and language aptitude as measured by the MLAT. Parts of all three tests measuring language aptitude correlated positively and significantly with each other, supporting their validity for measuring components of language aptitude. Remarkably, the number of instruments played by subjects showed significant correlations with all language aptitude measures and musicality, whereas, the number of foreign languages did not show any correlations. With regard to the neuroanatomy of auditory cortex, adults with very high scores in the Hindi testing and the musicality test (AMMA) demonstrated a clear predominance of complete posterior HG duplications in the right hemisphere. This may reignite the discussion of the importance of the right hemisphere for language processing, especially when linked or common resources are involved, such as the inter-dependency between phonetic and

Investigating the importance of self-theories of intelligence and musicality for students' academic and musical achievement

OpenAIRE

M?llensiefen, Daniel; Harrison, Peter; Caprini, Francesco; Fancourt, Amy

2015-01-01

Musical abilities and active engagement with music have been shown to be positively associated with many cognitive abilities as well as social skills and academic performance in secondary school students. While there is evidence from intervention studies that musical training can be a cause of these positive relationships, recent findings in the literature have suggested that other factors, such as genetics, family background or personality traits, might also be contributing factors. In addit...

MUSICAL-COMPUTER TECHNOLOGY: THE LABORATORY

Directory of Open Access Journals (Sweden)

Gorbunova Irina B.

2012-12-01

Full Text Available The article deals with musically-computer technology in the educational system on example of the Educational and Methodical Laboratory Music & Computer Technologies at the Herzen State Pedagogical University of Russia, St. Petersburg. Interdisciplinary field of professional activities relates to the creation and application of specialized music software and hardware tools and the knowledges in music and informatics. A realization of the concept of musical-computer education in preparing music teachers is through basic educational programs of vocational training, supplementary education, professional development of teachers and methodical support via Internet. In addition, the laboratory Music & Computer Technologies engaged in scientific activity: it is, above all, specialized researches in the field of pedagogy and international conferences.

Music makes the world go round: The impact of musical training on non-musical cognitive functions—A Review

Directory of Open Access Journals (Sweden)

Sarah eBenz

2016-01-01

Full Text Available Musical training is becoming increasingly popular as a topic for scientific research. Here we review the available studies investigating whether and to which degree musical experience generalizes to cognitive functions unrelated to music abilities in healthy humans. In general, it seems that musical training is associated with enhancing effects, even if sometimes only restricted to the auditory domain, on various cognitive functions spanning from executive control to creativity. We conclude that musical engagement may be a useful cognitive training to promote cognitive enhancement, but more research using longitudinal studies and taking into account individual differences is necessary to determine actual benefits.

音乐认知研究进展及其教育启示%Progress in Music Cognitive Research and its Enlightenments to Education

Institute of Scientific and Technical Information of China (English)

陆悦

2014-01-01

音乐认知是人类用来感知、体验和理解音乐艺术的一项高级认知功能。提高音乐认知能力可以有效促进和提高其他认知能力。提高音乐认知能力有助于开发大脑潜在功能，促进智力行为能力的提高。音乐学习与音乐认知的发展具有关键期。对于这一问题的研究，可以深化人们对音乐基础教育的认识，使音乐教育能投入更为广义上的人类发展和潜能开发中。%Music cognition is the ability to cognize, experience and understand the art of music, which is one of the most important cognitive functions of human beings. Improving the ability of music cognition is of significant enhancing effect on other cognitive abilities. Learning music and improving the ability of music cognition are beneficial to developing potential functions of the brain and promoting the ability of intellectual behavior. The development of music learning and music cog-nition has a key period. Study on such issue may deepen people's understanding of basic music education, giving full play to the role of music education in human development and potential development in a broader sense.

The Musical Taste of Young People

Science.gov (United States)

Mozgot, V. G.

2014-01-01

Data from a longitudinal survey of the musical tastes of young people distinguish five basic vectors of its development: an orientation toward the Western paradigm; young people's unlimited amount of time spent in the consumption of music; the indiscriminate nature of their music interests; the influence that a person's membership in a particular…

Memory for music in Alzheimer's disease: unforgettable?

Science.gov (United States)

Baird, Amee; Samson, Séverine

2009-03-01

The notion that memory for music can be preserved in patients with Alzheimer's Disease (AD) has been raised by a number of case studies. In this paper, we review the current research examining musical memory in patients with AD. In keeping with models of memory described in the non-musical domain, we propose that various forms of musical memory exist, and may be differentially impaired in AD, reflecting the pattern of neuropathological changes associated with the condition. Our synthesis of this literature reveals a dissociation between explicit and implicit musical memory functions. Implicit, specifically procedural musical memory, or the ability to play a musical instrument, can be spared in musicians with AD. In contrast, explicit musical memory, or the recognition of familiar or unfamiliar melodies, is typically impaired. Thus, the notion that music is unforgettable in AD is not wholly supported. Rather, it appears that the ability to play a musical instrument may be unforgettable in some musicians with AD.

“Five Minutes of Composers”: A Technique for Evaluating Productivity of Verbal Memory in the System of Basic Music Education

Directory of Open Access Journals (Sweden)

Sorokov D.G.

2017-11-01

Full Text Available The paper addresses the need for developing criteria-based diagnostic tools for quick individual and group evaluation of musical knowledge in children within the system of basic music education. The proposed technique called “Five Minutes of Composers” allows one to evaluate musical knowledge in a single child, in a whole class or in an educational organisation. The paper provides a full description of the technique and the process of its standartisation: stanines and corresponding normative values are assigned to each age group; the differential validity of the technique is statistically proven for the factors "gender", "stage of education", "age", and "total productivity". The outcomes of the conducted study show the following: the average level of productivity is significantly higher in girls; this level is significantly higher in students of 6th and 7th classes as compared to students of 3rd—5th classes; there is a direct correlation between age and productivity of recall; children with high levels of productivity outscore others in the number of recalled names of composers right from the start. The paper concludes with some remarks concerning the possibilities of using this technique for measuring the progress in children’s musical knowledge, for criteria-based comparative analysis of the quality of teaching, and for evaluating the quality of music education in single classes and educational organisations in general.

Unraveling the mystery of music: music as an evolved group process.

Science.gov (United States)

Loersch, Chris; Arbuckle, Nathan L

2013-11-01

As prominently highlighted by Charles Darwin, music is one of the most mysterious aspects of human nature. Despite its ubiquitous presence across cultures and throughout recorded history, the reason humans respond emotionally to music remains unknown. Although many scientists and philosophers have offered hypotheses, there is little direct empirical evidence for any perspective. Here we address this issue, providing data which support the idea that music evolved in service of group living. Using 7 studies, we demonstrate that people's emotional responses to music are intricately tied to the other core social phenomena that bind us together into groups. In sum, this work establishes human musicality as a special form of social cognition and provides the first direct support for the hypothesis that music evolved as a tool of social living. In addition, the findings provide a reason for the intense psychological pull of music in modern life, suggesting that the pleasure we derive from listening to music results from its innate connection to the basic social drives that create our interconnected world. PsycINFO Database Record (c) 2013 APA, all rights reserved.

STRUCTURE OF BASIC MOTOR ABILITIES OF FOOTBALL PLAYERS AT THE AGE OF 10-12

Directory of Open Access Journals (Sweden)

Miroslav Smajić

2008-08-01

Full Text Available Based on a research carried out on the sample of 256 football players at the age of 10-12, using a 20-test battery for evaluation of basic motor abilities, and according to factor analysis, it may generally be concluded that five latent dimensions of structure of basic motor abilities have been isolated, which have been named as: FACTOR OF SPEED-POWER STAMINA, FACTOR OF SPEED OF ALTERNATIVE MOVEMENTS OF LOWER EXTREMITIES AND REPETITIVE STRENGTH OF ARMS, SHOULDERS AND STOMACH MUSCLES, FACTOR OF SUPPLENESS, FACTOR OF STATIC BALANCE, FACTOR OF DYNAMIC BALANCE AND AGILITY

Music and language: musical alexia and agraphia.

Science.gov (United States)

Brust, J C

1980-06-01

Two aphasic right-handed professional musicians with left hemispheric lesions had disturbed musical function, especially musical alexia and agraphia. In Case 1 aphasia was of transcortical sensory type, with severe agraphia and decreased comprehension of written words, although she could match them with pictures. Except for reading and writing, musical ability was normal; she could sing in five languages. Musical alexia and agraphia affected pitch symbols more than rhythm. Case 2 had conduction aphasia and severe expressive amusia, especially for rhythm. Although his language alexia and agraphia were milder than Case 1's, his musical alexia and agraphia were more severe, affecting rhythm as much as pitch. In neither patient were those aspects of musical notation either closest to verbal language or most dependent upon temporal (sequential) processing maximally impaired. These cases are consistent with the literature in suggesting that the presence or absence of aphasia or of right or left hemispheric damage fails to predict the presence, type, or severity of amusia, including musical alexia and agraphia. The popular notion that receptive amusia follows lesions of the language-dominant temporal lobe, whereas expressive amusia follows non-dominant frontal lobe damage, is an over-simplification, as is the view that increasing musical sophistication causes a shift of musical processing from the right hemisphere to the left.

Chinese EFL teachers' knowledge of basic language constructs and their self-perceived teaching abilities.

Science.gov (United States)

Zhao, Jing; Joshi, R Malatesha; Dixon, L Quentin; Huang, Liyan

2016-04-01

The present study examined the knowledge and skills of basic language constructs among elementary school teachers who were teaching English as a Foreign Language (EFL) in China. Six hundred and thirty in-service teachers completed the adapted Reading Teacher Knowledge Survey. Survey results showed that English teachers' self-perceived ability to teach vocabulary was the highest and self-perceived ability to teach reading to struggling readers was the lowest. Morphological knowledge was positively correlated with teachers' self-perceived teaching abilities, and it contributed unique variance even after controlling for the effects of ultimate educational attainment and years of teaching. Findings suggest that elementary school EFL teachers in China, on average, were able to display implicit skills related to certain basic language constructs, but less able to demonstrate explicit knowledge of other skills, especially sub-lexical units (e.g., phonemic awareness and morphemes). The high self-perceived ability of teaching vocabulary and high scores on syllable counting reflected the focus on larger units in the English reading curriculum.

(Criative Listening: proposals for the development of music listening in basic education

Directory of Open Access Journals (Sweden)

Helena Lopes da Silva

2017-01-01

Full Text Available During the years 2015 and 2016 we coordinated a research entitled Mediated and expanded listening for high school music classes: Dialogues between Murray Schafer and Luciano Berio, which proposed structuring methodological approaches to develop and expand the musical listening of young people who are at school having as a start point the dialogue between listening strategies proposed by Murray Schafer and the work of Luciano Berio. For the construction of a pedagogical-musical approach centered on listening the teaching strategies to expand the listening proposed by Schafer (2011 were mapped as well as four musical pieces by the composer Luciano Berio were analyzed. Our hypothesis was that the use of the teaching strategies proposed by Schafer for the active appreciation of Berio repertoire could enhance the development of a renewed musical listening, which would require from the students and the teacher an extension or a expansion of concepts of what they understand by «music». The results showed that the young participants expressed interest in the contemporary repertoire as they were being instrumentalized by the developed mediation activities. Mediation was carried out through active listening proposals through creative action on the sounds around us and on the selected repertoire. The experience of listening to music is a creative activity and has intensive demands on your exercise. It is an inner process of knowledge and discovery that should be considered central in the training of music teachers.

Viewers' perceptions of a YouTube music therapy session video.

Science.gov (United States)

Gregory, Dianne; Gooding, Lori G

2013-01-01

Recent research revealed diverse content and varying levels of quality in YouTube music therapy videos and prompted questions about viewers' discrimination abilities. This study compares ratings of a YouTube music therapy session video by viewers with different levels of music therapy expertise to determine video elements related to perceptions of representational quality. Eighty-one participants included 25 novices (freshmen and sophomores in an introductory music therapy course), 25 pre-interns (seniors and equivalency students who had completed all core Music Therapy courses), 26 professionals (MT-BC or MT-BC eligibility) with a mean of 1.75 years of experience, and an expert panel of 5 MT-BC professionals with a mean of 11 years of experience in special education. After viewing a music therapy special education video that in previous research met basic competency criteria and professional standards of the American Music Therapy Association, participants completed a 16-item questionnaire. Novices' ratings were more positive (less discriminating) compared to experienced viewers' neutral or negative ratings. Statistical analysis (ANOVA) of novice, pre-intern, and professional ratings of all items revealed significant differences p, .05) for specific therapy content and for a global rating of representational quality. Experienced viewers' ratings were similar to the expert panel's ratings. Content analysis of viewers' reasons for their representational quality ratings corroborated ratings of therapy-specific content. A video that combines and clearly depicts therapy objectives, client improvement, and the effectiveness of music within a therapeutic intervention best represent the music therapy profession in a public social platform like YouTube.

Music training for the development of reading skills.

Science.gov (United States)

Tierney, Adam; Kraus, Nina

2013-01-01

The beneficial effects of musical training are not limited to enhancement of musical skills, but extend to language skills. Here, we review evidence that musical training can enhance reading ability. First, we discuss five subskills underlying reading acquisition-phonological awareness, speech-in-noise perception, rhythm perception, auditory working memory, and the ability to learn sound patterns-and show that each is linked to music experience. We link these five subskills through a unifying biological framework, positing that they share a reliance on auditory neural synchrony. After laying this theoretical groundwork for why musical training might be expected to enhance reading skills, we review the results of longitudinal studies providing evidence for a role for musical training in enhancing language abilities. Taken as a whole, these findings suggest that musical training can provide an effective developmental educational strategy for all children, including those with language learning impairments. © 2013 Elsevier B.V. All rights reserved.

Music Therapy for children with special needs

DEFF Research Database (Denmark)

Holck, Ulla

Music therapy can meet the basic needs of children with special needs, such as behavioral problems, attention skills, social skills, emotional needs and intersubjective skills. In addition cognitive skills can be strengthened if the basic needs are fulfilled. The lecture gives an overview...... by Malloch & Trevarthen (2009) as inborn ‘communicative musicality’. Communicative musicality provides the ground for early interplay and attachment, cognitive development and language, and characterizes human interplay throughout the life. For children who cannot join into a normal development music can...... of the current music therapy research in the field, i.e. the results of effect studies as well as research focusing on how music therapy works or why we can see this effect. The developmental psychology, informed by the infant research and neuro-affective psychology, gives a ground to understand what development...

Disentangling beat perception from sequential learning and examining the influence of attention and musical abilities on ERP responses to rhythm

NARCIS (Netherlands)

Bouwer, F.L.; Werner, C.M.; Knetemann, M.; Honing, H.

Beat perception is the ability to perceive temporal regularity in musical rhythm. When a beat is perceived, predictions about upcoming events can be generated. These predictions can influence processing of subsequent rhythmic events. However, statistical learning of the order of sounds in a sequence

Music in Contemporary Nigerian Drama: A Functionalist Approach ...

African Journals Online (AJOL)

It classifies the basic types of music, and identifies and analyses the various uses to which music is put, in contemporary Nigerian drama. In proving this, it draws on examples of the functions of music from four different Nigerian drama texts. The paper concludes on the submission that music goes a long way in consolidating ...

A music educational environment for preschoolers

NARCIS (Netherlands)

Jansen, A.E.; van Dijk, Elisabeth M.A.G.; Retra, J.

2008-01-01

This paper describes the design and evaluation of an interactive computer environment that envisions to contribute to young children's musical learning. The intent is to stimulate the child's inherent musical abilities by engaging the child in active musical interaction with the environment. The

Affective evolutionary music composition with MetaCompose

DEFF Research Database (Denmark)

Scirea, Marco; Togelius, Julian; Eklund, Peter

2017-01-01

This paper describes the MetaCompose music generator, a compositional, extensible framework for affective music composition. In this context ‘affective’ refers to the music generator’s ability to express emotional information. The main purpose of MetaCompose is to create music in real-time that can...

A Critical Ethnography of Democratic Music Listening

Science.gov (United States)

Silverman, Marissa

2013-01-01

The purpose of this critical ethnography was to investigate how music educators can approach the development of students' music listening abilities democratically in order to deepen students' musical understandings and, by teaching through music, create pathways for student-teacher transactions that are inclusive, educative, ethical and…

Analysis, Synthesis, and Perception of Musical Sounds The Sound of Music

CERN Document Server

Beauchamp, James W

2007-01-01

Analysis, Synthesis, and Perception of Musical Sounds contains a detailed treatment of basic methods for analysis and synthesis of musical sounds, including the phase vocoder method, the McAulay-Quatieri frequency-tracking method, the constant-Q transform, and methods for pitch tracking with several examples shown. Various aspects of musical sound spectra such as spectral envelope, spectral centroid, spectral flux, and spectral irregularity are defined and discussed. One chapter is devoted to the control and synthesis of spectral envelopes. Two advanced methods of analysis/synthesis are given: "Sines Plus Transients Plus Noise" and "Spectrotemporal Reassignment" are covered. Methods for timbre morphing are given. The last two chapters discuss the perception of musical sounds based on discrimination and multidimensional scaling timbre models.

The musical brain: brain waves reveal the neurophysiological basis of musicality in human subjects.

Science.gov (United States)

Tervaniemi, M; Ilvonen, T; Karma, K; Alho, K; Näätänen, R

1997-04-18

To reveal neurophysiological prerequisites of musicality, auditory event-related potentials (ERPs) were recorded from musical and non-musical subjects, musicality being here defined as the ability to temporally structure auditory information. Instructed to read a book and to ignore sounds, subjects were presented with a repetitive sound pattern with occasional changes in its temporal structure. The mismatch negativity (MMN) component of ERPs, indexing the cortical preattentive detection of change in these stimulus patterns, was larger in amplitude in musical than non-musical subjects. This amplitude enhancement, indicating more accurate sensory memory function in musical subjects, suggests that even the cognitive component of musicality, traditionally regarded as depending on attention-related brain processes, in fact, is based on neural mechanisms present already at the preattentive level.

What is specific to music processing? Insights from congenital amusia.

Science.gov (United States)

Peretz, Isabelle; Hyde, Krista L.

2003-08-01

Musical abilities are generally regarded as an evolutionary by-product of more important functions, such as those involved in language. However, there is increasing evidence that humans are born with musical predispositions that develop spontaneously into sophisticated knowledge bases and procedures that are unique to music. Recent findings also suggest that the brain is equipped with music-specific neural networks and that these can be selectively compromised by a congenital anomaly. This results in a disorder, congenital amusia, that appears to be limited to the processing of music. Recent evidence points to fine-grained perception of pitch as the root of musical handicap. Hence, musical abilities appear to depend crucially on the fine-tuning of pitch, in much the same way that language abilities rely on fine time resolution.

On the building and expansion of ability in music learning%论音乐学习中能力的塑造与拓展

Institute of Scientific and Technical Information of China (English)

何艳

2012-01-01

　　To study music not only aims to master knowledge of music, music skills, it is important to improve the students' learning ability and comprehensive quality, and the ability to expand the field of cultural studies and other. The music learning has a positive effect on culture, life, work. In learning music to pay attention to limb balance, control training, in order to promote brain balance and brain integration development;the active use of the memory image training methods, training students' memory and rational thinking of cultivating students' creative learning music;pay attention to developing students' humanistic quality.%　　学习音乐的目的不仅是掌握音乐知识、音乐技能，重要的是提高学生学习的能力与综合素质，并以此能力积极地向文化学业及其它领域拓展。使音乐的学习对文化课程，对生活、工作产生积极影响。在学习音乐中注重肢体的平衡、控制性训练，以促进左右脑平衡与大脑统合功能发展；积极运用影像记忆方法的训练，锻炼学生的记忆能力与理性音乐思维；培养学生创造性学习音乐；注重发展学生人文素质。

Music and mirror neurons: from motion to 'e'motion.

Science.gov (United States)

Molnar-Szakacs, Istvan; Overy, Katie

2006-12-01

The ability to create and enjoy music is a universal human trait and plays an important role in the daily life of most cultures. Music has a unique ability to trigger memories, awaken emotions and to intensify our social experiences. We do not need to be trained in music performance or appreciation to be able to reap its benefits-already as infants, we relate to it spontaneously and effortlessly. There has been a recent surge in neuroimaging investigations of the neural basis of musical experience, but the way in which the abstract shapes and patterns of musical sound can have such profound meaning to us remains elusive. Here we review recent neuroimaging evidence and suggest that music, like language, involves an intimate coupling between the perception and production of hierarchically organized sequential information, the structure of which has the ability to communicate meaning and emotion. We propose that these aspects of musical experience may be mediated by the human mirror neuron system.

The Effects of Musical Training on Verbal Memory

Science.gov (United States)

Franklin, Michael S.; Moore, Katherine Sledge; Yip, Chun-Yu; Jonides, John; Rattray, Katie; Moher, Jeff

2008-01-01

A number of studies suggest a link between musical training and general cognitive abilities. Despite some positive results, there is disagreement about which abilities are improved. One line of research leads to the hypothesis that verbal abilities in general, and verbal memory in particular, are related to musical training. In the present…

Music to Teach German By.

Science.gov (United States)

Schulte, Leo

1985-01-01

Discusses how music can be intergrated with regular lesson plans to teach German vocabulary, grammar, and history and to give insights into German culture. Also included are sources for basic background information, a list of recordings of the German music, and notes on selecting and presenting it in the language class. (SED)

Searching for Music's Potential: A Critical Examination of Research on Music Therapy with Individuals with Autism

Science.gov (United States)

Accordino, Robert; Comer, Ronald; Heller, Wendy B.

2007-01-01

The authors conducted a literature review on music therapy for individuals with autism because of the frequent use of music therapy for those with autism and recent research on the musical abilities of this population. To accomplish this narrative review, articles were searched from relevant databases, reference lists from articles, and book…

Content and user-based music visual analysis

Science.gov (United States)

Guo, Xiaochun; Tang, Lei

2015-12-01

In recent years, people's ability to collect music got enhanced greatly. Many people who prefer listening music offline even stored thousands of music on their local storage or portable device. However, their ability to deal with music information has not been improved accordingly, which results in two problems. One is how to find out the favourite songs from large music dataset and satisfy different individuals. The other one is how to compose a play list quickly. To solve these problems, the authors proposed a content and user-based music visual analysis approach. We first developed a new recommendation algorithm based on the content of music and user's behaviour, which satisfy individual's preference. Then, we make use of visualization and interaction tools to illustrate the relationship between songs and help people compose a suitable play list. At the end of this paper, a survey is mentioned to show that our system is available and effective.

Self-regulated processes as predictors of students' achievement in music theory in Slovenian elementary music schools

OpenAIRE

Barbara Smolej Fritz; Cirila Peklaj

2010-01-01

The aim of the present research was to examine the relation between processes of selfregulated learning and achievement in Music Theory (MT), a basic and obligatory subject in Slovenian music schools. A total of 457 fifth- and sixth- grade students (153 boys and 303 girls) from 10 different elementary music schools in Slovenia participated in the study. Students completed a questionnaire about affective-motivational processes and a questionnaire about (meta)cognitive processes of selfregulate...

The Music, Tool for Strengthening Value in the Basic Education

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Carol del Carmen Terán González

2018-02-01

Full Text Available The intention of the study consisted of designing alternatives of education learning using the urban music as tool for the strengthening value in the students of 3er degree of the School Bolivariana “Rural Housing” been Trujillo. The study based on a descriptive investigation a design of not experimental field. The units of analysis she was constituted by six (06 teachers who give classes in the third degree. In the obtained results it achieved to demonstrate that the teachers of 3er degree use different strategies in the classroom of class, which is favorable in the learning of the children; nevertheless, the music is not taken in account as a tool of education in the educational process. It is for it that, an offer was realized on the part of the investigator designing activities tending to improve the education - learning value, as well as to motivate the students to realizing his own musical creations departing from the daily experiences.

The Physics of Music and Color

CERN Document Server

Gunther, Leon

2012-01-01

The Physics of Music and Color deals with two subjects, music and color - sound and light in the physically objective sense - in a single volume. The basic underlying physical principles of the two subjects overlap greatly: both music and color are manifestations of wave phenomena, and commonalities exist as to the production, transmission, and detection of sound and light. This book aids readers in studying both subjects, which involve nearly the entire gamut of the fundamental laws of classical as well as modern physics. Where traditional introductory physics and courses are styled so that the basic principles are introduced first and are then applied wherever possible, this book is based on a motivational approach: it introduces a subject by demonstrating a set of related phenomena, challenging readers by calling for a physical basis for what is observed. The book is based upon a course on the physics of music and color that has been taught at Tufts University since 1973, when the course was introduced by ...

Maurice Ravel and right-hemisphere musical creativity: influence of disease on his last musical works?

Science.gov (United States)

Amaducci, L; Grassi, E; Boller, F

2002-01-01

The problem of finding correspondence between a particular neuronal organization and a specific function of the human brain remains a central question of neuroscience. It is sometimes thought that language and music are two sides of the same intellectual coin, but research on brain-damaged patients has shown that the loss of verbal functions (aphasia) is not necessarily accompanied by a loss of musical abilities (amusia). Amusia without aphasia has also been described. This double dissociation indicates functional autonomy in these mental processes. Yet verbal and musical impairments often occur together. The global picture that emerges from studies of music and its neural substrate is by no means clear and much depends on which subjects and which aspect of musical abilities are investigated. An illustration of these concepts is provided by the case of the French composer Maurice Ravel, who suffered from a progressive cerebral disease of uncertain aetiology, with prominent involvement of the left hemisphere. As a result, Ravel experienced aphasia and apraxia and became unable to compose. The available facts favour a clinical diagnosis of primary progressive aphasia (PPA), with the possibility of an overlap with corticobasal degeneration (CBD). In view of Ravel's clinical history, we propose that two of his final compositions, the Bolero and the Concerto for the Left Hand, include certain patterns characteristic of right-hemisphere musical abilities and may show the influence of disease on the creative process.

Subcortical processing of speech regularities underlies reading and music aptitude in children

Science.gov (United States)

2011-01-01

Background Neural sensitivity to acoustic regularities supports fundamental human behaviors such as hearing in noise and reading. Although the failure to encode acoustic regularities in ongoing speech has been associated with language and literacy deficits, how auditory expertise, such as the expertise that is associated with musical skill, relates to the brainstem processing of speech regularities is unknown. An association between musical skill and neural sensitivity to acoustic regularities would not be surprising given the importance of repetition and regularity in music. Here, we aimed to define relationships between the subcortical processing of speech regularities, music aptitude, and reading abilities in children with and without reading impairment. We hypothesized that, in combination with auditory cognitive abilities, neural sensitivity to regularities in ongoing speech provides a common biological mechanism underlying the development of music and reading abilities. Methods We assessed auditory working memory and attention, music aptitude, reading ability, and neural sensitivity to acoustic regularities in 42 school-aged children with a wide range of reading ability. Neural sensitivity to acoustic regularities was assessed by recording brainstem responses to the same speech sound presented in predictable and variable speech streams. Results Through correlation analyses and structural equation modeling, we reveal that music aptitude and literacy both relate to the extent of subcortical adaptation to regularities in ongoing speech as well as with auditory working memory and attention. Relationships between music and speech processing are specifically driven by performance on a musical rhythm task, underscoring the importance of rhythmic regularity for both language and music. Conclusions These data indicate common brain mechanisms underlying reading and music abilities that relate to how the nervous system responds to regularities in auditory input

Subcortical processing of speech regularities underlies reading and music aptitude in children.

Science.gov (United States)

Strait, Dana L; Hornickel, Jane; Kraus, Nina

2011-10-17

Neural sensitivity to acoustic regularities supports fundamental human behaviors such as hearing in noise and reading. Although the failure to encode acoustic regularities in ongoing speech has been associated with language and literacy deficits, how auditory expertise, such as the expertise that is associated with musical skill, relates to the brainstem processing of speech regularities is unknown. An association between musical skill and neural sensitivity to acoustic regularities would not be surprising given the importance of repetition and regularity in music. Here, we aimed to define relationships between the subcortical processing of speech regularities, music aptitude, and reading abilities in children with and without reading impairment. We hypothesized that, in combination with auditory cognitive abilities, neural sensitivity to regularities in ongoing speech provides a common biological mechanism underlying the development of music and reading abilities. We assessed auditory working memory and attention, music aptitude, reading ability, and neural sensitivity to acoustic regularities in 42 school-aged children with a wide range of reading ability. Neural sensitivity to acoustic regularities was assessed by recording brainstem responses to the same speech sound presented in predictable and variable speech streams. Through correlation analyses and structural equation modeling, we reveal that music aptitude and literacy both relate to the extent of subcortical adaptation to regularities in ongoing speech as well as with auditory working memory and attention. Relationships between music and speech processing are specifically driven by performance on a musical rhythm task, underscoring the importance of rhythmic regularity for both language and music. These data indicate common brain mechanisms underlying reading and music abilities that relate to how the nervous system responds to regularities in auditory input. Definition of common biological underpinnings

Subcortical processing of speech regularities underlies reading and music aptitude in children

Directory of Open Access Journals (Sweden)

Strait Dana L

2011-10-01

Full Text Available Abstract Background Neural sensitivity to acoustic regularities supports fundamental human behaviors such as hearing in noise and reading. Although the failure to encode acoustic regularities in ongoing speech has been associated with language and literacy deficits, how auditory expertise, such as the expertise that is associated with musical skill, relates to the brainstem processing of speech regularities is unknown. An association between musical skill and neural sensitivity to acoustic regularities would not be surprising given the importance of repetition and regularity in music. Here, we aimed to define relationships between the subcortical processing of speech regularities, music aptitude, and reading abilities in children with and without reading impairment. We hypothesized that, in combination with auditory cognitive abilities, neural sensitivity to regularities in ongoing speech provides a common biological mechanism underlying the development of music and reading abilities. Methods We assessed auditory working memory and attention, music aptitude, reading ability, and neural sensitivity to acoustic regularities in 42 school-aged children with a wide range of reading ability. Neural sensitivity to acoustic regularities was assessed by recording brainstem responses to the same speech sound presented in predictable and variable speech streams. Results Through correlation analyses and structural equation modeling, we reveal that music aptitude and literacy both relate to the extent of subcortical adaptation to regularities in ongoing speech as well as with auditory working memory and attention. Relationships between music and speech processing are specifically driven by performance on a musical rhythm task, underscoring the importance of rhythmic regularity for both language and music. Conclusions These data indicate common brain mechanisms underlying reading and music abilities that relate to how the nervous system responds to

Musical Methods for Little Digital Ears — Musical Learning with Preschool Cochlear Implant Users

DEFF Research Database (Denmark)

Petersen, Bjørn; Hardgrove Hansen, Roberta; Beyer, Karen

2010-01-01

was measured objectively at the beginning and end of the intervention period. For a musical performance reference, test data were collected from a group of normally hearing peers. Results: The children in the music group outperformed the controls in all tests. Their musical discrimination abilities improved......Prelingually deaf children who receive cochlear implants (CI) early can successfully develop age-appropriate language skills provided sufficient intervention measures are initiated. However, little is known about the music perception and enjoyment of these children, though the enhanced development...... in the central auditory system in early-implanted children may benefit music processing. We hypothesized that early-implanted, prelingually deaf children with CI’s, who were exposed to group-oriented music learning activities, would increase their music discrimination skills and — as a potential near transfer...

Comparison of psychomotor function between music students and students participating in music training.

Science.gov (United States)

Chansirinukor, Wunpen; Khemthong, Supalak

2014-07-01

To compare psychomotor function between a music student group who had music education and a non-music student group who participated in music training. Consecutive sampling was used for completing questionnaires, testing reaction times (visual, auditory, and tactile system), measuring electromyography of upper trapezius muscles both sides and taking photos of the Craniovertebral (CV) angle in the sitting position. Data collection was made twice for each student group: the music students at one-hour intervals for resting and conducting nonmusic activities, the non-music students at two-day intervals, 20 minutes/session, and performed music training (by a manual of keyboard notation). The non-music students (n = 65) improved reaction times, but responded slower than the music students except for the tactile system. The music students (n = 28) showed faster reaction times and higher activities of the trapezius muscle than the non-music students at post-test. In addition, the CV angle of the non-music students was significantly improved. The level of musical ability may influence the psychomotor function. Significant improvement was observed in visual, auditory and tactile reaction time, and CV angle in the non-music students. However upper trapezius muscle activities between both student groups were unchanged.

Implicit Memory in Music and Language

OpenAIRE

Marc eEttlinger; Elizabeth Hellmuth Margulis; Patrick C. M. Wong; Patrick C. M. Wong

2011-01-01

Research on music and language in recent decades has focused on their overlapping neurophysiological, perceptual, and cognitive underpinnings, ranging from the mechanism for encoding basic auditory cues to the mechanism for detecting violations in phrase structure. These overlaps have most often been identified in musicians with musical knowledge that was acquired explicitly, through formal training. In this paper, we review independent bodies of work in music and language that suggest an imp...

STRUCTURAL AND FUNCTIONAL CONTENT OF INFORMATION AND COMMUNICATION COMPETENCE AS A PART OF THE PROSPECTIVE MUSIC TEACHERS’ PROFESSIONAL COMPETENCE

Directory of Open Access Journals (Sweden)

Lyudmila Gavrilova

2016-04-01

Full Text Available The article is devoted to an actual problem of modern art, especially music, education – analysis of the structure and content of the professional competence of the future teachers of music. By studying the basic categories of competence approach, analyzing the research of domestic and foreign scholars, the author offers his own interpretation of the term “professional competence of the future teachers of music”. Systemic analysis of the phenomenon of competence as specific integral ability which provides efficiency of music pedagogy enabled to define professional competence of future music teachers in the context of informatization as a complex dynamic unity of three segments (pedagogy, musical proficiency, exploitation of information and communication technologies, each comprising cognitive, practical, emotive and evaluative spheres of personal development. Special accent is made on the structure and content of the information and communication competence, the importance of its formation confirmed by numerous scientists’ research. The author identifies the following components of the structure of future music teachers’ information and communication competence: - cognitive component (the necessary volume of theoretical knowledge in the area of information and communication technologies, including multimedia; - practical skills working in Information and Communication Pedagogical Environment, the ability to use multimedia educational tools for solving problems of professional activity (ready to use electronic manuals and independently develop their own computer books, skills of the online communication; - interest and positive attitude to the use of computer technology in professional musical and educational activities.

Musical, visual and cognitive deficits after middle cerebral artery infarction

Directory of Open Access Journals (Sweden)

Stephanie Rosemann

2017-03-01

Full Text Available The perception of music can be impaired after a stroke. This dysfunction is called amusia and amusia patients often also show deficits in visual abilities, language, memory, learning, and attention. The current study investigated whether deficits in music perception are selective for musical input or generalize to other perceptual abilities. Additionally, we tested the hypothesis that deficits in working memory or attention account for impairments in music perception. Twenty stroke patients with small infarctions in the supply area of the middle cerebral artery were investigated with tests for music and visual perception, categorization, neglect, working memory and attention. Two amusia patients with selective deficits in music perception and pronounced lesions were identified. Working memory and attention deficits were highly correlated across the patient group but no correlation with musical abilities was obtained. Lesion analysis revealed that lesions in small areas of the putamen and globus pallidus were connected to a rhythm perception deficit. We conclude that neither a general perceptual deficit nor a minor domain general deficit can account for impairments in the music perception task. But we find support for the modular organization of the music perception network with brain areas specialized for musical functions as musical deficits were not correlated to any other impairment.

Musical, visual and cognitive deficits after middle cerebral artery infarction.

Science.gov (United States)

Rosemann, Stephanie; Brunner, Freimuth; Kastrup, Andreas; Fahle, Manfred

2017-03-01

The perception of music can be impaired after a stroke. This dysfunction is called amusia and amusia patients often also show deficits in visual abilities, language, memory, learning, and attention. The current study investigated whether deficits in music perception are selective for musical input or generalize to other perceptual abilities. Additionally, we tested the hypothesis that deficits in working memory or attention account for impairments in music perception. Twenty stroke patients with small infarctions in the supply area of the middle cerebral artery were investigated with tests for music and visual perception, categorization, neglect, working memory and attention. Two amusia patients with selective deficits in music perception and pronounced lesions were identified. Working memory and attention deficits were highly correlated across the patient group but no correlation with musical abilities was obtained. Lesion analysis revealed that lesions in small areas of the putamen and globus pallidus were connected to a rhythm perception deficit. We conclude that neither a general perceptual deficit nor a minor domain general deficit can account for impairments in the music perception task. But we find support for the modular organization of the music perception network with brain areas specialized for musical functions as musical deficits were not correlated to any other impairment.

Clinical investigations of receptive and expressive musical functions after stroke

Directory of Open Access Journals (Sweden)

Ken eRosslau

2015-06-01

Full Text Available There is a long tradition of investigating various disorders of musical abilities after stroke. These impairments, associated with acquired amusia, can be highly selective, affecting only music perception (i.e., receptive abilities/functions or expression (music production abilities, and some patients report that these may dramatically influence their emotional state. The aim of this study was to systematically test both the melodic and rhythmic domains of music perception and expression in left- and right-sided stroke patients compared to healthy subjects. Music perception was assessed using rhythmic and melodic discrimination tasks, while tests of expressive function involved the vocal or instrumental reproduction of rhythms and melodies. Our approach revealed deficits in receptive and expressive functions in stroke patients, mediated by musical expertise. Those patients who had experienced a short period of musical training in childhood and adolescence performed better in the receptive and expressive subtests compared to those without any previous musical training. While discrimination of specific musical patterns was unimpaired after a right-sided stroke, patients with a left-sided stroke had worse results for fine melodic and rhythmic analysis. In terms of expressive testing, the most consistent results were obtained from a test that required patients to reproduce sung melodies. This implies that the means of investigating production abilities can impact the identification of deficits.

Clinical investigations of receptive and expressive musical functions after stroke.

Science.gov (United States)

Rosslau, Ken; Steinwede, Daniel; Schröder, C; Herholz, Sibylle C; Lappe, Claudia; Dobel, Christian; Altenmüller, Eckart

2015-01-01

There is a long tradition of investigating various disorders of musical abilities after stroke. These impairments, associated with acquired amusia, can be highly selective, affecting only music perception (i.e., receptive abilities/functions) or expression (music production abilities), and some patients report that these may dramatically influence their emotional state. The aim of this study was to systematically test both the melodic and rhythmic domains of music perception and expression in left- and right-sided stroke patients compared to healthy subjects. Music perception was assessed using rhythmic and melodic discrimination tasks, while tests of expressive function involved the vocal or instrumental reproduction of rhythms and melodies. Our approach revealed deficits in receptive and expressive functions in stroke patients, mediated by musical expertise. Those patients who had experienced a short period of musical training in childhood and adolescence performed better in the receptive and expressive subtests compared to those without any previous musical training. While discrimination of specific musical patterns was unimpaired after a left-sided stroke, patients with a right-sided stroke had worse results for fine melodic and rhythmic analysis. In terms of expressive testing, the most consistent results were obtained from a test that required patients to reproduce sung melodies. This implies that the means of investigating production abilities can impact the identification of deficits.

Investigating country-specific music preferences and music recommendation algorithms with the LFM-1b dataset.

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Schedl, Markus

2017-01-01

Recently, the LFM-1b dataset has been proposed to foster research and evaluation in music retrieval and music recommender systems, Schedl (Proceedings of the ACM International Conference on Multimedia Retrieval (ICMR). New York, 2016). It contains more than one billion music listening events created by more than 120,000 users of Last.fm. Each listening event is characterized by artist, album, and track name, and further includes a timestamp. Basic demographic information and a selection of more elaborate listener-specific descriptors are included as well, for anonymized users. In this article, we reveal information about LFM-1b's acquisition and content and we compare it to existing datasets. We furthermore provide an extensive statistical analysis of the dataset, including basic properties of the item sets, demographic coverage, distribution of listening events (e.g., over artists and users), and aspects related to music preference and consumption behavior (e.g., temporal features and mainstreaminess of listeners). Exploiting country information of users and genre tags of artists, we also create taste profiles for populations and determine similar and dissimilar countries in terms of their populations' music preferences. Finally, we illustrate the dataset's usage in a simple artist recommendation task, whose results are intended to serve as baseline against which more elaborate techniques can be assessed.

Profile of mathematical reasoning ability of 8th grade students seen from communicational ability, basic skills, connection, and logical thinking

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Sumarsih; Budiyono; Indriati, D.

2018-04-01

This research aims to understand the students’ weaknesses in mathematical reasoning ability in junior secondary school. A set of multiple choice tests were used to measure this ability involve components mathematical communication, basic skills, connection, and logical thinking. A total of 259 respondents were determined by stratified cluster random sampling. Data were analyzed using one-way Anova test with Fobs = 109.5760 and F = 3.0000. The results show that students’ ability from schools with high National Exam in mathematics category was the best and followed by medium and low category. Mathematical connection is the most difficult component performed by students. In addition, most students also have difficulty in expressing ideas and developing logical arguments.

Preserved appreciation of aesthetic elements of speech and music prosody in an amusic individual: A holistic approach.

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Loutrari, Ariadne; Lorch, Marjorie Perlman

2017-07-01

We present a follow-up study on the case of a Greek amusic adult, B.Z., whose impaired performance on scale, contour, interval, and meter was reported by Paraskevopoulos, Tsapkini, and Peretz in 2010, employing a culturally-tailored version of the Montreal Battery of Evaluation of Amusia. In the present study, we administered a novel set of perceptual judgement tasks designed to investigate the ability to appreciate holistic prosodic aspects of 'expressiveness' and emotion in phrase length music and speech stimuli. Our results show that, although diagnosed as a congenital amusic, B.Z. scored as well as healthy controls (N=24) on judging 'expressiveness' and emotional prosody in both speech and music stimuli. These findings suggest that the ability to make perceptual judgements about such prosodic qualities may be preserved in individuals who demonstrate difficulties perceiving basic musical features such as melody or rhythm. B.Z.'s case yields new insights into amusia and the processing of speech and music prosody through a holistic approach. The employment of novel stimuli with relatively fewer non-naturalistic manipulations, as developed for this study, may be a useful tool for revealing unexplored aspects of music and speech cognition and offer the possibility to further the investigation of the perception of acoustic streams in more authentic auditory conditions. Copyright © 2017 The Authors. Published by Elsevier Inc. All rights reserved.

The Mozart Effect: Musical Phenomenon or Musical Preference? A More Ecologically Valid Reconsideration

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Cassity, Hope Daniels; Henley, Tracy B.; Markley, Robert P.

2007-01-01

The "Mozart effect" is the reported phenomenon of increased spatial abilities after listening to that composer's music. However, subsequent research suggests that the Mozart effect may be an artifactual consequence of heightened arousal and mood rather than the music of Mozart per se (e.g., Thompson, Schellenberg, & Husain, 2001). The present…

Music Learning Based on Computer Software

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Baihui Yan

2017-12-01

Full Text Available In order to better develop and improve students’ music learning, the authors proposed the method of music learning based on computer software. It is still a new field to use computer music software to assist teaching. Hereby, we conducted an in-depth analysis on the computer-enabled music learning and the music learning status in secondary schools, obtaining the specific analytical data. Survey data shows that students have many cognitive problems in the current music classroom, and yet teachers have not found a reasonable countermeasure to them. Against this background, the introduction of computer music software to music learning is a new trial that can not only cultivate the students’ initiatives of music learning, but also enhance their abilities to learn music. Therefore, it is concluded that the computer software based music learning is of great significance to improving the current music learning modes and means.

Music training and speech perception: a gene-environment interaction.

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Schellenberg, E Glenn

2015-03-01

Claims of beneficial side effects of music training are made for many different abilities, including verbal and visuospatial abilities, executive functions, working memory, IQ, and speech perception in particular. Such claims assume that music training causes the associations even though children who take music lessons are likely to differ from other children in music aptitude, which is associated with many aspects of speech perception. Music training in childhood is also associated with cognitive, personality, and demographic variables, and it is well established that IQ and personality are determined largely by genetics. Recent evidence also indicates that the role of genetics in music aptitude and music achievement is much larger than previously thought. In short, music training is an ideal model for the study of gene-environment interactions but far less appropriate as a model for the study of plasticity. Children seek out environments, including those with music lessons, that are consistent with their predispositions; such environments exaggerate preexisting individual differences. © 2015 New York Academy of Sciences.

The Effect of Music on Acquiring Vocabulary with Technically Gifted Students.

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Quast, Ulrike

1999-01-01

This study evaluated the role of music in acquiring foreign language vocabulary using suggestopedia techniques with 40 technically gifted students. The study found that the effectiveness of different types of music depended on student characteristics including gender, musical ability, foreign language learning ability, and feeling states. (DB)

Implicit memory in music and language.

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Ettlinger, Marc; Margulis, Elizabeth H; Wong, Patrick C M

2011-01-01

Research on music and language in recent decades has focused on their overlapping neurophysiological, perceptual, and cognitive underpinnings, ranging from the mechanism for encoding basic auditory cues to the mechanism for detecting violations in phrase structure. These overlaps have most often been identified in musicians with musical knowledge that was acquired explicitly, through formal training. In this paper, we review independent bodies of work in music and language that suggest an important role for implicitly acquired knowledge, implicit memory, and their associated neural structures in the acquisition of linguistic or musical grammar. These findings motivate potential new work that examines music and language comparatively in the context of the implicit memory system.

Implicit Memory in Music and Language

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Marc eEttlinger

2011-09-01

Full Text Available Research on music and language in recent decades has focused on their overlapping neurophysiological, perceptual, and cognitive underpinnings, ranging from the mechanism for encoding basic auditory cues to the mechanism for detecting violations in phrase structure. These overlaps have most often been identified in musicians with musical knowledge that was acquired explicitly, through formal training. In this paper, we review independent bodies of work in music and language that suggest an important role for implicitly acquired knowledge, implicit memory, and their associated neural structures in the acquisition of linguistic or musical grammar. These findings motivate potential new work that examines music and language comparatively in the context of the implicit memory system.

Music as Water: The Functions of Music from a Utilitarian Perspective

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Liam Maloney

2017-11-01

Full Text Available The rapid increase of technologically enhanced listening platforms gives listeners access to music with ever-increasing ease and ubiquity, giving rise to the suggestion that we should now conceptualize music as a resource similar to water; something that is utilized to achieve everyday goals. This paper proposes that music is a utilitarian resource employed by listeners to augment cognitive, emotional, behavioral, and physiological aspects of the self. To better explore these notions this paper examines the potential role of the “functions of music,” first espoused by Alan P. Merriam in 1964. Merriam suggested music has a situational use and an underlying function (music’s ability to alter the self through listening. The research presented here asserts that listeners interact with specific musical materials to achieve or orientate themselves towards contextually-rooted goals. Reinforcing Tia DeNora’s suggestion that music is a “technology of the self” this research presents the results of a 41 publication meta-analysis exploring the possible functions of music. The resultant Aggregate Thematic Functions Framework (ATF framework identifies 45 possible utilitarian functions of music, spread across five domains of action. The framework also proposes a meta-domain and an emotional sub-domain.

Musical training, neuroplasticity and cognition.

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Rodrigues, Ana Carolina; Loureiro, Maurício Alves; Caramelli, Paulo

2010-01-01

The influence of music on the human brain has been recently investigated in numerous studies. Several investigations have shown that structural and functional cerebral neuroplastic processes emerge as a result of long-term musical training, which in turn may produce cognitive differences between musicians and non-musicians. Musicians can be considered ideal cases for studies on brain adaptation, due to their unique and intensive training experiences. This article presents a review of recent findings showing positive effects of musical training on non-musical cognitive abilities, which probably reflect plastic changes in brains of musicians.

THE EFFECT OF BASIC MOTOR ABILITIES ON DRIBBLING SPEED AND PRECISION IN SOCCER GAME

OpenAIRE

Ismail Selimović; Mehmeti Ejup

2011-01-01

Effects of basic motor skills on situational-motor abilities for speed dribble and ball control precision assessment in soccer game at boys aged 12-14 years were analyzed with regression analysis. For this purpose, 17 variables for basic motor parameters were selected, as well as three situational tests. In every example of the regression analysis results, the results obtained showed confirmation of the hypothesis of significant effects of the morphological characteristics on the results in a...

Music Education Intervention Improves Vocal Emotion Recognition

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Mualem, Orit; Lavidor, Michal

2015-01-01

The current study is an interdisciplinary examination of the interplay among music, language, and emotions. It consisted of two experiments designed to investigate the relationship between musical abilities and vocal emotional recognition. In experiment 1 (N = 24), we compared the influence of two short-term intervention programs--music and…

Organization a Culture of Self-Education of Music Teachers

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Dyganova, Elena Aleksandrovna; Yavgildina, Ziliya Mukhtarovna

2015-01-01

The article discusses the culture of self-education of music teacher as a professionally necessary quality of a modern specialist in the field of music education. The author proposes finalized definitions of basic concepts; consistently reveals the essence, structure, criteria and indicators of self-culture of music teacher; reveals the potential…

Signal analysis of Hindustani classical music

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Datta, Asoke Kumar; Sengupta, Ranjan; Chakraborty, Soubhik; Mahto, Kartik; Patranabis, Anirban

2017-01-01

This book presents a comprehensive overview of the basics of Hindustani music and the associated signal analysis and technological developments. It begins with an in-depth introduction to musical signal analysis and its current applications, and then moves on to a detailed discussion of the features involved in understanding the musical meaning of the signal in the context of Hindustani music. The components consist of tones, shruti, scales, pitch duration and stability, raga, gharana and musical instruments. The book covers the various technological developments in this field, supplemented with a number of case studies and their analysis. The book offers new music researchers essential insights into the use of the automatic concept for finding and testing the musical features for their applications. Intended primarily for postgraduate and PhD students working in the area of scientific research on Hindustani music, as well as other genres where the concepts are applicable, it is also a valuable resource for p...

Inclusion, children's groups, music therapy

DEFF Research Database (Denmark)

Holck, Ulla; Jacobsen, Stine Lindahl

2016-01-01

portrayal of the qualities of musical interplay that promotes well-being in group settings and, thus, the inclusion of vulnerable students. Therefore, we open the chapter with a focus on musicality and on the importance of applying a musical approach in relation to the children.......Music has a rare ability to affect us directly. Pulse and rhythms make us move, and notes and harmonies inspire and express our inner emotions in a direct and immediate way that goes beyond what words or even other art forms can rarely achieve (Panksepp & Trevarthen, 2009). Music creates...... a delightful build-up of tension or soothes us, and its narrative character gives rise to mental imagery or memories. Music brings people together and helps build communities across languages and common divides. And – not least – music captures children’s immediate attention, so when the music starts, so do...

FEATURES OF MINIMALIST MUSIC FUNCTIONING IN FILMS

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Mikheeva Julia V.

2015-01-01

Full Text Available The article examines the role of musical minimalism in aesthetic perception and theoretical interpretation of cinematographic works. The film music of Philip Glass, Michael Nyman, Alfred Schnittke, Arvo Pärt, Alexei Aigui is analysed. Author specifies the analysis of the principles of musical minimalism in films in two basic phenomenons. The first one is a transcending of art space through the self-worth of a single sound (sound pattern. The second one is a change the meaning of film-time through the repetitive music technique.

Psychophysics of Musical Consonance

CERN Document Server

Dosch, H G; CERN. Geneva

1998-01-01

Musical consonance and dissonance can, to a large extent, be traced back to basic, non-musical principles of auditory perception. The underlying physical, physiological and psychological phenomena appear to co-operate in two rather independent ways. One, first investigated by H. v. Helmholtz, is related to the perception of roughness (fast unresolved beats) among the partials of complex tones. The other one is related to the unique role of harmonic partials as a basic element of pitch perception (pattern recognition). We introduce the most important phenomena in a series of experiments and discuss their present theoretical understanding; we also include new psycho-acoustical data with high statistics obtained recently in Heidelberg. Besides using modern techniques, the experiments contain some demonstrations of original Helmholtz apparatus.

Two New Empirically Derived Reasons To Use the Assessment of Basic Learning Abilities.

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Richards, David F.; Williams, W. Larry; Follette, William C.

2002-01-01

Scores on the Assessment of Basic Learning Abilities (ABLA), Vineland Adaptive Behavior Scales, and the Wechsler Intelligences Scale-Revised (WAIS-R) were obtained for 30 adults with mental retardation. Correlations between the Vineland domains and ABLA were all significant. No participants performing below ABLA Level 6 were testable on the…

Design and development of a semantic music discovery engine

OpenAIRE

Turnbull, Douglas Ross

2008-01-01

Technology is changing the way in which music is produced, distributed and consumed. An aspiring musician in West Africa with a basic desktop computer, an inexpensive microphone, and free audio editing software can record and produce reasonably high-quality music. She can post her songs on any number of musically-oriented social networks (e.g., MySpace, Last.fm, eMusic) making them accessible to the public. A music consumer in San Diego can then rapidly download her songs over a high-bandwidt...

The developmental origins of musicality.

Science.gov (United States)

Trehub, Sandra E

2003-07-01

The study of musical abilities and activities in infancy has the potential to shed light on musical biases or dispositions that are rooted in nature rather than nurture. The available evidence indicates that infants are sensitive to a number of sound features that are fundamental to music across cultures. Their discrimination of pitch and timing differences and their perception of equivalence classes are similar, in many respects, to those of listeners who have had many years of exposure to music. Whether these perceptual skills are unique to human listeners is not known. What is unique is the intense human interest in music, which is evident from the early days of life. Also unique is the importance of music in social contexts. Current ideas about musical timing and interpersonal synchrony are considered here, along with proposals for future research.

THE EFFECT OF BASIC MOTOR ABILITIES ON DRIBBLING SPEED AND PRECISION IN SOCCER GAME

Directory of Open Access Journals (Sweden)

Ismail Selimović

2011-03-01

Full Text Available Effects of basic motor skills on situational-motor abilities for speed dribble and ball control precision assessment in soccer game at boys aged 12-14 years were analyzed with regression analysis. For this purpose, 17 variables for basic motor parameters were selected, as well as three situational tests. In every example of the regression analysis results, the results obtained showed confirmation of the hypothesis of significant effects of the morphological characteristics on the results in analyzed situational- motor tests.

Resting-state functional connectivity and pitch identification ability in non-musicians

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Jiancheng eHou

2015-02-01

Full Text Available Previous studies have used task-related fMRI to investigate the neural basis of pitch identification (PI, but no study has examined the associations between resting-state functional connectivity (RSFC and PI ability. Using a large sample of Chinese non-musicians (N = 320, with 56 having prior musical training, the current study examined the associations among musical training, PI ability, and RSFC. Results showed that musical training was associated with increased RSFC within the networks for multiple cognitive functions (such as vision, phonology, semantics, auditory encoding, and executive functions. PI ability was associated with RSFC with regions for perceptual and auditory encoding for participants with musical training, and with RSFC with regions for short-term memory, semantics, and phonology for participants without musical training.

Music and Visual Research

DEFF Research Database (Denmark)

Jensen, Julie Borup

2017-01-01

, ethnographic video observation was chosen as a way of handling complex data and analysing complex interaction. Preliminary analyses of the findings indicates the ability of music to both contain and express experiential, sensory, emotional and cognitive complexity in ways that allow for differences......The paper explores the potential of video ethnography concerning educational research on music as contributing to an inclusive learning environment in elementary school (research objective). In music education research, the use of visual data provided by video seems to be a relevant choice...... of method, because music as a school subject encompasses multiple ways for the pupils to participate and interact in the learning environment, and music itself provides a whole set of complex linguistic rules that will escape traditional observation and interview methods in ethnographic research. Therefore...

Affective responses to music in depressed individuals : Aesthetic judgments, emotions, and the impact of music-evoked autobiographical memories

OpenAIRE

Sakka, Laura Stavroula

2018-01-01

Music’s powerful influence on our affective states is often utilized in everyday life for emotion regulation and in music-therapeutic interventions against depression. Given this ability of music to influence emotions and symptoms in depressed people, it appears imperative to understand how these individuals affectively respond to music. The primary aim of this thesis is to explore whether depressed individuals have distinct affective responses to music, in terms of aesthetic judgments, emoti...

Pairing Linguistic and Music Intelligences

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DiEdwardo, MaryAnn Pasda

2005-01-01

This article describes how music in the language classroom setting can be a catalyst for developing reading, writing, and understanding skills. Studies suggest that pairing music and linguistic intelligences in the college classroom improves students' grades and abilities to compose theses statements for research papers in courses that emphasize…

Neural basis of music imagery and the effect of musical expertise.

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Herholz, Sibylle C; Lappe, Claudia; Knief, Arne; Pantev, Christo

2008-12-01

Although the influence of long-term musical training on the processing of heard music has been the subject of many studies, the neural basis of music imagery and the effect of musical expertise remain insufficiently understood. By means of magnetoencephalography (MEG) we compared musicians and nonmusicians in a musical imagery task with familiar melodies. Subjects listened to the beginnings of the melodies, continued them in their imagination and then heard a tone which was either a correct or an incorrect further continuation of the melody. Only in musicians was the imagery of these melodies strong enough to elicit an early preattentive brain response to unexpected incorrect continuations of the imagined melodies; this response, the imagery mismatch negativity (iMMN), peaked approximately 175 ms after tone onset and was right-lateralized. In contrast to previous studies the iMMN was not based on a heard but on a purely imagined memory trace. Our results suggest that in trained musicians imagery and perception rely on similar neuronal correlates, and that the musicians' intense musical training has modified this network to achieve a superior ability for imagery and preattentive processing of music.

Training Cognitive Control in Older Adults with the Space Fortress Game: The Role of Training
Instructions and Basic Motor Ability

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Helena M Blumen

2010-11-01

Full Text Available This study examined if and how cognitively-healthy older adults can learn to play a complex computer-based action game called the Space Fortress (SF as a function of training instructions (Standard vs. Emphasis Change (EC; e.g. Gopher, Weil & Siegel, 1989 and basic motor ability. A total of 35 cognitively-healthy older adults completed a 3-month SF training program with three SF sessions weekly. Twelve 3-minute games were played during each session. Basic motor ability was assessed with an aiming task, which required rapidly rotating a spaceship to shoot targets. Older adults showed improved performance on the SF task over time, but did not perform at the same level as younger adults. Unlike studies of younger adults, overall SF performance in older adults was greater following standard instructions than following EC instructions. However, this advantage was primarily due to collecting more bonus points and not – the primary goal of the game – shooting and destroying the fortress, which in contrast benefitted from EC instructions. Basic motor ability was low and influenced many different aspects of SF game learning, often interacted with learning rate, and influenced overall SF performance. These findings show that older adults can be trained to deal with the complexity of the SF task but that overall SF performance, and the ability to capitalize on EC instructions, differs when a basic ability such as motor control is low. Hence, the development of this training program as a cognitive intervention that can potentially compensate for age-related cognitive decline should consider that basic motor ability can interact with the efficiency of training instructions that promote the use of cognitive control (e.g. EC instructions – and the confluence between such basic abilities and higher-level cognitive control abilities should be further examined.

Musical functioning, speech lateralization and the amusias.

Science.gov (United States)

Berman, I W

1981-01-17

Amusia is a condition in which musical capacity is impaired by organic brain disease. Music is in a sense a language and closely resembles speech, both executively and receptively. For musical functioning, rhythmic sense and sense of sounds are essential. Musical ability resides largely in the right (non-dominant) hemisphere. Tests have been devised for the assessment of musical capabilities by Dorgeuille, Grison and Wertheim. Classification of amusia includes vocal amusia, instrumental amnesia, musical agraphia, musical amnesia, disorders of rhythm, and receptive amusia. Amusia like aphasia has clinical significance, and the two show remarkable similarities and often co-exist. Usually executive amusia occurs with executive aphasia and receptive amusia with receptive aphasia, but amusias can exist without aphasia. Severely executive aphasics can sometimes sing with text (words), and this ability is used in the treatment of aphasia. As with aphasia, there is correlation between type of amusia and site of lesion. Thus in executive amusia, the lesion generally occurs in the frontal lobe. In receptive amusia, the lesion is mainly in the temporal lobe. If aphasia is also present the lesion will be in the left (dominant) hemisphere.

The musicality of non-musicians: an index for assessing musical sophistication in the general population.

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Daniel Müllensiefen

Full Text Available Musical skills and expertise vary greatly in Western societies. Individuals can differ in their repertoire of musical behaviours as well as in the level of skill they display for any single musical behaviour. The types of musical behaviours we refer to here are broad, ranging from performance on an instrument and listening expertise, to the ability to employ music in functional settings or to communicate about music. In this paper, we first describe the concept of 'musical sophistication' which can be used to describe the multi-faceted nature of musical expertise. Next, we develop a novel measurement instrument, the Goldsmiths Musical Sophistication Index (Gold-MSI to assess self-reported musical skills and behaviours on multiple dimensions in the general population using a large Internet sample (n = 147,636. Thirdly, we report results from several lab studies, demonstrating that the Gold-MSI possesses good psychometric properties, and that self-reported musical sophistication is associated with performance on two listening tasks. Finally, we identify occupation, occupational status, age, gender, and wealth as the main socio-demographic factors associated with musical sophistication. Results are discussed in terms of theoretical accounts of implicit and statistical music learning and with regard to social conditions of sophisticated musical engagement.

The musicality of non-musicians: an index for assessing musical sophistication in the general population.

Science.gov (United States)

Müllensiefen, Daniel; Gingras, Bruno; Musil, Jason; Stewart, Lauren

2014-01-01

Musical skills and expertise vary greatly in Western societies. Individuals can differ in their repertoire of musical behaviours as well as in the level of skill they display for any single musical behaviour. The types of musical behaviours we refer to here are broad, ranging from performance on an instrument and listening expertise, to the ability to employ music in functional settings or to communicate about music. In this paper, we first describe the concept of 'musical sophistication' which can be used to describe the multi-faceted nature of musical expertise. Next, we develop a novel measurement instrument, the Goldsmiths Musical Sophistication Index (Gold-MSI) to assess self-reported musical skills and behaviours on multiple dimensions in the general population using a large Internet sample (n = 147,636). Thirdly, we report results from several lab studies, demonstrating that the Gold-MSI possesses good psychometric properties, and that self-reported musical sophistication is associated with performance on two listening tasks. Finally, we identify occupation, occupational status, age, gender, and wealth as the main socio-demographic factors associated with musical sophistication. Results are discussed in terms of theoretical accounts of implicit and statistical music learning and with regard to social conditions of sophisticated musical engagement.

Soaking in the Music

Science.gov (United States)

Lenhoff, Howard M.

2009-01-01

Scientists admit that they do not understand yet how infants acquire their abilities and love of music. What they do know, however, is that much of the brain development in the first six years of a child's life is devoted to the learning and retaining of music and language. It appears that children have an open window, which allows them to…

ACHIEVEMENT IDENTIFICATION AND EVALUATION OF MUSICALLY GIFTED CHILDREN IN LOWER MUSIC SCHOOL

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Anica Arsic

2016-06-01

Full Text Available Music schools are specific educational institutions which teach children to understand musical language, the rules of musical writing and how to play an instrument. It is assumed that children who enroll in music school have a certain level of “musicality”, i.e. possess musical ability. Starting from this premise, in this paper we wanted to identify the number of musically gifted children, from the total number of children enrolled in the first year of lower music school. The research was conducted on 125 learners who enrolled the first year of Music school Josif Marinkovic in 2014/2015. The paper was organized as a linear study which followed the achievement of learners during the aforementioned school year. The study was conducted by solfeggio and musical instrument teachers. The identification of musical giftedness was followed through the following criteria: recognition and reproduction of tones and intervals, reproduction of rhythmic models and reproduction of short music units. Solfeggio teachers monitored the first two criteria (recognition and reproduction of tones and intervals and reproduction of rhythmic models while musical instrument teachers monitored the other two (reproduction of melody phrases and reproduction of short music units. Achievements were assessed four times during the school year and a comparison of results gathered by solfeggio and musical instrument teacher was conducted. At the end of the school year a result analysis was conducted; the results of which showed that 13 learners who were monitored by solfeggio teachers and 9 learners who were monitored by music instrument teachers successfully completed the criteria. Methods for evaluating the proposed criteria and analysis of the gathered results will be presented in this paper.

Music training for the development of speech segmentation.

Science.gov (United States)

François, Clément; Chobert, Julie; Besson, Mireille; Schön, Daniele

2013-09-01

The role of music training in fostering brain plasticity and developing high cognitive skills, notably linguistic abilities, is of great interest from both a scientific and a societal perspective. Here, we report results of a longitudinal study over 2 years using both behavioral and electrophysiological measures and a test-training-retest procedure to examine the influence of music training on speech segmentation in 8-year-old children. Children were pseudo-randomly assigned to either music or painting training and were tested on their ability to extract meaningless words from a continuous flow of nonsense syllables. While no between-group differences were found before training, both behavioral and electrophysiological measures showed improved speech segmentation skills across testing sessions for the music group only. These results show that music training directly causes facilitation in speech segmentation, thereby pointing to the importance of music for speech perception and more generally for children's language development. Finally these results have strong implications for promoting the development of music-based remediation strategies for children with language-based learning impairments.

Recognition of facial and musical emotions in Parkinson's disease.

Science.gov (United States)

Saenz, A; Doé de Maindreville, A; Henry, A; de Labbey, S; Bakchine, S; Ehrlé, N

2013-03-01

Patients with amygdala lesions were found to be impaired in recognizing the fear emotion both from face and from music. In patients with Parkinson's disease (PD), impairment in recognition of emotions from facial expressions was reported for disgust, fear, sadness and anger, but no studies had yet investigated this population for the recognition of emotions from both face and music. The ability to recognize basic universal emotions (fear, happiness and sadness) from both face and music was investigated in 24 medicated patients with PD and 24 healthy controls. The patient group was tested for language (verbal fluency tasks), memory (digit and spatial span), executive functions (Similarities and Picture Completion subtests of the WAIS III, Brixton and Stroop tests), visual attention (Bells test), and fulfilled self-assessment tests for anxiety and depression. Results showed that the PD group was significantly impaired for recognition of both fear and sadness emotions from facial expressions, whereas their performance in recognition of emotions from musical excerpts was not different from that of the control group. The scores of fear and sadness recognition from faces were neither correlated to scores in tests for executive and cognitive functions, nor to scores in self-assessment scales. We attributed the observed dissociation to the modality (visual vs. auditory) of presentation and to the ecological value of the musical stimuli that we used. We discuss the relevance of our findings for the care of patients with PD. © 2012 The Author(s) European Journal of Neurology © 2012 EFNS.

THE EFFECTS OF BASIC MOTOR ABILITIES ON DRIBBLING RESULTS IN SOCCER

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Ismail Selimović

2011-03-01

Full Text Available This study was conducted on a sample of 100 boys aged 12-14 years, members of Sarajevo soccer school teams; FK "ŽELJEZNIČAR", FK "SARAJEVO", FK "NOVI GRAD" and FK "BOSNA". As a predictive variable system, the 17 variables of basic motor skills were applied, and criteria variable was the level of motor control knowledge of ball dribble in football. The aim of this study was to determine the effect of multiple and partial basic motor abilities on the ball dribbling results. Results of regression analysis showed that the significance of mutual influence and prediction criteria system was p <0.01. Variables for general endurance assessment and variable for agility assessment showed statistically significant positive partial correlation coefficients. The explosive strength assessment variable had a statistically significant partial correlation coefficient, but a statistically significant negative partial correlation coefficient was noticed with the flexibility assessment variable

Anthropology of music: Paradigms and perspectives

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Rašić Miloš

2016-01-01

Full Text Available Music represents a relational category, in the sense that people write meaning into it, and later by the means of the same music they write the meaning into other people. Therefore, I regard music as a cultural construct. Music does not possess universal meanings, but it forms its numerous meanings in different cultural environments, as well as in different individual perceptions. In anthropology, music is not studied in relation to its musical characteristics or aesthetical values. Anthropologists study its role in a wider social system, and strive to understand, by analysing the role of music in a society, the social and cultural system it belongs to - musical structure is less important here. The goal of the paper is to give an overview of the paradigms in ethnology and anthropology which have been used in studying music. In addition, a hypothetical-theoretical framework for studying music in institutions is set. Although the theory of hubs, which is presented here as a potential framework for studying music in institutions, is exemplified by traditional music, it can be applied to any genre of music. The basic theoretical framework offered by the authors Nadia Kiwan and Hanna Mainhof has been supplemented by certain parts which the author thought appropriate for studying music in institutions, both in ethnological and anthropological discourse.

Using Recorded Music with Young Children: A Guide for Nonmusicians.

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Jalongo, Mary Renck

1996-01-01

Encourages the appreciation of music through listening, responding with body movement, and sharing with children. Points out that early childhood educators and children who are nonmusicians can make and understand music. Identifies basic problems with preschool teachers' current practices in using music with young children and provides a list of…

Music-evoked emotions in schizophrenia.

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Abe, Daijyu; Arai, Makoto; Itokawa, Masanari

2017-07-01

Previous studies have reported that people with schizophrenia have impaired musical abilities. Here we developed a simple music-based assay to assess patient's ability to associate a minor chord with sadness. We further characterize correlations between impaired musical responses and psychiatric symptoms. We exposed participants sequentially to two sets of sound stimuli, first a C-major progression and chord, and second a C-minor progression and chord. Participants were asked which stimulus they associated with sadness, the first set, the second set, or neither. The severity of psychiatric symptoms was assessed using the Positive and Negative Syndrome Scale (PANSS). Study participants were 29 patients diagnosed with schizophrenia and 29 healthy volunteers matched in age, gender and musical background. 37.9% (95% confidence interval [CI]:19.1-56.7) of patients with schizophrenia associated the minor chord set as sad, compared with 97.9% (95%CI: 89.5-103.6) of controls. Four patients were diagnosed with treatment-resistant schizophrenia, and all four failed to associate the minor chord with sadness. Patients who did not recognize minor chords as sad had significantly higher scores on all PANSS subscales. A simple test allows music-evoked emotions to be assessed in schizophrenia patient, and may show potential relationships between music-evoked emotions and psychiatric symptoms. Copyright © 2016. Published by Elsevier B.V.

Timbre as an Elusive Component of Imagery for Music

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Freya Bailes

2007-01-01

Full Text Available Evidence of the ability to imagine timbre is either anecdotal, or applies to isolated instrument tones rather than timbre in real music. Experiments were conducted to infer the vividness of timbre in imagery for music. Music students were asked to judge whether the timbre of a sounded target note was the same or different from the original following a heard, imagined, or control musical context. A pilot experiment manipulated instrumentation, while the main experiment manipulated sound filters. The hypothesis that participants are able to internalise timbral aspects of music was supported by an ability to perform the timbre discrimination task, and by facilitated response when imaging the timbre context compared with non-imaging. However, while participants were able to mentally represent timbre, this was not always reported as being a conscious dimension of their musical image. This finding is discussed in relation to previous research suggesting that timbre may be a sound characteristic that is optionally present in imagery for music.

Music experience influences laparoscopic skills performance.

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Boyd, Tanner; Jung, Inkyung; Van Sickle, Kent; Schwesinger, Wayne; Michalek, Joel; Bingener, Juliane

2008-01-01

Music education affects the mathematical and visuo-spatial skills of school-age children. Visuo-spatial abilities have a significant effect on laparoscopic suturing performance. We hypothesize that prior music experience influences the performance of laparoscopic suturing tasks. Thirty novices observed a laparoscopic suturing task video. Each performed 3 timed suturing task trials. Demographics were recorded. A repeated measures linear mixed model was used to examine the effects of prior music experience on suturing task time. Twelve women and 18 men completed the tasks. When adjusted for video game experience, participants who currently played an instrument performed significantly faster than those who did not (PMen who had never played an instrument or were currently playing an instrument performed better than women in the same group (P=0.002 and P<0.001). There was no sex difference in the performance of participants who had played an instrument in the past (P=0.29). This study attempted to investigate the effect of music experience on the laparoscopic suturing abilities of surgical novices. The visuo-spatial abilities used in laparoscopic suturing may be enhanced in those involved in playing an instrument.

Music Therapy for children with special needs - clinical practice and assessment in the light of developmental psychology and communicative musicality

DEFF Research Database (Denmark)

Holck, Ulla

continues with practices on basic improvisational techniques related to time, form and emotions: synchronization, turn-taking, theme-with-variations, matching/attunement, vitality forms, simple musical playing rules, etc. The techniques are connected to macro- and micro-regulation of arousal and emotions......). Turn-taking in music therapy with children with communication disorders. British Journal of Music Therapy, 18(2), 45-53. Malloch, S. & Trevarthen, C. (Eds) (2009). Communicative Musicality. Exploring the basis of human companionship. Oxford: Oxford University Press. Stern, D. N. (2010). Forms...... of Vitality. Oxford: Oxford University Press. Wigram, T. (2004). Improvisation. Methods and Techniques for Music Therapy Clinicians, Educators and Students. London: Jessica Kingsley Publishers....

Biased emotional recognition in depression: perception of emotions in music by depressed patients.

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Punkanen, Marko; Eerola, Tuomas; Erkkilä, Jaakko

2011-04-01

Depression is a highly prevalent mood disorder, that impairs a person's social skills and also their quality of life. Populations affected with depression also suffer from a higher mortality rate. Depression affects person's ability to recognize emotions. We designed a novel experiment to test the hypothesis that depressed patients show a judgment bias towards negative emotions. To investigate how depressed patients differ in their perception of emotions conveyed by musical examples, both healthy (n=30) and depressed (n=79) participants were presented with a set of 30 musical excerpts, representing one of five basic target emotions, and asked to rate each excerpt using five Likert scales that represented the amount of each one of those same emotions perceived in the example. Depressed patients showed moderate but consistent negative self-report biases both in the overall use of the scales and their particular application to certain target emotions, when compared to healthy controls. Also, the severity of the clinical state (depression, anxiety and alexithymia) had an effect on the self-report biases for both positive and negative emotion ratings, particularly depression and alexithymia. Only musical stimuli were used, and they were all clear examples of one of the basic emotions of happiness, sadness, fear, anger and tenderness. No neutral or ambiguous excerpts were included. Depressed patients' negative emotional bias was demonstrated using musical stimuli. This suggests that the evaluation of emotional qualities in music could become a means to discriminate between depressed and non-depressed subjects. The practical implications of the present study relate both to diagnostic uses of such perceptual evaluations, as well as a better understanding of the emotional regulation strategies of the patients. Copyright © 2010 Elsevier B.V. All rights reserved.

Communication and Language Development of Young Children with Autism: A Review of Research in Music

Science.gov (United States)

Vaiouli, Potheini; Andreou, Georgia

2018-01-01

Research demonstrates connections among children's music actions, their engagement abilities, and their language development. Although the link between music and the engagement abilities of young children with autism is well established, there is not enough evidence on the effectiveness of music strategies and music therapy interventions to…

Music Techniques in Therapy, Counseling, and Special Education, Third Edition

Science.gov (United States)

Standley, Jayne M.; Jones, Jennifer

2007-01-01

"Music Techniques in Therapy, Counseling, and Special Education" is the culmination of the first author's research in the skill development of prospective music therapists and music educators during graduate and undergraduate preparation. Standley studied the abilities and progress of students across multiple clinical music therapy and music…

Lewis basicity, adhesion thermodynamic work and coordinating ability on aminated silicon surfaces

International Nuclear Information System (INIS)

Sánchez, M. Alejandra; Paniagua, Sergio A.; Borge, Ignacio; Viales, Christian; Montero, Mavis L.

2014-01-01

Highlights: • Silicon(1 0 0) surfaces with diamines followed by anchoring of copper complexes over the diamine layer, an approach that could be used for advanced functionalization of semiconducting surfaces. • Lewis basicity (using Fowkes–van Oss–Chaudhury–Good surface tension model) and adhesion thermodynamic work (using chemical force microscopy) were determined. • Higher basicity and thermodynamic work correlate with selective copper acetate monolayer grow. The cyclic voltammetry studies confirm the confined copper redox activity. - Abstract: Silicon(1 0 0) surfaces have been modified with three different amines (aniline, benzylamine and dodecylamine) and diamines (4-aminopyridine, 4-aminomethylpyridine, 1,12-dodecyldiamine). The surface energy was measured by contact angle technique. For Si-diamine surfaces, Lewis basicity (using Fowkes–van Oss–Chaudhury–Good surface tension model) and adhesion thermodynamic work (using chemical force microscopy) were determined. We related these data, the amine/diamine nature and their geometry on the surface (via DFT calculations) with the consequent ability to coordinate copper(II) acetate. Finally, copper(II) acetate monolayers behavior was studied by cyclic voltammetry

Turn Off the Music! Music Impairs Visual Associative Memory Performance in Older Adults

Science.gov (United States)

Reaves, Sarah; Graham, Brittany; Grahn, Jessica; Rabannifard, Parissa; Duarte, Audrey

2016-01-01

Purpose of the Study: Whether we are explicitly listening to it or not, music is prevalent in our environment. Surprisingly, little is known about the effect of environmental music on concurrent cognitive functioning and whether young and older adults are differentially affected by music. Here, we investigated the impact of background music on a concurrent paired associate learning task in healthy young and older adults. Design and Methods: Young and older adults listened to music or to silence while simultaneously studying face–name pairs. Participants’ memory for the pairs was then tested while listening to either the same or different music. Participants also made subjective ratings about how distracting they found each song to be. Results: Despite the fact that all participants rated music as more distracting to their performance than silence, only older adults’ associative memory performance was impaired by music. These results are most consistent with the theory that older adults’ failure to inhibit processing of distracting task-irrelevant information, in this case background music, contributes to their memory impairments. Implications: These data have important practical implications for older adults’ ability to perform cognitively demanding tasks even in what many consider to be an unobtrusive environment. PMID:26035876

The Musical Emotional Bursts: A validated set of musical affect bursts to investigate auditory affective processing.

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Sébastien ePaquette

2013-08-01

Full Text Available The Musical Emotional Bursts (MEB consist of 80 brief musical executions expressing basic emotional states (happiness, sadness and fear and neutrality. These musical bursts were designed to be the musical analogue of the Montreal Affective Voices (MAV – a set of brief non-verbal affective vocalizations portraying different basic emotions. The MEB consist of short (mean duration: 1.6 sec improvisations on a given emotion or of imitations of a given MAV stimulus, played on a violin (n:40 or a clarinet (n:40. The MEB arguably represent a primitive form of music emotional expression, just like the MAV represent a primitive form of vocal, nonlinguistic emotional expression. To create the MEB, stimuli were recorded from 10 violinists and 10 clarinetists, and then evaluated by 60 participants. Participants evaluated 240 stimuli (30 stimuli x 4 [3 emotions + neutral] x 2 instruments by performing either a forced-choice emotion categorization task, a valence rating task or an arousal rating task (20 subjects per task; 40 MAVs were also used in the same session with similar task instructions. Recognition accuracy of emotional categories expressed by the MEB (n:80 was lower than for the MAVs but still very high with an average percent correct recognition score of 80.4%. Highest recognition accuracies were obtained for happy clarinet (92.0% and fearful or sad violin (88.0% each MEB stimuli. The MEB can be used to compare the cerebral processing of emotional expressions in music and vocal communication, or used for testing affective perception in patients with communication problems.

The Client's Potential for Therapeutic Insight Assessed through the Ability to Reflect Verbally and Musically

DEFF Research Database (Denmark)

Hannibal, Niels

1999-01-01

This article will focus on the question of how verbal reflection about music, and musical reflection while playing, can be described with the purpose of assessing a person's possibility to achieve insight in music therapy: The insight potential. The concept of the insight potential is related to ...

Relationships among musical aptitude, digit ratio and testosterone in men and women.

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Jeremy C Borniger

Full Text Available Circulating adult testosterone levels, digit ratio (length of the second finger relative to the fourth finger, and directional asymmetry in digit ratio are considered sexually dimorphic traits in humans. These have been related to spatial abilities in men and women, and because similar brain structures appear to be involved in both spatial and musical abilities, neuroendocrine function may be related to musical as well as spatial cognition. To evaluate relationships among testosterone and musical ability in men and women, saliva samples were collected, testosterone concentrations assessed, and digit ratios calculated using standardized protocols in a sample of university students (N = 61, including both music and non-music majors. Results of Spearman correlations suggest that digit ratio and testosterone levels are statistically related to musical aptitude and performance only within the female sample: A those females with greater self-reported history of exposure to music (p = 0.016 and instrument proficiency (p = 0.040 scored higher on the Advanced Measures of Music Audiation test, B those females with higher left hand digit ratio (and perhaps lower fetal testosterone levels were more highly ranked (p = 0.007 in the orchestra, C female music students exhibited a trend (p = 0.082 towards higher testosterone levels compared to female non-music students, and D female music students with higher rank in the orchestra/band had higher testosterone levels (p = 0.003 than lower ranked students. None of these relationships were significant in the male sample, although a lack of statistical power may be one cause. The effects of testosterone are likely a small part of a poorly understood system of biological and environmental stimuli that contribute to musical aptitude. Hormones may play some role in modulating the phenotype of musical ability, and this may be the case for females more so than males.

Cochlear implant users move in time to the beat of drum music.

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Phillips-Silver, Jessica; Toiviainen, Petri; Gosselin, Nathalie; Turgeon, Christine; Lepore, Franco; Peretz, Isabelle

2015-03-01

Cochlear implant users show a profile of residual, yet poorly understood, musical abilities. An ability that has received little to no attention in this population is entrainment to a musical beat. We show for the first time that a heterogeneous group of cochlear implant users is able to find the beat and move their bodies in time to Latin Merengue music, especially when the music is presented in unpitched drum tones. These findings not only reveal a hidden capacity for feeling musical rhythm through the body in the deaf and hearing impaired population, but illuminate promising avenues for designing early childhood musical training that can engage implanted children in social musical activities with benefits potentially extending to non-musical domains. Copyright © 2015 Elsevier B.V. All rights reserved.

Prediction of valence and arousal from music features

NARCIS (Netherlands)

Den Brinker, A.C.; Van Dinther, C.H.B.A.; Skowronek, J.

2011-01-01

Mood is an important attribute of music and knowledge on mood can beused as a basic ingredient in music recommender and retrieval systems. Moods are assumed to be dominantly determined by two dimensions:valence and arousal. An experiment was conducted to attain data forsong-based ratings of valence

Perceived Properties of Parameterised Music for Interactive Applications

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Jan Berg

2006-04-01

Full Text Available Traditional implementations of sound and music in interactive contexts have their limitations. One way to overcome these and to expand the possibilities of music is to handle the music in a parameterised form. To better understand the properties of the musical parameters resulting from parameterisation, two experiments were carried out. The first experiment investigated selected parameters' capability to change the music; the second experiment examined how the parameters can contribute to express emotions. From these experiments, it is concluded that users without musical training perform differently from musicians on some of the parameters. There is also a clear association between the parameters and the expressed basic emotions. The paper is concluded with observations on how parameterisation might be used in interactive applications.

Bach in 2014: Music Composition with Recurrent Neural Network

OpenAIRE

Liu, I-Ting; Ramakrishnan, Bhiksha

2014-01-01

We propose a framework for computer music composition that uses resilient propagation (RProp) and long short term memory (LSTM) recurrent neural network. In this paper, we show that LSTM network learns the structure and characteristics of music pieces properly by demonstrating its ability to recreate music. We also show that predicting existing music using RProp outperforms Back propagation through time (BPTT).

High school music classes enhance the neural processing of speech.

Science.gov (United States)

Tierney, Adam; Krizman, Jennifer; Skoe, Erika; Johnston, Kathleen; Kraus, Nina

2013-01-01

Should music be a priority in public education? One argument for teaching music in school is that private music instruction relates to enhanced language abilities and neural function. However, the directionality of this relationship is unclear and it is unknown whether school-based music training can produce these enhancements. Here we show that 2 years of group music classes in high school enhance the neural encoding of speech. To tease apart the relationships between music and neural function, we tested high school students participating in either music or fitness-based training. These groups were matched at the onset of training on neural timing, reading ability, and IQ. Auditory brainstem responses were collected to a synthesized speech sound presented in background noise. After 2 years of training, the neural responses of the music training group were earlier than at pre-training, while the neural timing of students in the fitness training group was unchanged. These results represent the strongest evidence to date that in-school music education can cause enhanced speech encoding. The neural benefits of musical training are, therefore, not limited to expensive private instruction early in childhood but can be elicited by cost-effective group instruction during adolescence.

Music education and its effect on intellectual abilities in children: a systematic review.

Science.gov (United States)

Jaschke, Artur C; Eggermont, Laura H P; Honing, Henkjan; Scherder, Erik J A

2013-01-01

Far transfer between music education and other cognitive skills, such as academic achievement, has been widely examined. However, the results of studies within similar cognitive domains are found to be inconclusive or contradictory. These differences can be traced back to the analytical methods used, differences in the forms of music education studied and differences in neural activation during the processing of these tasks. In order to gain a better picture of the relationships involved, a literature survey was performed in leading databases, such as PubMed/MedLine, psychINFO, ScienceDirect, Embase, ERIC, ASSIA and Jstor from January 2001 to January 2013. All studies included, concerned the far transfer from music education to other cognitive skills in children aged 4-13 years as compared with controls. These studies were independently selected and their quality was assessed by two authors. This systematic review shows the need to address methodological and analytical questions in greater detail. There is a general need to unify methods used in music education research. Furthermore, the hypothesis that intellectual skills, such as mathematics, reading, writing and intelligence can be divided into sub-functions, needs to be examined as one approach to the problems considered here. When this has been done, detailed analysis of cognitive transfer from music education to other disciplines should become possible.

E. Thayer Gaston: Leader in Scientific Thought on Music in Therapy and Education.

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Johnson, Robert E.

1981-01-01

Analyzes the work of E. Thayer Gaston in terms of how it contributed to music therapy and music education. Through scholarship and research, Gaston synthesized ideas from many disciplines to formulate basic principles that are still relevant for music therapists and music educators who work with normal and abnormal individuals. (AM)

Emotional Responses to Music: Shifts in Frontal Brain Asymmetry Mark Periods of Musical Change.

Science.gov (United States)

Arjmand, Hussain-Abdulah; Hohagen, Jesper; Paton, Bryan; Rickard, Nikki S

2017-01-01

factors such as pitch, dynamics or texture. These findings provide empirical support for the proposal that change in basic musical features is a fundamental trigger of emotional responses in listeners.

Emotional Responses to Music: Shifts in Frontal Brain Asymmetry Mark Periods of Musical Change

Directory of Open Access Journals (Sweden)

Hussain-Abdulah Arjmand

2017-12-01

change in low level acoustic factors such as pitch, dynamics or texture. These findings provide empirical support for the proposal that change in basic musical features is a fundamental trigger of emotional responses in listeners.

Neurophysiological Influence of Musical Training on Speech Perception

OpenAIRE

Shahin, Antoine J.

2011-01-01

Does musical training affect our perception of speech? For example, does learning to play a musical instrument modify the neural circuitry for auditory processing in a way that improves one’s ability to perceive speech more clearly in noisy environments? If so, can speech perception in individuals with hearing loss, who struggle in noisy situations, benefit from musical training? While music and speech exhibit some specialization in neural processing, there is evidence suggesting that skill...

Musical intervention enhances infants' neural processing of temporal structure in music and speech.

Science.gov (United States)

Zhao, T Christina; Kuhl, Patricia K

2016-05-10

Individuals with music training in early childhood show enhanced processing of musical sounds, an effect that generalizes to speech processing. However, the conclusions drawn from previous studies are limited due to the possible confounds of predisposition and other factors affecting musicians and nonmusicians. We used a randomized design to test the effects of a laboratory-controlled music intervention on young infants' neural processing of music and speech. Nine-month-old infants were randomly assigned to music (intervention) or play (control) activities for 12 sessions. The intervention targeted temporal structure learning using triple meter in music (e.g., waltz), which is difficult for infants, and it incorporated key characteristics of typical infant music classes to maximize learning (e.g., multimodal, social, and repetitive experiences). Controls had similar multimodal, social, repetitive play, but without music. Upon completion, infants' neural processing of temporal structure was tested in both music (tones in triple meter) and speech (foreign syllable structure). Infants' neural processing was quantified by the mismatch response (MMR) measured with a traditional oddball paradigm using magnetoencephalography (MEG). The intervention group exhibited significantly larger MMRs in response to music temporal structure violations in both auditory and prefrontal cortical regions. Identical results were obtained for temporal structure changes in speech. The intervention thus enhanced temporal structure processing not only in music, but also in speech, at 9 mo of age. We argue that the intervention enhanced infants' ability to extract temporal structure information and to predict future events in time, a skill affecting both music and speech processing.

Effects of Musicality on the Perception of Rhythmic Structure in Speech

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Natalie Boll-Avetisyan

2017-04-01

Full Text Available Language and music share many rhythmic properties, such as variations in intensity and duration leading to repeating patterns. Perception of rhythmic properties may rely on cognitive networks that are shared between the two domains. If so, then variability in speech rhythm perception may relate to individual differences in musicality. To examine this possibility, the present study focuses on rhythmic grouping, which is assumed to be guided by a domain-general principle, the Iambic/Trochaic law, stating that sounds alternating in intensity are grouped as strong-weak, and sounds alternating in duration are grouped as weak-strong. German listeners completed a grouping task: They heard streams of syllables alternating in intensity, duration, or neither, and had to indicate whether they perceived a strong-weak or weak-strong pattern. Moreover, their music perception abilities were measured, and they filled out a questionnaire reporting their productive musical experience. Results showed that better musical rhythm perception ability was associated with more consistent rhythmic grouping of speech, while melody perception ability and productive musical experience were not. This suggests shared cognitive procedures in the perception of rhythm in music and speech. Also, the results highlight the relevance of considering individual differences in musicality when aiming to explain variability in prosody perception.

Explaining the Association between Music Training and Reading in Adults

Science.gov (United States)

Swaminathan, Swathi; Schellenberg, E. Glenn; Venkatesan, Kirthika

2018-01-01

We sought to clarify whether the positive association between music lessons and reading ability is explained better by shared resources for processing pitch and temporal information, or by general cognitive abilities. Participants were native and nonnative speakers of English with varying levels of music training. We measured reading ability…

Transforming the Landscape through Music Creation and Performance

Science.gov (United States)

Tedeschi, Simon

2013-01-01

This author is quite often described by respected critics and musical peers as one of the finest artists in the world--making the young pianist's mark on music both undeniable and admirable. In this speech he shares his thoughts on improvisation. The ability to improvise is integral to the future of classical music. Classical pianists are still…

On the biological basis of musicality.

Science.gov (United States)

Honing, Henkjan

2018-03-15

In recent years, music and musicality have been the focus of an increasing amount of research effort. This has led to a growing role and visibility of the contribution of (bio)musicology to the field of neuroscience and cognitive sciences at large. While it has been widely acknowledged that there are commonalities between speech, language, and musicality, several researchers explain this by considering musicality as an epiphenomenon of language. However, an alternative hypothesis is that musicality is an innate and widely shared capacity for music that can be seen as a natural, spontaneously developing set of traits based on and constrained by our cognitive abilities and their underlying biology. A comparative study of musicality in humans and well-known animal models (monkeys, birds, pinnipeds) will further our insights on which features of musicality are exclusive to humans and which are shared between humans and nonhuman animals, contribute to an understanding of the musical phenotype, and further constrain existing evolutionary theories of music and musicality. © 2018 The Authors. Annals of the New York Academy of Sciences published by Wiley Periodicals, Inc. on behalf of New York Academy of Sciences.

Turn Off the Music! Music Impairs Visual Associative Memory Performance in Older Adults.

Science.gov (United States)

Reaves, Sarah; Graham, Brittany; Grahn, Jessica; Rabannifard, Parissa; Duarte, Audrey

2016-06-01

Whether we are explicitly listening to it or not, music is prevalent in our environment. Surprisingly, little is known about the effect of environmental music on concurrent cognitive functioning and whether young and older adults are differentially affected by music. Here, we investigated the impact of background music on a concurrent paired associate learning task in healthy young and older adults. Young and older adults listened to music or to silence while simultaneously studying face-name pairs. Participants' memory for the pairs was then tested while listening to either the same or different music. Participants also made subjective ratings about how distracting they found each song to be. Despite the fact that all participants rated music as more distracting to their performance than silence, only older adults' associative memory performance was impaired by music. These results are most consistent with the theory that older adults' failure to inhibit processing of distracting task-irrelevant information, in this case background music, contributes to their memory impairments. These data have important practical implications for older adults' ability to perform cognitively demanding tasks even in what many consider to be an unobtrusive environment. © The Author 2015. Published by Oxford University Press on behalf of The Gerontological Society of America. All rights reserved. For permissions, please e-mail: journals.permissions@oup.com.

Transfer value of learning music on cognitive development of elementary school and high school students

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Vujošević Nevena J.

2016-01-01

Full Text Available Examining positive effects of music on cognitive development is often part of empirical researches within cognitive and general psychology of music. Starting from the studies conducted by the most modern technologies and methods of studying interconnectedness of mental processes and individual musical development, the conclusion is that active musical participation influences a large specter of enhancing the student's abilities even within other cognitive areas of his actions. Positive effects of music influence directly the development of student's verbal and visual-spatial abilities, abstract thinking, movement coordination, concentration and memory capacity, creativity in thinking and task solving, as well as the development of emotional, aesthetic and social intelligence of the individual. Some of them will be especially stressed in the paper. The paper informs about newer results of examining positive effects of music on non-musical cognitive abilities of students and indicates to positive implications that music and musical education can enhance overall cognitive development of personality.

High school music classes enhance the neural processing of speech

OpenAIRE

Tierney, Adam; Krizman, Jennifer; Skoe, Erika; Johnston, Kathleen; Kraus, Nina

2013-01-01

Should music be a priority in public education? One argument for teaching music in school is that private music instruction relates to enhanced language abilities and neural function. However, the directionality of this relationship is unclear and it is unknown whether school-based music training can produce these enhancements. Here we show that two years of group music classes in high school enhance the subcortical encoding of speech. To tease apart the relationships between music and neural...

The effects of musical training on movement pre-programming and re-programming abilities: an event-related potential investigation.

Science.gov (United States)

Anatürk, Melis; Jentzsch, Ines

2015-03-01

Two response precuing experiments were conducted to investigate effects of musical skill level on the ability to pre- and re-programme simple movements. Participants successfully used advance information to prepare forthcoming responses and showed response slowing when precue information was invalid rather than valid. This slowing was, however, only observed for partially invalid but not fully invalid precues. Musicians were generally faster than non-musicians, but no group differences in the efficiency of movement pre-programming or re-programming were observed. Interestingly, only musicians exhibited a significant foreperiod lateralized readiness potential (LRP) when response hand was pre-specified or full advance information was provided. These LRP findings suggest increased effector-specific motor preparation in musicians than non-musicians. However, here the levels of effector-specific preparation did not predict preparatory advantages observed in behaviour. In sum, combining the response precuing and ERP paradigms serves a valuable tool to examine influences of musical training on movement pre- or re-programming processes. Copyright © 2015 Elsevier B.V. All rights reserved.

Harmonizing the Writing Process with Music Training Techniques

Science.gov (United States)

Riecken, Nancy

2009-01-01

Can music help students become better thinkers and writers? Over the past three years, the author has incorporated some basic music training techniques in her classrooms to help her teach the writing process to students who would otherwise click her off. The students have developed clearer thinking and organizational skills, and have increased…

Brain Signal Analysis Using Different Types of Music

OpenAIRE

Siti Ayuni Mohd Nasir; Wan Mahani Hafizah Wan Mahmud

2015-01-01

Music is able to improve certain functions of human body physiologically and psychologically. Music also can improve attention, memory, and even mental math ability by listening to the music before performing any task. The purpose of this study is to study the relation between types of music and brainwaves signal that is differences in state of relaxation and attention states. The Electroencephalography (EEG) signal was recorded using PowerLab, Dual Bio Amp and computer to observes and record...

Effects of music therapy in the treatment of children with delayed speech development - results of a pilot study

Science.gov (United States)

2010-01-01

Background Language development is one of the most significant processes of early childhood development. Children with delayed speech development are more at risk of acquiring other cognitive, social-emotional, and school-related problems. Music therapy appears to facilitate speech development in children, even within a short period of time. The aim of this pilot study is to explore the effects of music therapy in children with delayed speech development. Methods A total of 18 children aged 3.5 to 6 years with delayed speech development took part in this observational study in which music therapy and no treatment were compared to demonstrate effectiveness. Individual music therapy was provided on an outpatient basis. An ABAB reversal design with alternations between music therapy and no treatment with an interval of approximately eight weeks between the blocks was chosen. Before and after each study period, a speech development test, a non-verbal intelligence test for children, and music therapy assessment scales were used to evaluate the speech development of the children. Results Compared to the baseline, we found a positive development in the study group after receiving music therapy. Both phonological capacity and the children's understanding of speech increased under treatment, as well as their cognitive structures, action patterns, and level of intelligence. Throughout the study period, developmental age converged with their biological age. Ratings according to the Nordoff-Robbins scales showed clinically significant changes in the children, namely in the areas of client-therapist relationship and communication. Conclusions This study suggests that music therapy may have a measurable effect on the speech development of children through the treatment's interactions with fundamental aspects of speech development, including the ability to form and maintain relationships and prosodic abilities. Thus, music therapy may provide a basic and supportive therapy for

Effects of music therapy in the treatment of children with delayed speech development - results of a pilot study

Directory of Open Access Journals (Sweden)

Linden Ulrike

2010-07-01

Full Text Available Abstract Background Language development is one of the most significant processes of early childhood development. Children with delayed speech development are more at risk of acquiring other cognitive, social-emotional, and school-related problems. Music therapy appears to facilitate speech development in children, even within a short period of time. The aim of this pilot study is to explore the effects of music therapy in children with delayed speech development. Methods A total of 18 children aged 3.5 to 6 years with delayed speech development took part in this observational study in which music therapy and no treatment were compared to demonstrate effectiveness. Individual music therapy was provided on an outpatient basis. An ABAB reversal design with alternations between music therapy and no treatment with an interval of approximately eight weeks between the blocks was chosen. Before and after each study period, a speech development test, a non-verbal intelligence test for children, and music therapy assessment scales were used to evaluate the speech development of the children. Results Compared to the baseline, we found a positive development in the study group after receiving music therapy. Both phonological capacity and the children's understanding of speech increased under treatment, as well as their cognitive structures, action patterns, and level of intelligence. Throughout the study period, developmental age converged with their biological age. Ratings according to the Nordoff-Robbins scales showed clinically significant changes in the children, namely in the areas of client-therapist relationship and communication. Conclusions This study suggests that music therapy may have a measurable effect on the speech development of children through the treatment's interactions with fundamental aspects of speech development, including the ability to form and maintain relationships and prosodic abilities. Thus, music therapy may provide a basic

Effects of music therapy in the treatment of children with delayed speech development - results of a pilot study.

Science.gov (United States)

Gross, Wibke; Linden, Ulrike; Ostermann, Thomas

2010-07-21

Language development is one of the most significant processes of early childhood development. Children with delayed speech development are more at risk of acquiring other cognitive, social-emotional, and school-related problems. Music therapy appears to facilitate speech development in children, even within a short period of time. The aim of this pilot study is to explore the effects of music therapy in children with delayed speech development. A total of 18 children aged 3.5 to 6 years with delayed speech development took part in this observational study in which music therapy and no treatment were compared to demonstrate effectiveness. Individual music therapy was provided on an outpatient basis. An ABAB reversal design with alternations between music therapy and no treatment with an interval of approximately eight weeks between the blocks was chosen. Before and after each study period, a speech development test, a non-verbal intelligence test for children, and music therapy assessment scales were used to evaluate the speech development of the children. Compared to the baseline, we found a positive development in the study group after receiving music therapy. Both phonological capacity and the children's understanding of speech increased under treatment, as well as their cognitive structures, action patterns, and level of intelligence. Throughout the study period, developmental age converged with their biological age. Ratings according to the Nordoff-Robbins scales showed clinically significant changes in the children, namely in the areas of client-therapist relationship and communication. This study suggests that music therapy may have a measurable effect on the speech development of children through the treatment's interactions with fundamental aspects of speech development, including the ability to form and maintain relationships and prosodic abilities. Thus, music therapy may provide a basic and supportive therapy for children with delayed speech development

The Physics and Psychophysics of Music An Introduction

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Roederer, Juan G

2009-01-01

This book, a classic in its field, deals with the physical systems and physiological processes that intervene in music. It analyzes what objective, physical properties of sound are associated with what subjective psychological sensations of music, and it describes how these sound patterns are actually generated in musical instruments, how they propagate through the environment, and how they are detected by the ear and interpreted in the brain. Using the precise language of science, but without complicated mathematics, the author weaves a close mesh of the physics, psychophysics and neurobiology relevant to music. A prior knowledge of physics, mathematics, neurobiology or psychology is not required to understand most of the book; it is, however, assumed that the reader is familiar with music - in particular, with musical notation, musical scales and intervals, and some of the basics of musical instruments. This new edition presents substantially updated coverage of psychoacoustics, including: • New results f...

Marketingová strategie Musical production

OpenAIRE

Humlová, Jana

2013-01-01

This thesis deals with an arts marketing with a focus on musical theater. The theoretical part defines basic elements of the marketing process, with the main emphasis placed on marketing mix and its specifics in context of musical production. In this part of the thesis there is also description of marketing research. In favour of smooth transition to practical part, at the very end of theoretical part there is a summary of main competitors. The practical part is focused on the company operati...

The relation between instrumental musical activity and cognitive aging.

Science.gov (United States)

Hanna-Pladdy, Brenda; MacKay, Alicia

2011-05-01

Intensive repetitive musical practice can lead to bilateral cortical reorganization. However, whether musical sensorimotor and cognitive abilities transfer to nonmusical cognitive abilities that are maintained throughout the life span is unclear. In an attempt to identify modifiable lifestyle factors that may potentially enhance successful aging, we evaluated the association between musical instrumental participation and cognitive aging. Seventy older healthy adults (ages 60-83) varying in musical activity completed a comprehensive neuropsychological battery. The groups (nonmusicians, low and high activity musicians) were matched on age, education, history of physical exercise, while musicians were matched on age of instrumental acquisition and formal years of musical training. Musicians were classified in the low (1-9 years) or high (>10 years) activity group based on years of musical experience throughout their life span. The results of this preliminary study revealed that participants with at least 10 years of musical experience (high activity musicians) had better performance in nonverbal memory (η2 = .106), naming (η2 = .103), and executive processes (η2 = .131) in advanced age relative to nonmusicians. Several regression analyses evaluated how years of musical activity, age of acquisition, type of musical training, and other variables predicted cognitive performance. These correlational results suggest a strong predictive effect of high musical activity throughout the life span on preserved cognitive functioning in advanced age. A discussion of how musical participation may enhance cognitive aging is provided along with other alternative explanations.

High school music classes enhance the neural processing of speech

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Adam eTierney

2013-12-01

Full Text Available Should music be a priority in public education? One argument for teaching music in school is that private music instruction relates to enhanced language abilities and neural function. However, the directionality of this relationship is unclear and it is unknown whether school-based music training can produce these enhancements. Here we show that two years of group music classes in high school enhance the subcortical encoding of speech. To tease apart the relationships between music and neural function, we tested high school students participating in either music or fitness-based training. These groups were matched at the onset of training on neural timing, reading ability, and IQ. Auditory brainstem responses were collected to a synthesized speech sound presented in background noise. After 2 years of training, the subcortical responses of the music training group were earlier than at pretraining, while the neural timing of students in the fitness training group was unchanged. These results represent the strongest evidence to date that in-school music education can cause enhanced speech encoding. The neural benefits of musical training are, therefore, not limited to expensive private instruction early in childhood but can be elicited by cost-effective group instruction during adolescence.

Language Games and Musical Understanding

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Alessandro Arbo

2013-05-01

Full Text Available Wittgenstein has often explored language games that have to do with musical objects of different sizes (phrases, themes, formal sections or entire works. These games can refer to a technical language or to common parlance and correspond to different targets. One of these coincides with the intention to suggest a way of conceiving musical understanding. His model takes the form of the invitation to "hear (something as (something": typically, to hear a musical passage as an introduction or as a conclusion or in a certain tonality. However one may ask to what extent or in what terms (literal or metaphorical these procedures, and usually the intervention of language games, is requested by our common ways of understanding music. This article shows through the use of some examples that aspectual perception inherent to musical understanding does not require language games as a necessary condition (although in many cases the link between them seems very strong, in contradiction with the thesis of an essential linguistic character of music. At a basic level, it seems more appropriate to insist on the notion of a game: to understand music means to enter into the orbit of "music games" which show an autonomous functioning. Language games have, however, an important function when we develop this comprehension in the light of the criteria of judgment that substantiate the manner in which music is incorporated in and operates within specific forms of life.

The Dalcroze Approach to Music Education: Theory and Applications

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Anderson, William Todd

2012-01-01

The methods of the Dalcroze approach to music education--eurhythmics, solfege, and improvisation--have had a profound influence on modern music education. In particular, the overt training in kinesthetic abilities, and the assertion that the relationship between music and movement is an intimate one, is at the heart of Dalcroze's approach to…

Understanding the Score: Film Music Communicating to and Influencing the Audience

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Green, Jessica

2010-01-01

As evidenced by the strong use of musical scores in modern film, film music has come a long way since the initial silent film's piano or organ accompaniment that simply marked general emotions or moods. Though film music has retained its basic functions of reflecting emotions and moods in the images, the film score has progressed into actually…

Music training improves speech-in-noise perception: Longitudinal evidence from a community-based music program.

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Slater, Jessica; Skoe, Erika; Strait, Dana L; O'Connell, Samantha; Thompson, Elaine; Kraus, Nina

2015-09-15

Music training may strengthen auditory skills that help children not only in musical performance but in everyday communication. Comparisons of musicians and non-musicians across the lifespan have provided some evidence for a "musician advantage" in understanding speech in noise, although reports have been mixed. Controlled longitudinal studies are essential to disentangle effects of training from pre-existing differences, and to determine how much music training is necessary to confer benefits. We followed a cohort of elementary school children for 2 years, assessing their ability to perceive speech in noise before and after musical training. After the initial assessment, participants were randomly assigned to one of two groups: one group began music training right away and completed 2 years of training, while the second group waited a year and then received 1 year of music training. Outcomes provide the first longitudinal evidence that speech-in-noise perception improves after 2 years of group music training. The children were enrolled in an established and successful community-based music program and followed the standard curriculum, therefore these findings provide an important link between laboratory-based research and real-world assessment of the impact of music training on everyday communication skills. Copyright © 2015 Elsevier B.V. All rights reserved.

[Music, pulse, heart and sport].

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Gasenzer, E R; Leischik, R

2018-02-01

Music, with its various elements, such as rhythm, sound and melody had the unique ability even in prehistoric, ancient and medieval times to have a special fascination for humans. Nowadays, it is impossible to eliminate music from our daily lives. We are accompanied by music in shopping arcades, on the radio, during sport or leisure time activities and in wellness therapy. Ritualized drumming was used in the medical sense to drive away evil spirits or to undergo holy enlightenment. Today we experience the varied effects of music on all sensory organs and we utilize its impact on cardiovascular and neurological rehabilitation, during invasive cardiovascular procedures or during physical activities, such as training or work. The results of recent studies showed positive effects of music on heart rate and in therapeutic treatment (e. g. music therapy). This article pursues the impact of music on the body and the heart and takes sports medical aspects from the past and the present into consideration; however, not all forms of music and not all types of musical activity are equally suitable and are dependent on the type of intervention, the sports activity or form of movement and also on the underlying disease. This article discusses the influence of music on the body, pulse, on the heart and soul in the past and the present day.

Music perception and cognition: development, neural basis, and rehabilitative use of music.

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Särkämö, Teppo; Tervaniemi, Mari; Huotilainen, Minna

2013-07-01

Music is a highly versatile form of art and communication that has been an essential part of human society since its early days. Neuroimaging studies indicate that music is a powerful stimulus also for the human brain, engaging not just the auditory cortex but also a vast, bilateral network of temporal, frontal, parietal, cerebellar, and limbic brain areas that govern auditory perception, syntactic and semantic processing, attention and memory, emotion and mood control, and motor skills. Studies of amusia, a severe form of musical impairment, highlight the right temporal and frontal cortices as the core neural substrates for adequate perception and production of music. Many of the basic auditory and musical skills, such as pitch and timbre perception, start developing already in utero, and babies are born with a natural preference for music and singing. Music has many important roles and functions throughout life, ranging from emotional self-regulation, mood enhancement, and identity formation to promoting the development of verbal, motor, cognitive, and social skills and maintaining their healthy functioning in old age. Music is also used clinically as a part of treatment in many illnesses, which involve affective, attention, memory, communication, or motor deficits. Although more research is still needed, current evidence suggests that music-based rehabilitation can be effective in many developmental, psychiatric, and neurological disorders, such as autism, depression, schizophrenia, and stroke, as well as in many chronic somatic illnesses that cause pain and anxiety. WIREs Cogn Sci 2013, 4:441-451. doi: 10.1002/wcs.1237 The authors have declared no conflicts of interest for this article. For further resources related to this article, please visit the WIREs website. Copyright © 2013 John Wiley & Sons, Ltd.

Musical learning in children and adults with Williams syndrome.

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Lense, M; Dykens, E

2013-09-01

There is recent interest in using music making as an empirically supported intervention for various neurodevelopmental disorders due to music's engagement of perceptual-motor mapping processes. However, little is known about music learning in populations with developmental disabilities. Williams syndrome (WS) is a neurodevelopmental genetic disorder whose characteristic auditory strengths and visual-spatial weaknesses map onto the processes used to learn to play a musical instrument. We identified correlates of novel musical instrument learning in WS by teaching 46 children and adults (7-49 years) with WS to play the Appalachian dulcimer. Obtained dulcimer skill was associated with prior musical abilities (r = 0.634, P learning strategies, but not visual or instructional strategies, predicted greater dulcimer skill beyond individual musical and visual-motor integration abilities (β = 0.285, sr(2) = 0.06, P = 0.019). These findings map onto behavioural and emerging neural evidence for greater auditory-motor mapping processes in WS. Results suggest that explicit awareness of task-specific learning approaches is important when learning a new skill. Implications for using music with populations with syndrome-specific strengths and weakness will be discussed. © 2012 The Authors. Journal of Intellectual Disability Research © 2012 John Wiley & Sons Ltd, MENCAP & IASSID.

Prenatal music stimulation facilitates the postnatal functional ...

Indian Academy of Sciences (India)

2014-01-27

Jan 27, 2014 ... In chickens, postnatal short-term exposure to rhythmic musical stimuli ..... Exposure to music has long been associated with enhance cognitive abilities in ... memory performance in the T-maze task (Chaudhury et al. 2010, Sanyal et al. .... children with ADHD and nondisabled children. J. Learn. Disabil.

Apollo’s gift: new aspects of neurologic music therapy

OpenAIRE

Altenmüller, Eckart; Schlaug, Gottfried

2015-01-01

Music listening and music making activities are powerful tools to engage multisensory and motor networks, induce changes within these networks, and foster links between distant, but functionally related brain regions with continued and life-long musical practice. These multimodal effects of music together with music’s ability to tap into the emotion and reward system in the brain can be used to facilitate and enhance therapeutic approaches geared toward rehabilitating and restoring neurologic...

Effects of musical training on sound pattern processing in high-school students.

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Wang, Wenjung; Staffaroni, Laura; Reid, Errold; Steinschneider, Mitchell; Sussman, Elyse

2009-05-01

Recognizing melody in music involves detection of both the pitch intervals and the silence between sequentially presented sounds. This study tested the hypothesis that active musical training in adolescents facilitates the ability to passively detect sequential sound patterns compared to musically non-trained age-matched peers. Twenty adolescents, aged 15-18 years, were divided into groups according to their musical training and current experience. A fixed order tone pattern was presented at various stimulus rates while electroencephalogram was recorded. The influence of musical training on passive auditory processing of the sound patterns was assessed using components of event-related brain potentials (ERPs). The mismatch negativity (MMN) ERP component was elicited in different stimulus onset asynchrony (SOA) conditions in non-musicians than musicians, indicating that musically active adolescents were able to detect sound patterns across longer time intervals than age-matched peers. Musical training facilitates detection of auditory patterns, allowing the ability to automatically recognize sequential sound patterns over longer time periods than non-musical counterparts.

Objective Measurements in Assessing a Black Music Course of Study.

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Taylor, Frederick J.

1990-01-01

A study of 80 eighth grade students investigated whether incorporation of a African-American music program would have special benefits for African-American students, music-experienced students, or high-musical-ability students. African-American students, taught material consistent with their heritage, performed better than whites. It is concluded…

Music Training Increases Phonological Awareness and Reading Skills in Developmental Dyslexia: A Randomized Control Trial.

Directory of Open Access Journals (Sweden)

Elena Flaugnacco

Full Text Available There is some evidence for a role of music training in boosting phonological awareness, word segmentation, working memory, as well as reading abilities in children with typical development. Poor performance in tasks requiring temporal processing, rhythm perception and sensorimotor synchronization seems to be a crucial factor underlying dyslexia in children. Interestingly, children with dyslexia show deficits in temporal processing, both in language and in music. Within this framework, we test the hypothesis that music training, by improving temporal processing and rhythm abilities, improves phonological awareness and reading skills in children with dyslexia. The study is a prospective, multicenter, open randomized controlled trial, consisting of test, rehabilitation and re-test (ID NCT02316873. After rehabilitation, the music group (N = 24 performed better than the control group (N = 22 in tasks assessing rhythmic abilities, phonological awareness and reading skills. This is the first randomized control trial testing the effect of music training in enhancing phonological and reading abilities in children with dyslexia. The findings show that music training can modify reading and phonological abilities even when these skills are severely impaired. Through the enhancement of temporal processing and rhythmic skills, music might become an important tool in both remediation and early intervention programs.Trial Registration: ClinicalTrials.gov NCT02316873

Music Training Increases Phonological Awareness and Reading Skills in Developmental Dyslexia: A Randomized Control Trial.

Science.gov (United States)

Flaugnacco, Elena; Lopez, Luisa; Terribili, Chiara; Montico, Marcella; Zoia, Stefania; Schön, Daniele

2015-01-01

There is some evidence for a role of music training in boosting phonological awareness, word segmentation, working memory, as well as reading abilities in children with typical development. Poor performance in tasks requiring temporal processing, rhythm perception and sensorimotor synchronization seems to be a crucial factor underlying dyslexia in children. Interestingly, children with dyslexia show deficits in temporal processing, both in language and in music. Within this framework, we test the hypothesis that music training, by improving temporal processing and rhythm abilities, improves phonological awareness and reading skills in children with dyslexia. The study is a prospective, multicenter, open randomized controlled trial, consisting of test, rehabilitation and re-test (ID NCT02316873). After rehabilitation, the music group (N = 24) performed better than the control group (N = 22) in tasks assessing rhythmic abilities, phonological awareness and reading skills. This is the first randomized control trial testing the effect of music training in enhancing phonological and reading abilities in children with dyslexia. The findings show that music training can modify reading and phonological abilities even when these skills are severely impaired. Through the enhancement of temporal processing and rhythmic skills, music might become an important tool in both remediation and early intervention programs.Trial Registration: ClinicalTrials.gov NCT02316873

The Phenomenological, Sociological, and Psychological Understanding of Music

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Gregor Pompe

2016-03-01

Full Text Available When trying to investigate the understanding of music, there are a number of epistemologically and methodologically diverse perspectives, and this is associated with the fairly vague definition of music. Firstly, music exists in the form of a waving motion as a physical-acoustic dimension that reaches the listener’s/receiver’s ear. At the time of the »reception« of music, the human neuropsychological mechanism is triggered, which causes the process of semiosis – when we imbue music with meaning strongly exceeding the basic, physical characteristics of music as a sound. In the history of music studies, one can discern the periodical shifting of scientific methodologies that have placed now this and later the other perspective in the center of their research. Meanwhile the author of the article claims that for a holistic understanding of music one needs to employ all the different methodological starting points. Music must be understood as a “two-sided” process: it is possible to investigate the “path” that leads from the creation of music to the emergence of listener’s meaning or to begin with the latter and try to connect it with the intentionality of the author.

Towards the improvement of the musical experiences of cochlear implant users

OpenAIRE

Moir, Zack

2011-01-01

Most previous research into cochlear implant (CI) mediated music listening deals with the mechanisms and efficacy of music perception and does not often account for the listeners real-world musical experience. Measurements of music perception ability are based on listening tasks such as pitch-discrimination, timbre-recognition and rhythmic-identification, and rarely (if ever) relate to the individual experience of the human subject. The exploration of musical experience, howeve...

Music therapy in neurological rehabilitation settings.

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Galińska, Elżbieta

2015-01-01

The neurologic music therapy is a new scope of music therapy. Its techniques deal with dysfunctions resulting from diseases of the human nervous system. Music can be used as an alternative modality to access functions unavailable through non-musical stimulus. Processes in the brain activated by the influence of music can be generalized and transferred to non-musical functions. Therefore, in clinical practice, the translation of non-musical therapeutic exercises into analogous, isomorphic musical exercises is performed. They make use of the executive peculiarity of musical instruments and musical structures to prime, cue and coordinate movements. Among musical components, a repetitive rhythm plays a significant role. It regulates physiologic and behavioural functions through the mechanism of entrainment (synchronization of biological rhythms with musical rhythm based on acoustic resonance). It is especially relevant for patients with a deficient internal timing system in the brain. Additionally, regular rhythmic patterns facilitate memory encoding and decoding of non-musical information hence music is an efficient mnemonic tool. The music as a hierarchical, compound language of time, with its unique ability to access affective/motivational systems in the brain, provides time structures enhancing perception processes, mainly in the range of cognition, language and motor learning. It allows for emotional expression and improvement of the motivation for rehabilitation activities. The new technologies of rhythmic sensory stimulation (i.e. Binaural Beat Stimulation) or rhythmic music in combination with rhythmic light therapy appear. This multimodal forms of stimulation are used in the treatment of stroke, brain injury, dementia and other cognitive deficits. Clinical outcome studies provide evidence of the significant superiority of rehabilitation with music over the one without music.

Communicative Musicality

DEFF Research Database (Denmark)

Holck, Ulla

2010-01-01

university, Stephen Malloch listened to tapes of mothers and their babies ‘chatting’ with each other, recorded by Trevarthen in the 70’s. One of the first tapes was the vocal interaction of Laura and her mother. “As I listened, intrigued by the fluid give and take of the communication, and the lilting speech...... of the mother as she chatted with her baby, I began to tap my foot. I am, by training, a musician, so I was very used to automatically feeling the beat as I listened to musical sounds.… I replaced the tape, and again, I could sense a distinct rhythmicity and melodious give and take to the gentle prompting...... therapy as purely protomusic. But with Malloch & Trevarthen’s focus on musicality as the innate human abilities that make music production and appreciation possible, this discussion can easily move on. These and many other essential discussions await us – thanks to this comprehensive – and demanding...

Music and emotions: from enchantment to entrainment.

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Vuilleumier, Patrik; Trost, Wiebke

2015-03-01

Producing and perceiving music engage a wide range of sensorimotor, cognitive, and emotional processes. Emotions are a central feature of the enjoyment of music, with a large variety of affective states consistently reported by people while listening to music. However, besides joy or sadness, music often elicits feelings of wonder, nostalgia, or tenderness, which do not correspond to emotion categories typically studied in neuroscience and whose neural substrates remain largely unknown. Here we review the similarities and differences in the neural substrates underlying these "complex" music-evoked emotions relative to other more "basic" emotional experiences. We suggest that these emotions emerge through a combination of activation in emotional and motivational brain systems (e.g., including reward pathways) that confer its valence to music, with activation in several other areas outside emotional systems, including motor, attention, or memory-related regions. We then discuss the neural substrates underlying the entrainment of cognitive and motor processes by music and their relation to affective experience. These effects have important implications for the potential therapeutic use of music in neurological or psychiatric diseases, particularly those associated with motor, attention, or affective disturbances. © 2015 New York Academy of Sciences.

The psychological functions of music listening.

Science.gov (United States)

Schäfer, Thomas; Sedlmeier, Peter; Städtler, Christine; Huron, David

2013-01-01

Why do people listen to music? Over the past several decades, scholars have proposed numerous functions that listening to music might fulfill. However, different theoretical approaches, different methods, and different samples have left a heterogeneous picture regarding the number and nature of musical functions. Moreover, there remains no agreement about the underlying dimensions of these functions. Part one of the paper reviews the research contributions that have explicitly referred to musical functions. It is concluded that a comprehensive investigation addressing the basic dimensions underlying the plethora of functions of music listening is warranted. Part two of the paper presents an empirical investigation of hundreds of functions that could be extracted from the reviewed contributions. These functions were distilled to 129 non-redundant functions that were then rated by 834 respondents. Principal component analysis suggested three distinct underlying dimensions: People listen to music to regulate arousal and mood, to achieve self-awareness, and as an expression of social relatedness. The first and second dimensions were judged to be much more important than the third-a result that contrasts with the idea that music has evolved primarily as a means for social cohesion and communication. The implications of these results are discussed in light of theories on the origin and the functionality of music listening and also for the application of musical stimuli in all areas of psychology and for research in music cognition.

The psychological functions of music listening

Science.gov (United States)

Schäfer, Thomas; Sedlmeier, Peter; Städtler, Christine; Huron, David

2013-01-01

Why do people listen to music? Over the past several decades, scholars have proposed numerous functions that listening to music might fulfill. However, different theoretical approaches, different methods, and different samples have left a heterogeneous picture regarding the number and nature of musical functions. Moreover, there remains no agreement about the underlying dimensions of these functions. Part one of the paper reviews the research contributions that have explicitly referred to musical functions. It is concluded that a comprehensive investigation addressing the basic dimensions underlying the plethora of functions of music listening is warranted. Part two of the paper presents an empirical investigation of hundreds of functions that could be extracted from the reviewed contributions. These functions were distilled to 129 non-redundant functions that were then rated by 834 respondents. Principal component analysis suggested three distinct underlying dimensions: People listen to music to regulate arousal and mood, to achieve self-awareness, and as an expression of social relatedness. The first and second dimensions were judged to be much more important than the third—a result that contrasts with the idea that music has evolved primarily as a means for social cohesion and communication. The implications of these results are discussed in light of theories on the origin and the functionality of music listening and also for the application of musical stimuli in all areas of psychology and for research in music cognition. PMID:23964257

Neural Correlates of Boredom in Music Perception

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Ashkan Fakhr Tabatabaie

2014-11-01

Full Text Available Introduction: Music can elicit powerful emotional responses, the neural correlates of which have not been properly understood. An important aspect about the quality of any musical piece is its ability to elicit a sense of excitement in the listeners. In this study, we investigated the neural correlates of boredom evoked by music in human subjects. Methods: We used EEG recording in nine subjects while they were listening to total number of 10 short-length (83 sec musical pieces with various boredom indices. Subjects evaluated boringness of musical pieces while their EEG was recording. Results: Using short time Fourier analysis, we found that beta2 rhythm was (16-20 Hz significantly lower whenever the subjects rated the music as boring in comparison to nonboring. Discussion: The results demonstrate that the music modulates neural activity of various partsof the brain and can be measured using EEG.

Music-Evoked Emotions—Current Studies

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Schaefer, Hans-Eckhardt

2017-01-01

The present study is focused on a review of the current state of investigating music-evoked emotions experimentally, theoretically and with respect to their therapeutic potentials. After a concise historical overview and a schematic of the hearing mechanisms, experimental studies on music listeners and on music performers are discussed, starting with the presentation of characteristic musical stimuli and the basic features of tomographic imaging of emotional activation in the brain, such as functional magnetic resonance imaging (fMRI) and positron emission tomography (PET), which offer high spatial resolution in the millimeter range. The progress in correlating activation imaging in the brain to the psychological understanding of music-evoked emotion is demonstrated and some prospects for future research are outlined. Research in psychoneuroendocrinology and molecular markers is reviewed in the context of music-evoked emotions and the results indicate that the research in this area should be intensified. An assessment of studies involving measuring techniques with high temporal resolution down to the 10 ms range, as, e.g., electroencephalography (EEG), event-related brain potentials (ERP), magnetoencephalography (MEG), skin conductance response (SCR), finger temperature, and goose bump development (piloerection) can yield information on the dynamics and kinetics of emotion. Genetic investigations reviewed suggest the heredity transmission of a predilection for music. Theoretical approaches to musical emotion are directed to a unified model for experimental neurological evidence and aesthetic judgment. Finally, the reports on musical therapy are briefly outlined. The study concludes with an outlook on emerging technologies and future research fields. PMID:29225563

Midbrain adaptation may set the stage for the perception of musical beat.

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Rajendran, Vani G; Harper, Nicol S; Garcia-Lazaro, Jose A; Lesica, Nicholas A; Schnupp, Jan W H

2017-11-15

The ability to spontaneously feel a beat in music is a phenomenon widely believed to be unique to humans. Though beat perception involves the coordinated engagement of sensory, motor and cognitive processes in humans, the contribution of low-level auditory processing to the activation of these networks in a beat-specific manner is poorly understood. Here, we present evidence from a rodent model that midbrain preprocessing of sounds may already be shaping where the beat is ultimately felt. For the tested set of musical rhythms, on-beat sounds on average evoked higher firing rates than off-beat sounds, and this difference was a defining feature of the set of beat interpretations most commonly perceived by human listeners over others. Basic firing rate adaptation provided a sufficient explanation for these results. Our findings suggest that midbrain adaptation, by encoding the temporal context of sounds, creates points of neural emphasis that may influence the perceptual emergence of a beat. © 2017 The Authors.

Midbrain adaptation may set the stage for the perception of musical beat

Science.gov (United States)

2017-01-01

The ability to spontaneously feel a beat in music is a phenomenon widely believed to be unique to humans. Though beat perception involves the coordinated engagement of sensory, motor and cognitive processes in humans, the contribution of low-level auditory processing to the activation of these networks in a beat-specific manner is poorly understood. Here, we present evidence from a rodent model that midbrain preprocessing of sounds may already be shaping where the beat is ultimately felt. For the tested set of musical rhythms, on-beat sounds on average evoked higher firing rates than off-beat sounds, and this difference was a defining feature of the set of beat interpretations most commonly perceived by human listeners over others. Basic firing rate adaptation provided a sufficient explanation for these results. Our findings suggest that midbrain adaptation, by encoding the temporal context of sounds, creates points of neural emphasis that may influence the perceptual emergence of a beat. PMID:29118141

Improvisation and the self-organization of multiple musical bodies.

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Ashley eWalton

2015-04-01

Full Text Available Understanding everyday behavior relies heavily upon understanding our ability to improvise, how we are able to continuously anticipate and adapt in order to coordinate with our environment and others. Here we consider the ability of musicians to improvise, where they must spontaneously coordinate their actions with co-performers in order to produce novel musical expressions. Investigations of this behavior have traditionally focused on describing the organization of cognitive structures. The focus, here, however, is on the ability of the time-evolving patterns of inter-musician movement coordination as revealed by the mathematical tools of complex dynamical systems to provide a new understanding of what potentiates the novelty of spontaneous musical action. We demonstrate this approach through the application of cross wavelet spectral analysis, which isolates the strength and patterning of the behavioral coordination that occurs between improvising musicians across a range of nested time-scales. Revealing the sophistication of the previously unexplored dynamics of movement coordination between improvising musicians is an important step towards understanding how creative musical expressions emerge from the spontaneous coordination of multiple musical bodies.

Improvisation and the self-organization of multiple musical bodies.

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Walton, Ashley E; Richardson, Michael J; Langland-Hassan, Peter; Chemero, Anthony

2015-01-01

Understanding everyday behavior relies heavily upon understanding our ability to improvise, how we are able to continuously anticipate and adapt in order to coordinate with our environment and others. Here we consider the ability of musicians to improvise, where they must spontaneously coordinate their actions with co-performers in order to produce novel musical expressions. Investigations of this behavior have traditionally focused on describing the organization of cognitive structures. The focus, here, however, is on the ability of the time-evolving patterns of inter-musician movement coordination as revealed by the mathematical tools of complex dynamical systems to provide a new understanding of what potentiates the novelty of spontaneous musical action. We demonstrate this approach through the application of cross wavelet spectral analysis, which isolates the strength and patterning of the behavioral coordination that occurs between improvising musicians across a range of nested time-scales. Revealing the sophistication of the previously unexplored dynamics of movement coordination between improvising musicians is an important step toward understanding how creative musical expressions emerge from the spontaneous coordination of multiple musical bodies.

The Relationship of Listening to Classical Music on First Graders' Ability To Retain Information.

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Lewis, Erin

In traditional reading and CARE lessons (a curriculum used to help students learn to read and identify sounds), music is not played to enhance the learning environment. However, some studies have shown that when music is played during learning experiences there is more retention of the material. This research project compared the traditional…

Expert music performance: cognitive, neural, and developmental bases.

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Brown, Rachel M; Zatorre, Robert J; Penhune, Virginia B

2015-01-01

In this chapter, we explore what happens in the brain of an expert musician during performance. Understanding expert music performance is interesting to cognitive neuroscientists not only because it tests the limits of human memory and movement, but also because studying expert musicianship can help us understand skilled human behavior in general. In this chapter, we outline important facets of our current understanding of the cognitive and neural basis for music performance, and developmental factors that may underlie musical ability. We address three main questions. (1) What is expert performance? (2) How do musicians achieve expert-level performance? (3) How does expert performance come about? We address the first question by describing musicians' ability to remember, plan, execute, and monitor their performances in order to perform music accurately and expressively. We address the second question by reviewing evidence for possible cognitive and neural mechanisms that may underlie or contribute to expert music performance, including the integration of sound and movement, feedforward and feedback motor control processes, expectancy, and imagery. We further discuss how neural circuits in auditory, motor, parietal, subcortical, and frontal cortex all contribute to different facets of musical expertise. Finally, we address the third question by reviewing evidence for the heritability of musical expertise and for how expertise develops through training and practice. We end by discussing outlooks for future work. © 2015 Elsevier B.V. All rights reserved.

INTRODUCTION TOTHE RUSSIAN MUSIC CULTURE AS A WAY OF CHINESE MUSIC TEACHERS TRAINING

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N. G. Таgiltseva

2016-01-01

music, specifics of individual equipment and its esthetic features of each musician. Basic abstracts which are offered to be created by students in the course of such reflection can be used further by them in real professional activity as the main material for the musical analysis of works at school lessons.Practical significance. Recommendations on the ways realization of polyart education, method of prospect and a retrospective, perception and reflection of music and also modern tutorials of students are offered: the computer, a movie camera for vocational training of future music teachers who are trained in cello performance.

The Prospects of Musical Instruments For People with Physical Disabilities

DEFF Research Database (Denmark)

Larsen, Jeppe Veirum; Overholt, Daniel; Moeslund, Thomas B.

2016-01-01

Many forms of enabling technologies exist today. While technologies aimed at enabling basic tasks in everyday life (locomotion, eating, etc.) are more common, musical instruments for people with disabilities can provide a chance for emotional enjoyment, as well as improve physical conditions thro...... instruments, music-supported therapy, and recent trends in the area. The overview is extrapolated to look at where the research is headed, providing insights for potential future work.......Many forms of enabling technologies exist today. While technologies aimed at enabling basic tasks in everyday life (locomotion, eating, etc.) are more common, musical instruments for people with disabilities can provide a chance for emotional enjoyment, as well as improve physical conditions...... through therapeutic use. The field of musical instruments for people with physical disabilities, however, is still an emerging area of research. In this article, we look at the current state of developments, including a survey of custom designed instruments, augmentations / modifications of existing...

Emotion regulation through listening to music in everyday situations.

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Thoma, Myriam V; Ryf, Stefan; Mohiyeddini, Changiz; Ehlert, Ulrike; Nater, Urs M

2012-01-01

Music is a stimulus capable of triggering an array of basic and complex emotions. We investigated whether and how individuals employ music to induce specific emotional states in everyday situations for the purpose of emotion regulation. Furthermore, we wanted to examine whether specific emotion-regulation styles influence music selection in specific situations. Participants indicated how likely it would be that they would want to listen to various pieces of music (which are known to elicit specific emotions) in various emotional situations. Data analyses by means of non-metric multidimensional scaling revealed a clear preference for pieces of music that were emotionally congruent with an emotional situation. In addition, we found that specific emotion-regulation styles might influence the selection of pieces of music characterised by specific emotions. Our findings demonstrate emotion-congruent music selection and highlight the important role of specific emotion-regulation styles in the selection of music in everyday situations.

Music therapy and the resettlement of women prisoners

DEFF Research Database (Denmark)

Leith, Helen

study investigates whether there is a change in the self-perception of women prisoners attending music therapy, and whether, if this is the case, they show an improved ability to engage with prison resettlement interventions. It also examines the impact of different treatment lengths on outcomes. 10...... that women prisoners attending music therapy experienced a change in self-perception. Engagement in music therapy translated into behavioural change outside the music therapy room. Participants showed an increase in self-confidence, self-esteem, self-efficacy, achievement motivation and a number of other...

Field Dependence-Independence and College Nonmusic Majors' Description and Identification of Music Excerpts.

Science.gov (United States)

Ellis, Mark C.

1995-01-01

Investigates the effects of field dependence-independence, gender, previous musical experience, and general music ability on music listening. College students recorded their observations about music excerpts. Weeks later they used these observations to identify the excerpts. Multiple regression analyses examined the contributions of subject…

Music Lesson is Wonderful with“You”%音乐课上有“你”而精彩

Institute of Scientific and Technical Information of China (English)

钱驰新

2014-01-01

Musical instruments into the classroom as a supplementary means in teaching, help students to puzzle the practice in learning, which not only reduces the burden of students’ voice, but also enriches the music teaching content. The instrumental music teaching is also the second creation of students on the basic understanding of music works, it also requires students to divergent thinking memory from aspects of abilities of memory, imitation and imagination.%乐器引进课堂作为教学中的辅助手段，帮助学生在学习中进行益智的实践活动，既减轻了学生的嗓子负担，又丰富了音乐教学内容。器乐教学同时又是学生在认识、理解音乐作品的基础上所进行的“二度创作”，它要求学生对记忆力、模仿力、想象力等诸方面的思维发散。

Short-term Music Training Enhances Complex, Distributed Neural Communication during Music and Linguistic Tasks.

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Carpentier, Sarah M; Moreno, Sylvain; McIntosh, Anthony R

2016-10-01

Musical training is frequently associated with benefits to linguistic abilities, and recent focus has been placed on possible benefits of bilingualism to lifelong executive functions; however, the neural mechanisms for such effects are unclear. The aim of this study was to gain better understanding of the whole-brain functional effects of music and second-language training that could support such previously observed cognitive transfer effects. We conducted a 28-day longitudinal study of monolingual English-speaking 4- to 6-year-old children randomly selected to receive daily music or French language training, excluding weekends. Children completed passive EEG music note and French vowel auditory oddball detection tasks before and after training. Brain signal complexity was measured on source waveforms at multiple temporal scales as an index of neural information processing and network communication load. Comparing pretraining with posttraining, musical training was associated with increased EEG complexity at coarse temporal scales during the music and French vowel tasks in widely distributed cortical regions. Conversely, very minimal decreases in complexity at fine scales and trends toward coarse-scale increases were displayed after French training during the tasks. Spectral analysis failed to distinguish between training types and found overall theta (3.5-7.5 Hz) power increases after all training forms, with spatially fewer decreases in power at higher frequencies (>10 Hz). These findings demonstrate that musical training increased diversity of brain network states to support domain-specific music skill acquisition and music-to-language transfer effects.

Do women prefer more complex music around ovulation?

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Charlton, Benjamin D; Filippi, Piera; Fitch, W Tecumseh

2012-01-01

The evolutionary origins of music are much debated. One theory holds that the ability to produce complex musical sounds might reflect qualities that are relevant in mate choice contexts and hence, that music is functionally analogous to the sexually-selected acoustic displays of some animals. If so, women may be expected to show heightened preferences for more complex music when they are most fertile. Here, we used computer-generated musical pieces and ovulation predictor kits to test this hypothesis. Our results indicate that women prefer more complex music in general; however, we found no evidence that their preference for more complex music increased around ovulation. Consequently, our findings are not consistent with the hypothesis that a heightened preference/bias in women for more complex music around ovulation could have played a role in the evolution of music. We go on to suggest future studies that could further investigate whether sexual selection played a role in the evolution of this universal aspect of human culture.

Do women prefer more complex music around ovulation?

Directory of Open Access Journals (Sweden)

Benjamin D Charlton

Full Text Available The evolutionary origins of music are much debated. One theory holds that the ability to produce complex musical sounds might reflect qualities that are relevant in mate choice contexts and hence, that music is functionally analogous to the sexually-selected acoustic displays of some animals. If so, women may be expected to show heightened preferences for more complex music when they are most fertile. Here, we used computer-generated musical pieces and ovulation predictor kits to test this hypothesis. Our results indicate that women prefer more complex music in general; however, we found no evidence that their preference for more complex music increased around ovulation. Consequently, our findings are not consistent with the hypothesis that a heightened preference/bias in women for more complex music around ovulation could have played a role in the evolution of music. We go on to suggest future studies that could further investigate whether sexual selection played a role in the evolution of this universal aspect of human culture.

Musical cognition in Alzheimer's disease: application of the Montreal Battery of Evaluation of Amusia.

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Campanelli, Alessandra; Rendace, Lidia; Parisi, Francesco; D'Antonio, Fabrizia; Imbriano, Letizia; de Lena, Carlo; Trebbastoni, Alessandro

2016-07-01

The aim of this study was to assess certain musical abilities in 30 patients with Alzheimer's disease (AD) and 30 healthy controls by using the complete version of the Montreal Battery of Evaluation of Amusia (MBEA). This battery evaluates melodic (scale, contour, and interval) and temporal (rhythm and meter) perception of music and musical memory. We found that altered musical processing is a common feature in AD. Despite that, AD subjects show partially spared abilities for temporal organization of music, though not for melodic perception and musical memory. This peculiar dysfunctional pattern could depend on the neurodegenerative involvement of some specific areas for music perception and memory in the brains of AD patients. Further studies are needed to investigate the usefulness of additional musical tests like the MBEA on larger samples to confirm our preliminary data. © 2016 New York Academy of Sciences.

Perpetuating Nigerian Cultures in Musical Arts Education within the ...

African Journals Online (AJOL)

Ike Odimegwu

that the Nigerian child still has the capacity and ability to effectively perform the ... the import of musical arts education and practice in Nigeria during the .... develop with the child. Musical activities in .... Establishment of National movement for.

The Sources of Self-Efficacy: Educational Research and Implications for Music

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Hendricks, Karin S.

2016-01-01

Music teachers can empower students with control over their own music ability development by helping them foster positive self-efficacy beliefs. This article reviews general education and music research concerning Bandura's theoretical four sources of self-efficacy (enactive mastery experience, vicarious experience, verbal/social persuasion, and…

Statistical learning and auditory processing in children with music training: An ERP study.

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Mandikal Vasuki, Pragati Rao; Sharma, Mridula; Ibrahim, Ronny; Arciuli, Joanne

2017-07-01

The question whether musical training is associated with enhanced auditory and cognitive abilities in children is of considerable interest. In the present study, we compared children with music training versus those without music training across a range of auditory and cognitive measures, including the ability to detect implicitly statistical regularities in input (statistical learning). Statistical learning of regularities embedded in auditory and visual stimuli was measured in musically trained and age-matched untrained children between the ages of 9-11years. In addition to collecting behavioural measures, we recorded electrophysiological measures to obtain an online measure of segmentation during the statistical learning tasks. Musically trained children showed better performance on melody discrimination, rhythm discrimination, frequency discrimination, and auditory statistical learning. Furthermore, grand-averaged ERPs showed that triplet onset (initial stimulus) elicited larger responses in the musically trained children during both auditory and visual statistical learning tasks. In addition, children's music skills were associated with performance on auditory and visual behavioural statistical learning tasks. Our data suggests that individual differences in musical skills are associated with children's ability to detect regularities. The ERP data suggest that musical training is associated with better encoding of both auditory and visual stimuli. Although causality must be explored in further research, these results may have implications for developing music-based remediation strategies for children with learning impairments. Copyright © 2017 International Federation of Clinical Neurophysiology. Published by Elsevier B.V. All rights reserved.

The cognitive organization of music knowledge: a clinical analysis.

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Omar, Rohani; Hailstone, Julia C; Warren, Jane E; Crutch, Sebastian J; Warren, Jason D

2010-04-01

Despite much recent interest in the clinical neuroscience of music processing, the cognitive organization of music as a domain of non-verbal knowledge has been little studied. Here we addressed this issue systematically in two expert musicians with clinical diagnoses of semantic dementia and Alzheimer's disease, in comparison with a control group of healthy expert musicians. In a series of neuropsychological experiments, we investigated associative knowledge of musical compositions (musical objects), musical emotions, musical instruments (musical sources) and music notation (musical symbols). These aspects of music knowledge were assessed in relation to musical perceptual abilities and extra-musical neuropsychological functions. The patient with semantic dementia showed relatively preserved recognition of musical compositions and musical symbols despite severely impaired recognition of musical emotions and musical instruments from sound. In contrast, the patient with Alzheimer's disease showed impaired recognition of compositions, with somewhat better recognition of composer and musical era, and impaired comprehension of musical symbols, but normal recognition of musical emotions and musical instruments from sound. The findings suggest that music knowledge is fractionated, and superordinate musical knowledge is relatively more robust than knowledge of particular music. We propose that music constitutes a distinct domain of non-verbal knowledge but shares certain cognitive organizational features with other brain knowledge systems. Within the domain of music knowledge, dissociable cognitive mechanisms process knowledge derived from physical sources and the knowledge of abstract musical entities.

Features of development of coordination abilities features of athletes in sports aerobics in initial training

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I.A. Bodrenkova

2014-12-01

Full Text Available Purpose : to develop theoretically and experimentally justify the methodology of development of coordination abilities of athletes aged 7-9 years involved in sports aerobics. Material : the study involved 20 participants (7-9 years. 8 athletes performed the test tasks. The choice of tests carried out on the basis of the analysis of the dominant motor mode competition exercises. Results : It was found that the coordination abilities are necessary in the development of speed, density, and the number of running technical elements. With more than a significant increase in performance test tasks that characterize: musicality, coordination, dynamic balance. The basic tools, methods, techniques, and requirements for the exercises. The level of development of coordination abilities. Conclusions : the author's method of development of coordination abilities include: rational choice of means and methods of training impact on their similarities and differences with the target competitive activity.

Clinical Guide to Music Therapy in Physical Rehabilitation Settings

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Wong, Elizabeth

2004-01-01

Elizabeth Wong, MT-BC presents tools and information designed to arm the entry-level music therapist (or an experienced MT-BC new to rehabilitation settings) with basic knowledge and materials to develop or work in a music therapy program treating people with stroke, brain injury, and those who are ventilator dependent. Ms. Wong offers goals and…

Sensitivity to musical emotions in congenital amusia.

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Gosselin, Nathalie; Paquette, Sébastien; Peretz, Isabelle

2015-10-01

The emotional experience elicited by music is largely dependent on structural characteristics such as pitch, rhythm, and dynamics. We examine here to what extent amusic adults, who have experienced pitch perception difficulties all their lives, still maintain some ability to perceive emotions from music. Amusic and control participants judged the emotions expressed by unfamiliar musical clips intended to convey happiness, sadness, fear and peacefulness (Experiment 1A). Surprisingly, most amusic individuals showed normal recognition of the four emotions tested here. This preserved ability was not due to some peculiarities of the music, since the amusic individuals showed a typical deficit in perceiving pitch violations intentionally inserted in the same clips (Experiment 1B). In Experiment 2, we tested the use of two major structural determinants of musical emotions: tempo and mode. Neutralization of tempo had the same effect on both amusics' and controls' emotional ratings. In contrast, amusics did not respond to a change of mode as markedly as controls did. Moreover, unlike the control participants, amusics' judgments were not influenced by subtle differences in pitch, such as the number of semitones changed by the mode manipulation. Instead, amusics showed normal sensitivity to fluctuations in energy, to pulse clarity, and to timbre differences, such as roughness. Amusics even showed sensitivity to key clarity and to large mean pitch differences in distinguishing happy from sad music. Thus, the pitch perception deficit experienced by amusic adults had only mild consequences on emotional judgments. In sum, emotional responses to music may be possible in this condition. Copyright © 2015 Elsevier Ltd. All rights reserved.

Neurophysiological influence of musical training on speech perception.

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Shahin, Antoine J

2011-01-01

Does musical training affect our perception of speech? For example, does learning to play a musical instrument modify the neural circuitry for auditory processing in a way that improves one's ability to perceive speech more clearly in noisy environments? If so, can speech perception in individuals with hearing loss (HL), who struggle in noisy situations, benefit from musical training? While music and speech exhibit some specialization in neural processing, there is evidence suggesting that skills acquired through musical training for specific acoustical processes may transfer to, and thereby improve, speech perception. The neurophysiological mechanisms underlying the influence of musical training on speech processing and the extent of this influence remains a rich area to be explored. A prerequisite for such transfer is the facilitation of greater neurophysiological overlap between speech and music processing following musical training. This review first establishes a neurophysiological link between musical training and speech perception, and subsequently provides further hypotheses on the neurophysiological implications of musical training on speech perception in adverse acoustical environments and in individuals with HL.

The Mozart Effect: Music Listening Is Not Music Instruction

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Rauscher, Frances H.; Hinton, Sean C.

2006-01-01

"The Mozart effect" originally referred to the phenomenon of a brief enhancement of spatial-temporal abilities in college students after listening to a Mozart piano sonata (K. 448). Over time, this term was conflated with an independent series of studies on the effects of music instruction. This occurrence has caused confusion that has been…

A multi-disciplinary approach to the origins of music: perspectives from anthropology, archaeology, cognition and behaviour.

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Morley, Iain

2014-01-01

Archaeological evidence for musical activities pre-dates even the earliest-known cave art and it remains the case that no human culture has yet been encountered that does not practise some recognisably musical activity. Yet the human abilities to make and appreciate music have been described as "amongst the most mysterious with which [we are] endowed" (Charles Darwin, 1872) and music itself as "the supreme mystery of the science of man" (Claude Levi-Strauss, 1970). Like language, music has been the subject of keen investigation across a great diversity of fields, from neuroscience and psychology, to ethnography, to studies of its structures in its own dedicated field, musicology; unlike the evolution of human language abilities, it is only recently that the origins of musical capacities have begun to receive dedicated attention. It is increasingly clear that human musical abilities are fundamentally related to other important human abilities, yet much remains mysterious about this ubiquitous human phenomenon, not least its prehistoric origins. It is evident that no single field of investigation can address the wide range of issues relevant to answering the question of music's origins. This review brings together evidence from a wide range of anthropological and human sciences, including palaeoanthropology, archaeology, neuroscience, primatology and developmental psychology, in an attempt to elucidate the nature of the foundations of music, how they have evolved, and how they are related to capabilities underlying other important human behaviours. It is proposed that at their most fundamental level musical behaviours (including both vocalisation and dance) are forms of deliberate metrically-organised gesture, and constitute a specialised use of systems dedicated to the expression and comprehension of social and emotional information between individuals. The abilities underlying these behaviours are selectively advantageous themselves; in addition, various mechanisms

The pleasures of sad music: a systematic review.

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Sachs, Matthew E; Damasio, Antonio; Habibi, Assal

2015-01-01

Sadness is generally seen as a negative emotion, a response to distressing and adverse situations. In an aesthetic context, however, sadness is often associated with some degree of pleasure, as suggested by the ubiquity and popularity, throughout history, of music, plays, films and paintings with a sad content. Here, we focus on the fact that music regarded as sad is often experienced as pleasurable. Compared to other art forms, music has an exceptional ability to evoke a wide-range of feelings and is especially beguiling when it deals with grief and sorrow. Why is it, then, that while human survival depends on preventing painful experiences, mental pain often turns out to be explicitly sought through music? In this article we consider why and how sad music can become pleasurable. We offer a framework to account for how listening to sad music can lead to positive feelings, contending that this effect hinges on correcting an ongoing homeostatic imbalance. Sadness evoked by music is found pleasurable: (1) when it is perceived as non-threatening; (2) when it is aesthetically pleasing; and (3) when it produces psychological benefits such as mood regulation, and empathic feelings, caused, for example, by recollection of and reflection on past events. We also review neuroimaging studies related to music and emotion and focus on those that deal with sadness. Further exploration of the neural mechanisms through which stimuli that usually produce sadness can induce a positive affective state could help the development of effective therapies for disorders such as depression, in which the ability to experience pleasure is attenuated.

The shared neural basis of music and language.

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Yu, Mengxia; Xu, Miao; Li, Xueting; Chen, Zhencai; Song, Yiying; Liu, Jia

2017-08-15

Human musical ability is proposed to play a key phylogenetical role in the evolution of language, and the similarity of hierarchical structure in music and language has led to considerable speculation about their shared mechanisms. While behavioral and electrophysioglocial studies have revealed associations between music and linguistic abilities, results from functional magnetic resonance imaging (fMRI) studies on their relations are contradictory, possibly because these studies usually treat music or language as single entities without breaking down to their components. Here, we examined the relations between different components of music (i.e., melodic and rhythmic analysis) and language (i.e., semantic and phonological processing) using both behavioral tests and resting-state fMRI. Behaviorally, we found that individuals with music training experiences were better at semantic processing, but not at phonological processing, than those without training. Further correlation analyses showed that semantic processing of language was related to melodic, but not rhythmic, analysis of music. Neurally, we found that performances in both semantic processing and melodic analysis were correlated with spontaneous brain activities in the bilateral precentral gyrus (PCG) and superior temporal plane at the regional level, and with the resting-state functional connectivity of the left PCG with the left supramarginal gyrus and left superior temporal gyrus at the network level. Together, our study revealed the shared spontaneous neural basis of music and language based on the behavioral link between melodic analysis and semantic processing, which possibly relied on a common mechanism of automatic auditory-motor integration. Copyright © 2017 IBRO. Published by Elsevier Ltd. All rights reserved.

USAGE OF PICTOGRAMS TO INTRODUCE MUSICAL INSTRUMENTS TO EDUCABLE MENTALLY RETARDED CHILDREN AS AN ALTERNATIVE METHOD

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Gunsu YILMA

2014-01-01

Full Text Available The purpose of this research is to examine and investigate the perception ability of musical instruments of educable mentally retarded children with the support of visual elements. The research is conducted for every children individually in a special education and rehabilitation centre. The problematic of this research is the level of perception ability of musical instruments with visual support on mild mentally retarded children. In this research, perception ability of defining pictograms by music is introduced as an alternative method. It is researched that how educable mentally retarded children perceive pictograms by music tools. In this case, it is aimed to introduce musical instruments to educable mentally retarded children by pictograms with music. The research is applied with a qualitative approach. Data were obtained with the recorder, then they were turned into texts and analyzed with content analysis method.

Stimulating and relaxing effect of apperception music in the context of martial arts

OpenAIRE

ŠPIČKA, Roman

2013-01-01

The work deals with the influence of music on mental and physical manifestations of a personality in the practice of the Taekwon-Do. The theoretical part describes the history and the present of the Taekwon-Do, the basic structure of the music therapy and various effects of music, Taekwon-Do exercises and a relaxation. The practical part compares four groups of probands who practiced or relaxed listening to a music or without any music. My research was focused on the emotional level and the h...

Personality traits of a music teacher

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Bogunović Blanka D.

2006-01-01

Full Text Available In the context of individual musical instrument teaching, pedagogical abilities of a music teacher and the atmosphere he creates, result from his personality traits and can be of crucial importance for the initial and further progress of his students. The paper seeks to: describe the personality of a music instrument teacher, determine the differences in comparison to a group of non-musicians, and determine the position of personal characteristics in the structure of general and professional teacher profile. The sample comprised 60 individuals, teaching various musical instruments in five primary music schools. The research method is explorative and based on the use of the five-factor personality model (NEO PI-R was administered. The findings show that music teachers display a higher level of: openness, agreeableness and conscientiousness. The degree of congruence with the findings of other research is discussed and certain similarities were found, as well as differences stemming from professional and cultural specificities. Differences are proved to exist in relation to gender, musical instrument, working experience, degree of musical education and active public performance. Compared to non-musical population, it is confirmed that teachers of instrument in musical education represent a distinctive group. There are also differences between teachers who are oriented to pedagogic work only and those who, in addition, actively perform in public. Selection of teachers, according to characteristics which may be connected to students’ accomplishment, is a practical implication relevant for the music education.

Musical Development and Learning Characteristics of Students: A Compilation of Key Points from the Research Literature Organized by Age

Science.gov (United States)

Gooding, Lori; Standley, Jayne M.

2011-01-01

Development involves progressive changes in knowledge and abilities that occur across the life span. Current research on musical abilities suggests that the development of skills necessary for musicality begins in utero and continues through adulthood. Many of these skills, such as the ability to carry a tune, move in time to music, and respond…

Selective preservation of the beat in apperceptive music agnosia: a case study.

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Baird, Amee D; Walker, David G; Biggs, Vivien; Robinson, Gail A

2014-04-01

Music perception involves processing of melodic, temporal and emotional dimensions that have been found to dissociate in healthy individuals and after brain injury. Two components of the temporal dimension have been distinguished, namely rhythm and metre. We describe an 18 year old male musician 'JM' who showed apperceptive music agnosia with selectively preserved metre perception, and impaired recognition of sad and peaceful music relative to age and music experience matched controls after resection of a right temporoparietal tumour. Two months post-surgery JM underwent a comprehensive neuropsychological evaluation including assessment of his music perception abilities using the Montreal Battery for Evaluation of Amusia (MBEA, Peretz, Champod, & Hyde, 2003). He also completed several experimental tasks to explore his ability to recognise famous songs and melodies, emotions portrayed by music and a broader range of environmental sounds. Five age-, gender-, education- and musical experienced-matched controls were administered the same experimental tasks. JM showed selective preservation of metre perception, with impaired performances compared to controls and scoring below the 5% cut-off on all MBEA subtests, except for the metric condition. He could identify his favourite songs and environmental sounds. He showed impaired recognition of sad and peaceful emotions portrayed in music relative to controls but intact ability to identify happy and scary music. This case study contributes to the scarce literature documenting a dissociation between rhythmic and metric processing, and the rare observation of selectively preserved metric interpretation in the context of apperceptive music agnosia. It supports the notion that the anterior portion of the superior temporal gyrus (STG) plays a role in metric processing and provides the novel observation that selectively preserved metre is sufficient to identify happy and scary, but not sad or peaceful emotions portrayed in music

The sound of music: differentiating musicians using a fast, musical multi-feature mismatch negativity paradigm.

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Vuust, Peter; Brattico, Elvira; Seppänen, Miia; Näätänen, Risto; Tervaniemi, Mari

2012-06-01

Musicians' skills in auditory processing depend highly on instrument, performance practice, and on level of expertise. Yet, it is not known though whether the style/genre of music might shape auditory processing in the brains of musicians. Here, we aimed at tackling the role of musical style/genre on modulating neural and behavioral responses to changes in musical features. Using a novel, fast and musical sounding multi-feature paradigm, we measured the mismatch negativity (MMN), a pre-attentive brain response, to six types of musical feature change in musicians playing three distinct styles of music (classical, jazz, rock/pop) and in non-musicians. Jazz and classical musicians scored higher in the musical aptitude test than band musicians and non-musicians, especially with regards to tonal abilities. These results were extended by the MMN findings: jazz musicians had larger MMN-amplitude than all other experimental groups across the six different sound features, indicating a greater overall sensitivity to auditory outliers. In particular, we found enhanced processing of pith and sliding up to pitches in jazz musicians only. Furthermore, we observed a more frontal MMN to pitch and location compared to the other deviants in jazz musicians and left lateralization of the MMN to timbre in classical musicians. These findings indicate that the characteristics of the style/genre of music played by musicians influence their perceptual skills and the brain processing of sound features embedded in a musical context. Musicians' brain is hence shaped by the type of training, musical style/genre, and listening experiences. Copyright © 2012 Elsevier Ltd. All rights reserved.

Mentalising music in frontotemporal dementia.

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Downey, Laura E; Blezat, Alice; Nicholas, Jennifer; Omar, Rohani; Golden, Hannah L; Mahoney, Colin J; Crutch, Sebastian J; Warren, Jason D

2013-01-01

Despite considerable recent interest, the biological basis and clinical diagnosis of behavioural variant frontotemporal dementia (bvFTD) pose unresolved problems. Mentalising (the cognitive capacity to interpret the behaviour of oneself and others in terms of mental states) is impaired as a prominent feature of bvFTD, consistent with involvement of brain regions including ventro-medial prefrontal cortex (PFC), orbitofrontal cortex and anterior temporal lobes. Here, we investigated mentalising ability in a cohort of patients with bvFTD using a novel modality: music. We constructed a novel neuropsychological battery requiring attribution of affective mental or non-mental associations to musical stimuli. Mentalising performance of patients with bvFTD (n = 20) was assessed in relation to matched healthy control subjects (n = 20); patients also had a comprehensive assessment of behaviour and general neuropsychological functions. Neuroanatomical correlates of performance on the experimental tasks were investigated using voxel-based morphometry of patients' brain magnetic resonance imaging (MRI) scans. Compared to healthy control subjects, patients showed impaired ability to attribute mental states but not non-mental characteristics to music, and this deficit correlated with performance on a standard test of social inference and with carer ratings of patients' empathic capacity, but not with other potentially relevant measures of general neuropsychological function. Mentalising performance in the bvFTD group was associated with grey matter changes in anterior temporal lobe and ventro-medial PFC. These findings suggest that music can represent surrogate mental states and the ability to construct such mental representations is impaired in bvFTD, with potential implications for our understanding of the biology of bvFTD and human social cognition more broadly. Copyright © 2012 Elsevier Ltd. All rights reserved.

Music and dyslexia: A new musical training method to improve reading and related disorders

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Michel eHabib

2016-01-01

Full Text Available Numerous arguments in the recent neuroscientific literature support the use of musical training as a therapeutic tool among the arsenal already available to therapists and educators for treating children with dyslexia. In the present study, we tested the efficacy of a specially-designed Cognitivo-Musical Training (CMT protocol based upon three principles : 1- music-language analogies : training dyslexics with music could contribute to improve brain circuits which are common to music and language processes; 2 – the temporal and rhythmic features of music, which could exert a positive effect on the multiple dimensions of the temporal deficit characteristic of dyslexia; and 3- cross-modal integration, based on converging evidence of impaired connectivity in dyslexia and related disorders. Accordingly, we developed a series of musical exercises involving jointly and simultaneously sensory (visual, auditory, somatosensory and motor systems, with special emphasis on rhythmic perception and production in addition to intensive training of various features of the musical auditory signal. Two separate studies were carried out, one in which dyslexic children received intensive musical exercises concentrated over 18 hours during three consecutive days, and the other in which the 18 hours of musical training were spread over six weeks. Both studies showed significant improvements in some untrained, linguistic and non-linguistic variables. The first one yielded significant improvement in categorial perception and auditory perception of temporal components of speech. The second study revealed additional improvements in auditory attention, phonological awareness (syllable fusion, reading abilities and repetition of pseudo-words. Importantly, most improvements persisted after an untrained period of 6 weeks. These results provide new additional arguments for using music as part of systematic therapeutic and instructional practice for dyslexic children.

“So empty without me”Intermediality, intertextuality and non-musical factors in the evaluation of pop music: The (not so) strange case of MTV and Eminem

OpenAIRE

Sibilla, Gianni

2006-01-01

This paper deals with the role of media in diffusing music, focusing particularly on music videos and Eminem’s Without Me. It will try to demonstrate that, with the ever growing role of media in imposing artists characterized by a good look or ability to impose their figure through controversies, we can say that music is no longer evaluated or judged by following “traditional” critical terms that rely on music itself. The aesthetic concerns of pop music texts now focus mainly on the co-textua...

Apollo's gift: new aspects of neurologic music therapy.

Science.gov (United States)

Altenmüller, Eckart; Schlaug, Gottfried

2015-01-01

Music listening and music making activities are powerful tools to engage multisensory and motor networks, induce changes within these networks, and foster links between distant, but functionally related brain regions with continued and life-long musical practice. These multimodal effects of music together with music's ability to tap into the emotion and reward system in the brain can be used to facilitate and enhance therapeutic approaches geared toward rehabilitating and restoring neurological dysfunctions and impairments of an acquired or congenital brain disorder. In this article, we review plastic changes in functional networks and structural components of the brain in response to short- and long-term music listening and music making activities. The specific influence of music on the developing brain is emphasized and possible transfer effects on emotional and cognitive processes are discussed. Furthermore, we present data on the potential of using musical tools and activities to support and facilitate neurorehabilitation. We will focus on interventions such as melodic intonation therapy and music-supported motor rehabilitation to showcase the effects of neurologic music therapies and discuss their underlying neural mechanisms. © 2015 Elsevier B.V. All rights reserved.

Music, affect, method, data: reflections on the Carroll versus Kivy debate.

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Konecni, Vladimir J

2013-01-01

The comprehensive exchange between Noel Carroll and Peter Kivy, which took place in 2007, addressed key issues in the relationship between music and affect. More than in any prior philosophical debate on this topic, experimental psychologists' methods and data played a significant role. However, to a nontrivial extent, the findings-perhaps especially the dubious-were misconstrued or misused, usually without acknowledging the existence of contrary data-based opinion within the psychology of music itself. Therefore, one objective of the present article is to identify the specific problematic features and shed light on the broader context shared by the two disciplines. A complementary goal is to examine contributions to philosophers' transgressions by music psychologists' insufficiently conscientious reporting, frequent overgeneralizations, and unawareness of philosophers' critical arguments. Another objective is to examine the current status of key concepts-the relevant music, basic emotions, mood, expression, induction, movement and dance, and methods (including introspection and experimental procedures)-thus perhaps enabling the discussion of music and affect to proceed with fewer misunderstandings. Finally, the article moves beyond the initial debate and builds on a remarkable agreement of philosophical and psychological opinion on a key issue (the induction of non-basic emotions by absolute music) to reach a new conceptual ground.

Improvisation as Ability, Culture, and Experience

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Higgins, Lee; Mantie, Roger

2013-01-01

We argue in this article for greater role for improvisation in the music classroom. Based on an extensive examination of scholarship about improvisational practices, we propose three conceptualizations--ability, culture, experience--that can serve to guide the teaching of improvisation. When considered as an "ability," improvisation is a…

A descriptive study of Myers-Briggs personality types of professional music educators and music therapists with comparisons to undergraduate majors.

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Steele, Anita Louise; Young, Sylvester

2011-01-01

The purpose of the current study was to determine personality types and demographic characteristics of professional music educators and music therapists. The researchers also sought to determine if personality types of professionals were consistent with undergraduate majors in those fields and personal characteristics as suggested by The Music Education National Conference (MENC) and the American Music Therapy Association (AMTA). The research of Steele and Young (2008) found strong similarities and some differences between undergraduate music education and music therapy students. The possibility that basic types extend across the life span may strengthen understanding of job satisfaction, stress, burn out and other factors affecting retention. Participants were a voluntary convenience sample of 253 music educators (n=110) and music therapists (n=143). The highest preference for music educators was Extrovert-Intuition-Feeling-Judgment (ENFJ) and the highest preference for music therapists was Introvert-Intuition-Feeling-Judgment (INFJ). The difference in the collective type of each group was their "outlook on life", which was either Extrovert or Introvert. However, both groups were the same in their secondary type functions of "NFJ". A comparison of findings with the Steele and Young (2008) study suggested small changes in personality type over time. Caution must be exercised in generalizing findings; however this descriptive investigation may serve as the basis for future studies, which should help foster a stable work force in these professions.

Emotions evoked by the sound of music: characterization, classification, and measurement.

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Zentner, Marcel; Grandjean, Didier; Scherer, Klaus R

2008-08-01

One reason for the universal appeal of music lies in the emotional rewards that music offers to its listeners. But what makes these rewards so special? The authors addressed this question by progressively characterizing music-induced emotions in 4 interrelated studies. Studies 1 and 2 (n=354) were conducted to compile a list of music-relevant emotion terms and to study the frequency of both felt and perceived emotions across 5 groups of listeners with distinct music preferences. Emotional responses varied greatly according to musical genre and type of response (felt vs. perceived). Study 3 (n=801)--a field study carried out during a music festival--examined the structure of music-induced emotions via confirmatory factor analysis of emotion ratings, resulting in a 9-factorial model of music-induced emotions. Study 4 (n=238) replicated this model and found that it accounted for music-elicited emotions better than the basic emotion and dimensional emotion models. A domain-specific device to measure musically induced emotions is introduced--the Geneva Emotional Music Scale.

The role of music in deaf culture: deaf students' perception of emotion in music.

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Darrow, Alice-Ann

2006-01-01

Although emotional interpretation of music is an individual and variable experience, researchers have found that typical listeners are quite consistent in associating basic or primary emotions such as happiness, sadness, fear, and anger to musical compositions. It has been suggested that an individual with a sensorineural hearing loss, or any lesion in auditory perceptors in the brain may have trouble perceiving music emotionally. The purpose of the present study was to investigate whether students with a hearing loss who associate with the deaf culture, assign the same emotions to music as students without a hearing loss. Sixty-two elementary and junior high students at a Midwestern state school for the deaf and students at neighboring elementary and junior high schools served as participants. Participants at the state school for the deaf had hearing losses ranging from moderate to severe. Twelve film score excerpts, composed to depict the primary emotions-happiness, sadness, and fear, were used as the musical stimuli. Participants were asked to assign an emotion to each excerpt. Results indicated a significant difference between the Deaf and typical hearing participants' responses, with hearing participants' responses more in agreement with the composers' intent. No significant differences were found for age or gender. Analyses of the Deaf participants' responses indicate that timbre, texture, and rhythm are perhaps the musical elements most influential in transmitting emotion to persons with a hearing loss. Adaptive strategies are suggested for assisting children who are deaf in accessing the elements of music intended to portray emotion.

Music playschool enhances children's linguistic skills.

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Linnavalli, Tanja; Putkinen, Vesa; Lipsanen, Jari; Huotilainen, Minna; Tervaniemi, Mari

2018-06-08

Several studies have suggested that intensive musical training enhances children's linguistic skills. Such training, however, is not available to all children. We studied in a community setting whether a low-cost, weekly music playschool provided to 5-6-year-old children in kindergartens could already affect their linguistic abilities. Children (N = 66) were tested four times over two school-years with Phoneme processing and Vocabulary subtests, along with tests for Perceptual reasoning skills and Inhibitory control. We compared the development of music playschool children to their peers either attending to similarly organized dance lessons or not attending to either activity. Music playschool significantly improved the development of children's phoneme processing and vocabulary skills. No such improvements on children's scores for non-verbal reasoning and inhibition were obtained. Our data suggest that even playful group music activities - if attended to for several years - have a positive effect on pre-schoolers' linguistic skills. Therefore we promote the concept of implementing regular music playschool lessons given by professional teachers in early childhood education.

Professional Competence and Basic Ability-Oriented Game Theory Analysis of China's Higher Vocational College English Teaching

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Zhang, Jian

2012-01-01

To strengthen the professional competence and basic ability is the objective requirements of the Chinese higher vocational college English teaching, while the positioning of the teaching objectives is partial to a "prisoner's dilemma" in game situations that any party will result in. To get rid of the "dilemma", we have to…

Experimenting with musical intervals

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Lo Presto, Michael C.

2003-07-01

When two tuning forks of different frequency are sounded simultaneously the result is a complex wave with a repetition frequency that is the fundamental of the harmonic series to which both frequencies belong. The ear perceives this 'musical interval' as a single musical pitch with a sound quality produced by the harmonic spectrum responsible for the waveform. This waveform can be captured and displayed with data collection hardware and software. The fundamental frequency can then be calculated and compared with what would be expected from the frequencies of the tuning forks. Also, graphing software can be used to determine equations for the waveforms and predict their shapes. This experiment could be used in an introductory physics or musical acoustics course as a practical lesson in superposition of waves, basic Fourier series and the relationship between some of the ear's subjective perceptions of sound and the physical properties of the waves that cause them.

Jean-Martin Charcot's role in the 19th century study of music aphasia.

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Johnson, Julene K; Lorch, Marjorie; Nicolas, Serge; Graziano, Amy

2013-05-01

Jean-Martin Charcot (1825-93) was a well-known French neurologist. Although he is widely recognized for his discovery of several neurological disorders and his research into aphasia, Charcot's ideas about how the brain processes music are less well known. Charcot discussed the music abilities of several patients in the context of his 'Friday Lessons' on aphasia, which took place at the Salpêtrière Hospital in Paris in 1883-84. In his most comprehensive discussion about music, Charcot described a professional trombone player who developed difficulty copying music notation and playing his instrument, thereby identifying a new isolated syndrome of music agraphia without aphasia. Because the description of this case was published only in Italian by one of his students, Domenico Miliotti, there has been considerable confusion and under-acknowledgement of Charcot's ideas about music and the brain. In this paper, we describe Charcot's ideas regarding music and place them within the historical context of the growing interest in the neurological underpinnings of music abilities that took place in the 1880s.

The entry to Kolarac foundation: Cultural activity and music audience

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Hadžibulić Sabina

2016-01-01

Full Text Available The Foundation of Ilija Milosavljević Kolarac (also known as Kolarac Foundation; in Serbian: Kolarčeva zadužbina was established simultaneously with the development of the most important modern cultural institutions in Serbia in the 19th century. The quality and diversity of the program, the ability to recognize important topics in the current time, as well as preservation of the old and encouragement of new ideas in almost all domains of art and science have contributed to its unquestionable reputation throughout the region. However, there have been no significant academic attempts to approach its work analytically and, in particular, its audience. The aim of this paper is to give an overview of the work of Kolarac Foundation by presenting the origin and history of the institution, followed by an analysis of the program of all its activities in the first ten seasons of the new millennium. The central part of the paper is an analysis of its cultural activity in the given period. Finally, by using empirical data, the music audence of Great Hall (Velika Dvorana of Kolarac Foundation is profiled through its basic socio-demographic characteristics and music practices. The music audience mainly consisted of women, highly educated professionals with a high material standard. The share of the oldest and those from 21 to 30 years old is the highest and, at the same time, equal. This audience is authentically fond of music, with no exceptions at all. Its members listen to music on everyday basis, and they were attending concerts in the year before the investigation. They find music to be an inevitable part of their lives, and cannot imagine emotional expression or making friendships without it. Finally, they sincerely like coming to Kolarac Foundation since they find it to be a place that has all the positive treats of a good cultural institution.

Defining the biological bases of individual differences in musicality.

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Gingras, Bruno; Honing, Henkjan; Peretz, Isabelle; Trainor, Laurel J; Fisher, Simon E

2015-03-19

Advances in molecular technologies make it possible to pinpoint genomic factors associated with complex human traits. For cognition and behaviour, identification of underlying genes provides new entry points for deciphering the key neurobiological pathways. In the past decade, the search for genetic correlates of musicality has gained traction. Reports have documented familial clustering for different extremes of ability, including amusia and absolute pitch (AP), with twin studies demonstrating high heritability for some music-related skills, such as pitch perception. Certain chromosomal regions have been linked to AP and musical aptitude, while individual candidate genes have been investigated in relation to aptitude and creativity. Most recently, researchers in this field started performing genome-wide association scans. Thus far, studies have been hampered by relatively small sample sizes and limitations in defining components of musicality, including an emphasis on skills that can only be assessed in trained musicians. With opportunities to administer standardized aptitude tests online, systematic large-scale assessment of musical abilities is now feasible, an important step towards high-powered genome-wide screens. Here, we offer a synthesis of existing literatures and outline concrete suggestions for the development of comprehensive operational tools for the analysis of musical phenotypes. © 2015 The Author(s) Published by the Royal Society. All rights reserved.

Defining the biological bases of individual differences in musicality

Science.gov (United States)

Gingras, Bruno; Honing, Henkjan; Peretz, Isabelle; Trainor, Laurel J.; Fisher, Simon E.

2015-01-01

Advances in molecular technologies make it possible to pinpoint genomic factors associated with complex human traits. For cognition and behaviour, identification of underlying genes provides new entry points for deciphering the key neurobiological pathways. In the past decade, the search for genetic correlates of musicality has gained traction. Reports have documented familial clustering for different extremes of ability, including amusia and absolute pitch (AP), with twin studies demonstrating high heritability for some music-related skills, such as pitch perception. Certain chromosomal regions have been linked to AP and musical aptitude, while individual candidate genes have been investigated in relation to aptitude and creativity. Most recently, researchers in this field started performing genome-wide association scans. Thus far, studies have been hampered by relatively small sample sizes and limitations in defining components of musicality, including an emphasis on skills that can only be assessed in trained musicians. With opportunities to administer standardized aptitude tests online, systematic large-scale assessment of musical abilities is now feasible, an important step towards high-powered genome-wide screens. Here, we offer a synthesis of existing literatures and outline concrete suggestions for the development of comprehensive operational tools for the analysis of musical phenotypes. PMID:25646515

Music: Its Expressive Power and Moral Significance

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Sarah Whitfield

2010-05-01

Full Text Available The creation and practice of music is tightly wound with human emotion, character, and experience. Music arouses sentiment and cannot be underestimated as a powerful shaper of human virtue, character, and emotion. As vehicles of musical expression, musicians possess the ability to profoundly influence an audience for good or for evil. Thus, the nature of music and the manner in which musicians utilize it creates innumerable ramifications that cannot be ignored. The pervasiveness of this notion is largely attributed to the Greek theorists, who ascribed various emotions and moral implications to particular modes. The prominent Greek philosophers Plato and Aristotle affirmed that music contained an intrinsic element that was conducive to the promotion of moral or spiritual harmony and order in the soul. Plato and his contemporaries attributed specific character-forming qualities to each of the individual harmonia, or musical modes, believing that each could shape human character in a distinct way. These ideas inevitably persisted and continue to endure. Theorists throughout history have agreed that music profoundly influences human character and shapes morality.

Musical Training and Late-Life Cognition.

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Gooding, Lori F; Abner, Erin L; Jicha, Gregory A; Kryscio, Richard J; Schmitt, Fredrick A

2014-06-01

This study investigated the effects of early- to midlife musical training on cognition in older adults. A musical training survey examined self-reported musical experience and objective knowledge in 237 cognitively intact participants. Responses were classified into low-, medium-, and high-knowledge groups. Linear mixed models compared the groups' longitudinal performance on the Animal Naming Test (ANT; semantic verbal fluency) and Logical Memory Story A Immediate Recall (LMI; episodic memory) controlling for baseline age, time since baseline, education, sex, and full-scale IQ. Results indicate that high-knowledge participants had significantly higher LMI scores at baseline and over time compared to low-knowledge participants. The ANT scores did not differ among the groups. Ability to read music was associated with higher mean scores for both ANT and LMI over time. Early- to midlife musical training may be associated with improved late-life episodic and semantic memory as well as a useful marker of cognitive reserve. © The Author(s) 2013.

Relationship between spectrotemporal modulation detection and music perception in normal-hearing, hearing-impaired, and cochlear implant listeners.

Science.gov (United States)

Choi, Ji Eun; Won, Jong Ho; Kim, Cheol Hee; Cho, Yang-Sun; Hong, Sung Hwa; Moon, Il Joon

2018-01-15

The objective of this study was to examine the relationship between spectrotemporal modulation (STM) sensitivity and the ability to perceive music. Ten normal-nearing (NH) listeners, ten hearing aid (HA) users with moderate hearing loss, and ten cochlear Implant (CI) users participated in this study. Three different types of psychoacoustic tests including spectral modulation detection (SMD), temporal modulation detection (TMD), and STM were administered. Performances on these psychoacoustic tests were compared to music perception abilities. In addition, psychoacoustic mechanisms involved in the improvement of music perception through HA were evaluated. Music perception abilities in unaided and aided conditions were measured for HA users. After that, HA benefit for music perception was correlated with aided psychoacoustic performance. STM detection study showed that a combination of spectral and temporal modulation cues were more strongly correlated with music perception abilities than spectral or temporal modulation cues measured separately. No correlation was found between music perception performance and SMD threshold or TMD threshold in each group. Also, HA benefits for melody and timbre identification were significantly correlated with a combination of spectral and temporal envelope cues though HA.

The Pleasures of Sad Music: A Systematic Review

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Matthew eSachs

2015-07-01

Full Text Available Sadness is generally seen as a negative emotion, a response to distressing and adverse situations. In an aesthetic context, however, sadness is often associated with some degree of pleasure, as suggested by the ubiquity and popularity, throughout history, of music, plays, films and paintings with a sad content. Here, we focus on the fact that music regarded as sad is often experienced as pleasurable. Compared to other art forms, music has an exceptional ability to evoke a wide-range of feelings and is especially beguiling when it deals with grief and sorrow. Why is it, then, that while human survival depends on preventing painful experiences, mental pain often turns out to be explicitly sought through music? In this article we consider why and how sad music can become pleasurable. We offer a framework to account for how listening to sad music can lead to positive feelings, contending that this effect hinges on correcting an ongoing homeostatic imbalance. Sadness evoked by music is found pleasurable (1 when it is perceived as non-threatening; (2 when it is aesthetically pleasing; and (3 when it produces psychological benefits such as mood regulation, and empathic feelings, caused, for example, by recollection of and reflection on past events. We also review neuroimaging studies related to music and emotion and focus on those that deal with sadness. Further exploration of the neural mechanisms through which stimuli that usually produce sadness can induce a positive affective state could help the development of effective therapies for disorders such as depression, in which the ability to experience pleasure is attenuated.

Non-Gaussian distributions of melodic intervals in music: The Lévy-stable approximation

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Niklasson, Gunnar A.; Niklasson, Maria H.

2015-11-01

The analysis of structural patterns in music is of interest in order to increase our fundamental understanding of music, as well as for devising algorithms for computer-generated music, so called algorithmic composition. Musical melodies can be analyzed in terms of a “music walk” between the pitches of successive tones in a notescript, in analogy with the “random walk” model commonly used in physics. We find that the distribution of melodic intervals between tones can be approximated with a Lévy-stable distribution. Since music also exibits self-affine scaling, we propose that the “music walk” should be modelled as a Lévy motion. We find that the Lévy motion model captures basic structural patterns in classical as well as in folk music.

An evaluation of musician earplugs with college music students.

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Chesky, Kris; Pair, Marla; Yoshimura, Eri; Landford, Scott

2009-01-01

Musician earplugs are marketed and recommended for use in music settings but no studies have evaluated these products with musicians. This study evaluated the influences of earplugs on college students' perception and abilities to communicate in a musical environment, attitudes of earplugs, comfort over time, and the influence of earplugs on ability to play music. College students (N = 323) were provided with earplugs for use during and following an experimental condition designed to mimic a night club. Results underline the challenges of earplugs in environments that are both loud and require verbal interaction. Responses to comfort questions were variable and suggest a multi-factorial set of influences that may include intrinsic variables. Despite these limitations, subjects in this study generally liked the earplugs and believed that they are valuable. However, the earplugs were not viewed favorably by musicians willing to use the earplugs while playing music. This study supports the view that earplugs are subject to many problems and should be considered as a last resort.

The Current State of Music Education in Ghana: A call for integration of Information and Communication Technology (ICT.

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Anthony Yaw Nyamful

2016-04-01

Full Text Available The essence of this paper is to identify the current situation of music education in Ghana at the basic, secondary and tertiary level of education and the extent to which Information and Communication Technology has been integrated to the demands of the modern music student in Ghana. After studying the programmes of tertiary music institutions and syllabuses of examinations for basic and secondary schools it was revealed that there has been little emphasis as regards Information and communication technology. Furthermore, an interview conducted among a sample of music students, music teachers and professional musicians which was made out of a population across the southern section of Ghana, revealed limited knowledge pertaining to Music Technology as part of teaching and learning of music. Considering the importance of the study of music, the author of this paper therefore seeks to postulate that, as a means of upgrading teaching and learning of music, the Ministry of Education should organize workshops and conferences for music teachers in the area of Information and Communication Technology and how it could be applied to enhance the teaching and learning of music.

Apollo’s gift: new aspects of neurologic music therapy

Science.gov (United States)

Altenmüller, Eckart; Schlaug, Gottfried

2015-01-01

Music listening and music making activities are powerful tools to engage multisensory and motor networks, induce changes within these networks, and foster links between distant, but functionally related brain regions with continued and life-long musical practice. These multimodal effects of music together with music’s ability to tap into the emotion and reward system in the brain can be used to facilitate and enhance therapeutic approaches geared toward rehabilitating and restoring neurological dysfunctions and impairments of an acquired or congenital brain disorder. In this article, we review plastic changes in functional networks and structural components of the brain in response to short- and long-term music listening and music making activities. The specific influence of music on the developing brain is emphasized and possible transfer effects on emotional and cognitive processes are discussed. Furthermore, we present data on the potential of using musical tools and activities to support and facilitate neurorehabilitation. We will focus on interventions such as melodic intonation therapy and music-supported motor rehabilitation to showcase the effects of neurologic music therapies and discuss their underlying neural mechanisms. PMID:25725918

Mixed methods research in music therapy research.

Science.gov (United States)

Bradt, Joke; Burns, Debra S; Creswell, John W

2013-01-01

Music therapists have an ethical and professional responsibility to provide the highest quality care possible to their patients. Much of the time, high quality care is guided by evidence-based practice standards that integrate the most current, available research in making decisions. Accordingly, music therapists need research that integrates multiple ways of knowing and forms of evidence. Mixed methods research holds great promise for facilitating such integration. At this time, there have not been any methodological articles published on mixed methods research in music therapy. The purpose of this article is to introduce mixed methods research as an approach to address research questions relevant to music therapy practice. This article describes the core characteristics of mixed methods research, considers paradigmatic issues related to this research approach, articulates major challenges in conducting mixed methods research, illustrates four basic designs, and provides criteria for evaluating the quality of mixed methods articles using examples of mixed methods research from the music therapy literature. Mixed methods research offers unique opportunities for strengthening the evidence base in music therapy. Recommendations are provided to ensure rigorous implementation of this research approach.

Music training and inhibitory control: a multidimensional model.

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Moreno, Sylvain; Farzan, Faranak

2015-03-01

Training programs aimed to improve cognitive skills have either yielded mixed results or remain to be validated. The limited benefits of such regimens are largely attributable to weak understanding of (1) how (and which) interventions provide the most cognitive improvements; and (2) how brain networks and neural mechanisms that underlie specific cognitive abilities can be modified selectively. Studies indicate that music training leads to robust and long-lasting benefits to behavior. Importantly, behavioral advantages conferred by music extend beyond perceptual abilities to even nonauditory functions, such as inhibitory control (IC) and its neural correlates. Alternative forms of arts engagement or brain training do not appear to yield such enhancements, which suggests that music uniquely taps into brain networks subserving a variety of auditory as well as domain-general mechanisms such as IC. To account for such widespread benefits of music training, we propose a framework of transfer effects characterized by three dimensions: level of processing, nature of the transfer, and involvement of executive functions. We suggest that transfer of skills is mediated through modulation of general cognitive processes, in particular IC. We believe that this model offers a viable framework to test the extent and limitations of music-related changes. © 2014 New York Academy of Sciences.

Music-related reward responses predict episodic memory performance.

Science.gov (United States)

Ferreri, Laura; Rodriguez-Fornells, Antoni

2017-12-01

Music represents a special type of reward involving the recruitment of the mesolimbic dopaminergic system. According to recent theories on episodic memory formation, as dopamine strengthens the synaptic potentiation produced by learning, stimuli triggering dopamine release could result in long-term memory improvements. Here, we behaviourally test whether music-related reward responses could modulate episodic memory performance. Thirty participants rated (in terms of arousal, familiarity, emotional valence, and reward) and encoded unfamiliar classical music excerpts. Twenty-four hours later, their episodic memory was tested (old/new recognition and remember/know paradigm). Results revealed an influence of music-related reward responses on memory: excerpts rated as more rewarding were significantly better recognized and remembered. Furthermore, inter-individual differences in the ability to experience musical reward, measured through the Barcelona Music Reward Questionnaire, positively predicted memory performance. Taken together, these findings shed new light on the relationship between music, reward and memory, showing for the first time that music-driven reward responses are directly implicated in higher cognitive functions and can account for individual differences in memory performance.

The Role of the Baldwin Effect in the Evolution of Human Musicality.

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Podlipniak, Piotr

2017-01-01

From the biological perspective human musicality is the term referred to as a set of abilities which enable the recognition and production of music. Since music is a complex phenomenon which consists of features that represent different stages of the evolution of human auditory abilities, the question concerning the evolutionary origin of music must focus mainly on music specific properties and their possible biological function or functions. What usually differentiates music from other forms of human sound expressions is a syntactically organized structure based on pitch classes and rhythmic units measured in reference to musical pulse. This structure is an auditory (not acoustical) phenomenon, meaning that it is a human-specific interpretation of sounds achieved thanks to certain characteristics of the nervous system. There is historical and cross-cultural diversity of this structure which indicates that learning is an important part of the development of human musicality. However, the fact that there is no culture without music, the syntax of which is implicitly learned and easily recognizable, suggests that human musicality may be an adaptive phenomenon. If the use of syntactically organized structure as a communicative phenomenon were adaptive it would be only in circumstances in which this structure is recognizable by more than one individual. Therefore, there is a problem to explain the adaptive value of an ability to recognize a syntactically organized structure that appeared accidentally as the result of mutation or recombination in an environment without a syntactically organized structure. The possible solution could be explained by the Baldwin effect in which a culturally invented trait is transformed into an instinctive trait by the means of natural selection. It is proposed that in the beginning musical structure was invented and learned thanks to neural plasticity. Because structurally organized music appeared adaptive (phenotypic adaptation) e

The Role of the Baldwin Effect in the Evolution of Human Musicality

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Piotr Podlipniak

2017-10-01

Full Text Available From the biological perspective human musicality is the term referred to as a set of abilities which enable the recognition and production of music. Since music is a complex phenomenon which consists of features that represent different stages of the evolution of human auditory abilities, the question concerning the evolutionary origin of music must focus mainly on music specific properties and their possible biological function or functions. What usually differentiates music from other forms of human sound expressions is a syntactically organized structure based on pitch classes and rhythmic units measured in reference to musical pulse. This structure is an auditory (not acoustical phenomenon, meaning that it is a human-specific interpretation of sounds achieved thanks to certain characteristics of the nervous system. There is historical and cross-cultural diversity of this structure which indicates that learning is an important part of the development of human musicality. However, the fact that there is no culture without music, the syntax of which is implicitly learned and easily recognizable, suggests that human musicality may be an adaptive phenomenon. If the use of syntactically organized structure as a communicative phenomenon were adaptive it would be only in circumstances in which this structure is recognizable by more than one individual. Therefore, there is a problem to explain the adaptive value of an ability to recognize a syntactically organized structure that appeared accidentally as the result of mutation or recombination in an environment without a syntactically organized structure. The possible solution could be explained by the Baldwin effect in which a culturally invented trait is transformed into an instinctive trait by the means of natural selection. It is proposed that in the beginning musical structure was invented and learned thanks to neural plasticity. Because structurally organized music appeared adaptive (phenotypic

Introducing Music to the Hearing-Impaired.

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Jahns, Elke

2001-01-01

Describes an independent music therapy project where the author worked with an 11-year-old boy, Johnny, who had recently become profoundly deaf. States that the goals were to master basic playing of an instrument and proficiency in reading notes and rhythms. (CMK)

Influence of musical training on perception of L2 speech

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Sadakata, M.; Zanden, L.D.T. van der; Sekiyama, K.

2010-01-01

The current study reports specific cases in which a positive transfer of perceptual ability from the music domain to the language domain occurs. We tested whether musical training enhances discrimination and identification performance of L2 speech sounds (timing features, nasal consonants and

Musical Structure as Narrative in Rock

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John Fernando Encarnacao

2011-09-01

Full Text Available In an attempt to take a fresh look at the analysis of form in rock music, this paper uses Susan McClary’s (2000 idea of ‘quest narrative’ in Western art music as a starting point. While much pop and rock adheres to the basic structure of the establishment of a home territory, episodes or adventures away, and then a return, my study suggests three categories of rock music form that provide alternatives to common combinations of verses, choruses and bridges through which the quest narrative is delivered. Labyrinth forms present more than the usual number of sections to confound our sense of ‘home’, and consequently of ‘quest’. Single-cell forms use repetition to suggest either a kind of stasis or to disrupt our expectations of beginning, middle and end. Immersive forms blur sectional divisions and invite more sensual and participatory responses to the recorded text. With regard to all of these alternative approaches to structure, Judy Lochhead’s (1992 concept of ‘forming’ is called upon to underline rock music forms that unfold as process, rather than map received formal constructs. Central to the argument are a couple of crucial definitions. Following Theodore Gracyk (1996, it is not songs, as such, but particular recordings that constitute rock music texts. Additionally, narrative is understood not in (direct relation to the lyrics of a song, nor in terms of artists’ biographies or the trajectories of musical styles, but considered in terms of musical structure. It is hoped that this outline of non-narrative musical structures in rock may have applications not only to other types of music, but to other time-based art forms.

Music Education for Every Child – Idea or Reality?

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Blaženka Bačlija Susić

2017-03-01

Full Text Available Contemporary pedagogical, psychological and sociological research highlight the need for music education available to every child. Starting from the fundamental point of view according to which music affects the development of the child's whole personality, this idea stands out in history since the 17th century. Various educators in the late nineteenth and early twentieth century emphasized the importance of music education for every child. With historical and theoretical overview of this idea, this paper tries to examine the possibility of its realization in contemporary educational practice. The Venezuelan music education program El Sistema, that promotes humanistic idea of changing society through classical music education stands out as a unique example of a good practice. As a form of music education which particularly promotes the idea of availability of music to every child, the conception of Functional Music Pedagogy by the Croatian music pedagogue Elly Bašić (1908-1998 was shown as well. Considering the status of music in American educational policy, it is indicated as a significant change, in which the music is recognized as an educational priority for the first time in the history of education and it became the basic academic subject in the American federal education policy plan, as well as unprecedentedly incorporated in the federal law.

Predictors of Music Sight-Reading Ability in High School Wind Players

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Gromko, Joyce Eastlund

2004-01-01

The purpose of this study, grounded in near-transfer theory, was to investigate relationships among music sight-reading and tonal and rhythmic audiation, visual field articulation, spatial orientation and visualization, and achievement in math concepts and reading comprehension. A regression analysis with data from four high schools (N = 98) in…

Musicality Correlates with Sociability and Emotionality in Williams Syndrome

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Ng, Rowena; Lai, Philip; Levitin, Daniel J.; Bellugi, Ursula

2013-01-01

Williams syndrome (WS) is a neurogenetic developmental disorder characterized by peaks and valleys of cognitive abilities. One peak that has been understudied is the affinity that many individuals with WS have with music. It remains unknown whether their high levels of musical interest, skill, and expressivity are related to their sociable…

Mozart effect, cognitive dissonance, and the pleasure of music.

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Perlovsky, Leonid; Cabanac, Arnaud; Bonniot-Cabanac, Marie-Claude; Cabanac, Michel

2013-05-01

We explore a possibility that the 'Mozart effect' points to a fundamental cognitive function of music. Would such an effect of music be due to the hedonicity, a fundamental dimension of mental experience? The present paper explores a recent hypothesis that music helps to tolerate cognitive dissonances and thus enabled accumulation of knowledge and human cultural evolution. We studied whether the influence of music is related to its hedonicity and whether pleasant or unpleasant music would influence scholarly test performance and cognitive dissonance. Specific hypotheses evaluated in this study are that during a test students experience contradictory cognitions that cause cognitive dissonances. If some music helps to tolerate cognitive dissonances, then first, this music should increase the duration during which participants can tolerate stressful conditions while evaluating test choices. Second, this should result in improved performance. These hypotheses are tentatively confirmed in the reported experiments as the agreeable music was correlated with longer duration of tests under stressful conditions and better performance above that under indifferent or unpleasant music. It follows that music likely performs a fundamental cognitive function explaining the origin and evolution of musical ability that have been considered a mystery. Published by Elsevier B.V.

Plasticity of the human auditory cortex related to musical training.

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Pantev, Christo; Herholz, Sibylle C

2011-11-01

During the last decades music neuroscience has become a rapidly growing field within the area of neuroscience. Music is particularly well suited for studying neuronal plasticity in the human brain because musical training is more complex and multimodal than most other daily life activities, and because prospective and professional musicians usually pursue the training with high and long-lasting commitment. Therefore, music has increasingly been used as a tool for the investigation of human cognition and its underlying brain mechanisms. Music relates to many brain functions like perception, action, cognition, emotion, learning and memory and therefore music is an ideal tool to investigate how the human brain is working and how different brain functions interact. Novel findings have been obtained in the field of induced cortical plasticity by musical training. The positive effects, which music in its various forms has in the healthy human brain are not only important in the framework of basic neuroscience, but they also will strongly affect the practices in neuro-rehabilitation. Copyright © 2011 Elsevier Ltd. All rights reserved.

The effects of emotion on memory for music and vocalisations.

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Aubé, William; Peretz, Isabelle; Armony, Jorge L

2013-01-01

Music is a powerful tool for communicating emotions which can elicit memories through associative mechanisms. However, it is currently unknown whether emotion can modulate memory for music without reference to a context or personal event. We conducted three experiments to investigate the effect of basic emotions (fear, happiness, and sadness) on recognition memory for music, using short, novel stimuli explicitly created for research purposes, and compared them with nonlinguistic vocalisations. Results showed better memory accuracy for musical clips expressing fear and, to some extent, happiness. In the case of nonlinguistic vocalisations we confirmed a memory advantage for all emotions tested. A correlation between memory accuracy for music and vocalisations was also found, particularly in the case of fearful expressions. These results confirm that emotional expressions, particularly fearful ones, conveyed by music can influence memory as has been previously shown for other forms of expressions, such as faces and vocalisations.

Music Teachers' Everyday Conceptions of Musicality.

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Brandstrom, Sture

1999-01-01

Investigates music teachers' everyday conceptions of musicality through (1) a pilot study involving music teachers in higher education and (2) interviews with teachers in music teacher education and in compulsory school. Finds in the pilot the categories of musical achievement, musical experience, and musical communication, while the interviews…

Autism, emotion recognition and the mirror neuron system: the case of music.

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Molnar-Szakacs, Istvan; Wang, Martha J; Laugeson, Elizabeth A; Overy, Katie; Wu, Wai-Ling; Piggot, Judith

2009-11-16

Understanding emotions is fundamental to our ability to navigate and thrive in a complex world of human social interaction. Individuals with Autism Spectrum Disorders (ASD) are known to experience difficulties with the communication and understanding of emotion, such as the nonverbal expression of emotion and the interpretation of emotions of others from facial expressions and body language. These deficits often lead to loneliness and isolation from peers, and social withdrawal from the environment in general. In the case of music however, there is evidence to suggest that individuals with ASD do not have difficulties recognizing simple emotions. In addition, individuals with ASD have been found to show normal and even superior abilities with specific aspects of music processing, and often show strong preferences towards music. It is possible these varying abilities with different types of expressive communication may be related to a neural system referred to as the mirror neuron system (MNS), which has been proposed as deficient in individuals with autism. Music's power to stimulate emotions and intensify our social experiences might activate the MNS in individuals with ASD, and thus provide a neural foundation for music as an effective therapeutic tool. In this review, we present literature on the ontogeny of emotion processing in typical development and in individuals with ASD, with a focus on the case of music.

The effect of musical practice on gesture/sound pairing

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Alice Mado eProverbio

2015-04-01

Full Text Available Learning to play a musical instrument is a demanding process requiring years of intense practice. Dramatic changes in brain connectivity, volume and functionality have been shown in skilled musicians. It is thought that music learning involves the formation of novel audio visuomotor associations, but not much is known about the gradual acquisition of this ability. In the present study, we investigated whether formal music training enhances audiovisual multisensory processing. To this end, pupils at different stages of education were examined based on the hypothesis that the strength of audio/visuomotor associations would be augmented as a function of the number of years of conservatory study (expertise. The study participants were violin and clarinet students of pre-academic and academic levels and of different chronological ages, ages of acquisition and academic levels. A violinist and a clarinetist each played the same score, and each participant viewed the video corresponding to his or her instrument. Pitch, intensity, rhythm and sound duration were matched across instruments. In half of the trials, the soundtrack did not match (in pitch the corresponding musical gestures. Data analysis indicated a correlation between the number of years of formal training (expertise and the ability to detect an audiomotor incongruence in music performance (relative to the musical instrument practiced, thus suggesting a direct correlation between knowing how to play and perceptual sensitivity.

Leveraging the power of music to improve science education

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Crowther, Gregory J.; McFadden, Tom; Fleming, Jean S.; Davis, Katie

2016-01-01

We assessed the impact of music videos with science-based lyrics on content knowledge and attitudes in a three-part experimental research study of over 1000 participants (mostly K-12 students). In Study A, 13 of 15 music videos were followed by statistically significant improvements on questions about material covered in the videos, while performance on 'bonus questions' not covered by the videos did not improve. Video-specific improvement was observed in both basic knowledge and genuine comprehension (levels 1 and 2 of Bloom's taxonomy, respectively) and after both lyrics-only and visually rich versions of some videos. In Study B, musical versions of additional science videos were not superior to non-musical ones in their immediate impact on content knowledge, though musical versions were significantly more enjoyable. In Study C, a non-musical video on fossils elicited greater immediate test improvement than the musical version ('Fossil Rock Anthem'); however, viewers of the music video enjoyed a modest advantage on a delayed post-test administered 28 days later. Music video viewers more frequently rated their video as 'fun', and seemed more likely to revisit and/or share the video. Our findings contribute to a broader dialogue on promising new pedagogical strategies in science education.

PERVALE-S: a new cognitive task to assess deaf people’s ability to perceive basic and social emotions

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Mestre, José M.; Larrán, Cristina; Herrero, Joaquín; Guil, Rocío; de la Torre, Gabriel G.

2015-01-01

A poorly understood aspect of deaf people (DP) is how their emotional information is processed. Verbal ability is key to improve emotional knowledge in people. Nevertheless, DP are unable to distinguish intonation, intensity, and the rhythm of language due to lack of hearing. Some DP have acquired both lip-reading abilities and sign language, but others have developed only sign language. PERVALE-S was developed to assess the ability of DP to perceive both social and basic emotions. PERVALE-S presents different sets of visual images of a real deaf person expressing both basic and social emotions, according to the normative standard of emotional expressions in Spanish Sign Language. Emotional expression stimuli were presented at two different levels of intensity (1: low; and 2: high) because DP do not distinguish an object in the same way as hearing people (HP) do. Then, participants had to click on the more suitable emotional expression. PERVALE-S contains video instructions (given by a sign language interpreter) to improve DP’s understanding about how to use the software. DP had to watch the videos before answering the items. To test PERVALE-S, a sample of 56 individuals was recruited (18 signers, 8 lip-readers, and 30 HP). Participants also performed a personality test (High School Personality Questionnaire adapted) and a fluid intelligence (Gf) measure (RAPM). Moreover, all deaf participants were rated by four teachers for the deaf. Results: there were no significant differences between deaf and HP in performance in PERVALE-S. Confusion matrices revealed that embarrassment, envy, and jealousy were worse perceived. Age was just related to social-emotional tasks (but not in basic emotional tasks). Emotional perception ability was related mainly to warmth and consciousness, but negatively related to tension. Meanwhile, Gf was related to only social-emotional tasks. There were no gender differences. PMID:26300828

Educational Quality in Music Teacher Education: Components of a Foundation for Research

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Johansen, Geir

2007-01-01

Increasing demands for educational quality in higher education affect both higher music education and music teacher education. A theoretical framework is needed if we are to question what is meant by "educational quality" in the latter. To establish programs for quality development and assessment requires basic subject-specific research on the…

Visions of Music

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Root, Susan M.

2008-01-01

As the author was discussing the future of CD design with her high-school students concerning its possibility of becoming obsolete as the ability to purchase music via the Internet becomes more mainstream, she was reminded of the things that she loves about an album by looking at the pictures, reading the lyrics, touching it and holding it. The…

不同频率音乐对小鼠空间学习记忆能力的影响%Impact of music of different frequencies on the spatial learning and memory ability of mice

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袁徐蕾; 杨梅; 韩文莉; 谭冬梅; 范尧; 谭毅

2017-01-01

目的 初步探究音乐对成年小鼠学习记忆能力是否产生影响.方法 80只C57小鼠随机分成10组,每组雌雄各半.空白对照组:不给予音乐刺激,高频音乐3组、中频音乐3组、低频音乐3组,分别用高频、中频、低频各3首进行音乐刺激,每天5 h,连续6 d.第7天进行水迷宫测试,期间保持音乐刺激不变,测试指标为潜伏期,经过平台次数和平台象限停留时间.结果 音乐组与空白组相比,小鼠逃避潜伏期明显缩短(P0.05).各音乐组之间检测指标差异无显著性(P>0.05).结论 所选9首音乐能提高成年小鼠学习记忆能力,而不同频率音乐之间产生的影响未发现显著性差异.推测音乐刺激对小鼠的影响与音乐分类的标准、刺激周期长短、刺激时间点选择等因素密切相关.%Objective To explore the impact of music of different frequencies on the spatial learning and memory a?bility of mice. Methods A total of 80 healthy 6～8 weeks old C57 mice were randomly divided into 10 groups, half male and half female in each group. The mice in the control group were not stimulated by music. The mice of the 3 groups of high?frequency music, 3 groups of medium?frequency music and 3 groups of low?frequency music were stimulated by music in cor?responding range of frequency, respectively, for 5 h each day. After 6 d, the ability of spatial learning and memory of the mice was tested in the Morris water maze, with the same stimulation of music during the test. The indicators of the test in?cluded the avoiding latency, the frequency of passing the platform and the time spent to pass the quadrant of the mice in each group. Results Compared with the control group, the avoiding latency of the mice in the groups with stimulation by music was significantly shorter (P 0. 05). Moreover, there was no significant difference between the indica?tors of the 9 groups receiving music stimulation (P> 0. 05). Conclusions The 9 pieces of music we have

Social support and performance anxiety of college music students.

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Schneider, Erin; Chesky, Kris

2011-09-01

This study characterized perceived social support and performance anxiety of college music students, compared characteristics to those of non-music majors, and explored the relationships between social support and performance anxiety. Subjects (n = 609) completed a questionnaire that included demographics, the Multidimensional Scale of Perceived Social Support (MSPSS), and visual analog scale measures of performance anxiety. Results showed that music majors perceived significantly lower levels of social support from significant others when compared to non-music majors. Perceived social support was significantly correlated with measures of performance anxiety. Students with greater perceived social support reported less frequent anxiety and lower levels of impact of anxiety on ability to perform. These findings may have practical implications for schools of music and conservatories.

Absolute pitch: effects of timbre on note-naming ability.

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Vanzella, Patrícia; Schellenberg, E Glenn

2010-11-11

Absolute pitch (AP) is the ability to identify or produce isolated musical tones. It is evident primarily among individuals who started music lessons in early childhood. Because AP requires memory for specific pitches as well as learned associations with verbal labels (i.e., note names), it represents a unique opportunity to study interactions in memory between linguistic and nonlinguistic information. One untested hypothesis is that the pitch of voices may be difficult for AP possessors to identify. A musician's first instrument may also affect performance and extend the sensitive period for acquiring accurate AP. A large sample of AP possessors was recruited on-line. Participants were required to identity test tones presented in four different timbres: piano, pure tone, natural (sung) voice, and synthesized voice. Note-naming accuracy was better for non-vocal (piano and pure tones) than for vocal (natural and synthesized voices) test tones. This difference could not be attributed solely to vibrato (pitch variation), which was more pronounced in the natural voice than in the synthesized voice. Although starting music lessons by age 7 was associated with enhanced note-naming accuracy, equivalent abilities were evident among listeners who started music lessons on piano at a later age. Because the human voice is inextricably linked to language and meaning, it may be processed automatically by voice-specific mechanisms that interfere with note naming among AP possessors. Lessons on piano or other fixed-pitch instruments appear to enhance AP abilities and to extend the sensitive period for exposure to music in order to develop accurate AP.

Absolute pitch: effects of timbre on note-naming ability.

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Patrícia Vanzella

2010-11-01

Full Text Available Absolute pitch (AP is the ability to identify or produce isolated musical tones. It is evident primarily among individuals who started music lessons in early childhood. Because AP requires memory for specific pitches as well as learned associations with verbal labels (i.e., note names, it represents a unique opportunity to study interactions in memory between linguistic and nonlinguistic information. One untested hypothesis is that the pitch of voices may be difficult for AP possessors to identify. A musician's first instrument may also affect performance and extend the sensitive period for acquiring accurate AP.A large sample of AP possessors was recruited on-line. Participants were required to identity test tones presented in four different timbres: piano, pure tone, natural (sung voice, and synthesized voice. Note-naming accuracy was better for non-vocal (piano and pure tones than for vocal (natural and synthesized voices test tones. This difference could not be attributed solely to vibrato (pitch variation, which was more pronounced in the natural voice than in the synthesized voice. Although starting music lessons by age 7 was associated with enhanced note-naming accuracy, equivalent abilities were evident among listeners who started music lessons on piano at a later age.Because the human voice is inextricably linked to language and meaning, it may be processed automatically by voice-specific mechanisms that interfere with note naming among AP possessors. Lessons on piano or other fixed-pitch instruments appear to enhance AP abilities and to extend the sensitive period for exposure to music in order to develop accurate AP.

Sing a Song Please: Musical Contexts and Language Learning.

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Howarth, Lisa M.; Conti-Ramsden, Gina

1987-01-01

Six language-impaired children, aged 4-7, were studied in two routinized contexts (a lesson without music and a singing session) and child-teacher talk was analyzed. Results showed that the addition of music to a routinized context has the potential to increase the language-impaired child's ability to interact non-verbally. (Author/JDD)

The role of music in music education research : reflections on musical experience

OpenAIRE

Varkøy, Øivind

2009-01-01

First in this article the role of theories of musicology in music education research is considered. Second, the case in point is examined where the focus of music education research is brought bo bear directly on music education, to wit music. By concentrating on music in music education research, the focus remains firmly on musical experience as a basis of reflection in music education research. The author has chosen to focus in particular on a specific kind of musical experience - more p...

Residual Neural Processing of Musical Sound Features in Adult Cochlear Implant Users

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Timm, Lydia; Vuust, Peter; Brattico, Elvira; Agrawal, Deepashri; Debener, Stefan; Büchner, Andreas; Dengler, Reinhard; Wittfoth, Matthias

2014-01-01

Auditory processing in general and music perception in particular are hampered in adult cochlear implant (CI) users. To examine the residual music perception skills and their underlying neural correlates in CI users implanted in adolescence or adulthood, we conducted an electrophysiological and behavioral study comparing adult CI users with normal-hearing age-matched controls (NH controls). We used a newly developed musical multi-feature paradigm, which makes it possible to test automatic auditory discrimination of six different types of sound feature changes inserted within a musical enriched setting lasting only 20 min. The presentation of stimuli did not require the participants’ attention, allowing the study of the early automatic stage of feature processing in the auditory cortex. For the CI users, we obtained mismatch negativity (MMN) brain responses to five feature changes but not to changes of rhythm, whereas we obtained MMNs for all the feature changes in the NH controls. Furthermore, the MMNs to deviants of pitch of CI users were reduced in amplitude and later than those of NH controls for changes of pitch and guitar timber. No other group differences in MMN parameters were found to changes in intensity and saxophone timber. Furthermore, the MMNs in CI users reflected the behavioral scores from a respective discrimination task and were correlated with patients’ age and speech intelligibility. Our results suggest that even though CI users are not performing at the same level as NH controls in neural discrimination of pitch-based features, they do possess potential neural abilities for music processing. However, CI users showed a disrupted ability to automatically discriminate rhythmic changes compared with controls. The current behavioral and MMN findings highlight the residual neural skills for music processing even in CI users who have been implanted in adolescence or adulthood. Highlights: -Automatic brain responses to musical feature changes

Pathway evidence of how musical perception predicts word-level reading ability in children with reading difficulties.

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Hugo Cogo-Moreira

Full Text Available To investigate whether specific domains of musical perception (temporal and melodic domains predict the word-level reading skills of eight- to ten-year-old children (n = 235 with reading difficulties, normal quotient of intelligence, and no previous exposure to music education classes.A general-specific solution of the Montreal Battery of Evaluation of Amusia (MBEA, which underlies a musical perception construct and is constituted by three latent factors (the general, temporal, and the melodic domain, was regressed on word-level reading skills (rate of correct isolated words/non-words read per minute.General and melodic latent domains predicted word-level reading skills.

Music, music therapy and dementia: a review of literature and the recommendations of the Italian Psychogeriatric Association.

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Raglio, A; Bellelli, G; Mazzola, P; Bellandi, D; Giovagnoli, A R; Farina, E; Stramba-Badiale, M; Gentile, S; Gianelli, M V; Ubezio, M C; Zanetti, O; Trabucchi, M

2012-08-01

This study reviews the most recent (from 2000 to 2011) Clinical Controlled Trials (CCT) and Randomized Controlled Trials (RCT) concerning the use of music and music-therapy (MT) in the context of dementia and related issues. Studies which explored the efficacy of music and MT on behavioral and psychological symptoms of dementia (BPSD) are prevalent, while those aiming at assessing a potential effect of these approaches on cognitive and physiological aspects are scant. Although with some limitations, the results of these studies are consistent with the efficacy of MT approach on BPSD. In this context, the ability of the music therapist to directly interact with the patients appears to be crucial for the success of the intervention. This review was endorsed by the Italian Psychogeriatric Association (AIP) and represents its view about the criteria to select appropriate music and MT approaches in the field of dementia. Accordingly, we have developed a list of recommendations to facilitate the current use of these techniques in the context of non-pharmacological treatments for patients with dementia. Copyright © 2012 Elsevier Ireland Ltd. All rights reserved.

Song and speech: examining the link between singing talent and speech imitation ability.

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Christiner, Markus; Reiterer, Susanne M

2013-01-01

In previous research on speech imitation, musicality, and an ability to sing were isolated as the strongest indicators of good pronunciation skills in foreign languages. We, therefore, wanted to take a closer look at the nature of the ability to sing, which shares a common ground with the ability to imitate speech. This study focuses on whether good singing performance predicts good speech imitation. Forty-one singers of different levels of proficiency were selected for the study and their ability to sing, to imitate speech, their musical talent and working memory were tested. Results indicated that singing performance is a better indicator of the ability to imitate speech than the playing of a musical instrument. A multiple regression revealed that 64% of the speech imitation score variance could be explained by working memory together with educational background and singing performance. A second multiple regression showed that 66% of the speech imitation variance of completely unintelligible and unfamiliar language stimuli (Hindi) could be explained by working memory together with a singer's sense of rhythm and quality of voice. This supports the idea that both vocal behaviors have a common grounding in terms of vocal and motor flexibility, ontogenetic and phylogenetic development, neural orchestration and auditory memory with singing fitting better into the category of "speech" on the productive level and "music" on the acoustic level. As a result, good singers benefit from vocal and motor flexibility, productively and cognitively, in three ways. (1) Motor flexibility and the ability to sing improve language and musical function. (2) Good singers retain a certain plasticity and are open to new and unusual sound combinations during adulthood both perceptually and productively. (3) The ability to sing improves the memory span of the auditory working memory.

Song and speech: examining the link between singing talent and speech imitation ability

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Markus eChristiner

2013-11-01

Full Text Available In previous research on speech imitation, musicality and an ability to sing were isolated as the strongest indicators of good pronunciation skills in foreign languages. We, therefore, wanted to take a closer look at the nature of the ability to sing, which shares a common ground with the ability to imitate speech. This study focuses on whether good singing performance predicts good speech imitation. Fourty-one singers of different levels of proficiency were selected for the study and their ability to sing, to imitate speech, their musical talent and working memory were tested. Results indicated that singing performance is a better indicator of the ability to imitate speech than the playing of a musical instrument. A multiple regression revealed that 64 % of the speech imitation score variance could be explained by working memory together with educational background and singing performance. A second multiple regression showed that 66 % of the speech imitation variance of completely unintelligible and unfamiliar language stimuli (Hindi could be explained by working memory together with a singer’s sense of rhythm and quality of voice. This supports the idea that both vocal behaviors have a common grounding in terms of vocal and motor flexibility, ontogenetic and phylogenetic development, neural orchestration and sound memory with singing fitting better into the category of "speech" on the productive level and "music" on the acoustic level. As a result, good singers benefit from vocal and motor flexibility, productively and cognitively, in three ways. 1. Motor flexibility and the ability to sing improve language and musical function. 2. Good singers retain a certain plasticity and are open to new and unusual sound combinations during adulthood both perceptually and productively. 3. The ability to sing improves the memory span of the auditory short term memory.

The use of music in group educational activities in Family Health.

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Silva, Líliam Barbosa; Soares, Sônia Maria; da Silva, Maria Júlia Paes; Santos, Graziela da Costa; Fernandes, Maria Teresinha de Oliveira

2013-01-01

describe how music is used in the development of group educational activity in Family Health. a qualitative, descriptive and exploratory study, developed with 10 group coordinators, distributed in five basic care units in Belo Horizonte, Minas Gerais, Brazil. Data were collected from March to July, 2009, with non participant observation in the group itself, and semi-structured interviews with the coordinators. Information was organized and categorized according to thematic analysis. To interpret the data, the Snyderian concepts in addition to theoretical references about music, communication and health education were used. three thematic nuclei were found: the affective dimension of music; recreative dimension of music and the reflexive dimension of music. an attempt by the coordinators was observed, to overcome the pathological barriers with the use of music, considering the group as a whole. As advancement for the production of knowledge, this study shows the need for qualification of these coordinators, by means of workshops and constant follow-up of their musical practices.

Investigation of musicality in birdsong.

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Rothenberg, David; Roeske, Tina C; Voss, Henning U; Naguib, Marc; Tchernichovski, Ofer

2014-02-01

provide a useful animal model for studying basic principles of music neuroscience in a system that is very accessible for investigation, and where developmental auditory and social experience can be tightly controlled. Copyright © 2013 Elsevier B.V. All rights reserved.

Tuvan music and World Music

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Maxim V. Chaposhnikov

2017-06-01

Full Text Available The essay presents the author’s observations about the ingression of Tuvan music into the World Music – a niche of world musical culture covering ethnical music traditions. The author has witnessed the rise of interest to traditional musical culture of Tuva and Russia as well as globalization of Tuvan music. He is endeavoring to interpret these changes and reveal their affect on traditional music and xöömei. In the late Soviet period, traditional music in Tuva, like in many republics of the Union, has been as if put on hold. During the Perestroika and national revival processes, traditionalism became of high demand. Symposia and festivals started off in Tuva where amateur participants took the same stage with professionals. Special honor was paid to old masters of xöömei. Scholars started engaging in  discussions about the origins and a role of xöömei and its genres. Хöömei attracted a good deal of market interest from outside Russia. In the late 1980s American scientist and producer T. Levin made first field records of xöömei to be released on a disk. Ethnographic ensemble “Tuva” was established. Later, members of “Tuva” started their own musical bands. Musical programs were compiled as an ethnographic variety show – a principle that the public has been seeking for both in Tuva and abroad. Disks were realeased and artists started active touring in foreign countries. Boosting interest in World Music was marked with hallmark attention to the phenomenon of throat-singing and overtone music, and further evolution of Tuvan music has since been tightly linked to Western musical market. The author traces the peculiarities of such bands as “Huun Huur Tu”, “Yat-Kha”, etc. and remarks that the value of Tuvan music is not only in star performers shining on the Western skies, but in the rise of a stable community of people inspired by Tuvan music and culture, and seeking new ways of aesthetic and spiritual perception of

Brain disorders and the biological role of music.

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Clark, Camilla N; Downey, Laura E; Warren, Jason D

2015-03-01

Despite its evident universality and high social value, the ultimate biological role of music and its connection to brain disorders remain poorly understood. Recent findings from basic neuroscience have shed fresh light on these old problems. New insights provided by clinical neuroscience concerning the effects of brain disorders promise to be particularly valuable in uncovering the underlying cognitive and neural architecture of music and for assessing candidate accounts of the biological role of music. Here we advance a new model of the biological role of music in human evolution and the link to brain disorders, drawing on diverse lines of evidence derived from comparative ethology, cognitive neuropsychology and neuroimaging studies in the normal and the disordered brain. We propose that music evolved from the call signals of our hominid ancestors as a means mentally to rehearse and predict potentially costly, affectively laden social routines in surrogate, coded, low-cost form: essentially, a mechanism for transforming emotional mental states efficiently and adaptively into social signals. This biological role of music has its legacy today in the disordered processing of music and mental states that characterizes certain developmental and acquired clinical syndromes of brain network disintegration. © The Author (2014). Published by Oxford University Press.