Can musical aptitude and experience predict success in non-native tone word learning?

Cooper, Angela; Wang, Yue

doi:10.1121/1.3508890

Cited by 11 publications

(11 citation statements)

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“…Musicians can classify speech sounds (vowels) more easily and quickly than non-musicians (Bidelman et al, 2014), have advantages in relation to the processing of linguistic syntax (Fiveash and Pammer, 2014) and in making judgements about grammar (Patston and Tippett, 2011). They are better able to distinguish rapidly changing sounds (Gaab et al, 2005), harmonic differences (Corrigall and Trainor, 2009;Musacchia et al, 2008;Zendel and Alain, 2009) and tonal variations in non-native speech sounds (Chandrasekaran et al, 2009;Cooper and Wang, 2010;Kühnis et al, 2013;Marie et al, 2011a;Marie et al, 2011b;Marques et al, 2007;Martínez-Montes et al, 2013;Perfors and Ong, 2012;Slevc and Miyake, 2006;Wong and Perrachione, 2007;Yang et al, 2014).…”

Section: Research Comparing Musicians With Non-musiciansmentioning

confidence: 99%

The impact of making music on aural perception and language skills: A research synthesis

Hallam¹

2017

London Review of Education

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This paper provides a synthesis of research on the relationship between music and language, drawing on evidence from neuroscience, psychology, sociology and education. It sets out why it has become necessary to justify the role of music in the school curriculum and summarizes the different methodologies adopted by researchers in the field. It considers research exploring the way that music and language are processed, including differences and commonalities; addresses the relative importance of genetics versus length of time committed to, and spent, making music; discusses theories of modularity and sensitive periods; sets out the OPERA hypothesis; critically evaluates research comparing musicians with non-musicians; and presents detailed accounts of intervention studies with children and those from deprived backgrounds, taking account of the importance of the nature of the musical training. It concludes that making music has a major impact on the development of language skills.

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Section: Research Comparing Musicians With Non-musiciansmentioning

confidence: 99%

The impact of making music on aural perception and language skills: A research synthesis

Hallam¹

2017

London Review of Education

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“…Another possibility is that corticofugal mechanisms induce short and long term plasticity resulting in a transfer of training from music to language ( Kraus and Chandrasekaran, 2010 ; Besson et al, 2011 ; Chobert et al, 2012 ). Musicians have demonstrated an advantage over non-musicians in their ability to recognize tonal variations in non-native speech sounds ( Wong et al, 2007 ; Cooper and Wang, 2010 ; Perfors and Ong, 2012 ). This advantage can be attributed to formal musical training that emphasizes enhanced perception of pitch and may provide them an advantage when learning speech sounds.…”

Section: Introductionmentioning

confidence: 99%

Neurophysiological evidence that musical training influences the recruitment of right hemispheric homologues for speech perception

2014

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Musicians have a more accurate temporal and tonal representation of auditory stimuli than their non-musician counterparts (Musacchia et al., 2007;Parbery-Clark et al., 2009a;Zendel and Alain, 2009;Kraus and Chandrasekaran, 2010). Musicians who are adept at the production and perception of music are also more sensitive to key acoustic features of speech such as voice onset timing and pitch. Together, these data suggest that musical training may enhance the processing of acoustic information for speech sounds. In the current study, we sought to provide neural evidence that musicians process speech and music in a similar way. We hypothesized that for musicians, right hemisphere areas traditionally associated with music are also engaged for the processing of speech sounds. In contrast we predicted that in non-musicians processing of speech sounds would be localized to traditional left hemisphere language areas. Speech stimuli differing in voice onset time was presented using a dichotic listening paradigm. Subjects either indicated aural location for a specified speech sound or identified a specific speech sound from a directed aural location. Musical training effects and organization of acoustic features were reflected by activity in source generators of the P50. This included greater activation of right middle temporal gyrus and superior temporal gyrus in musicians. The findings demonstrate recruitment of right hemisphere in musicians for discriminating speech sounds and a putative broadening of their language network. Musicians appear to have an increased sensitivity to acoustic features and enhanced selective attention to temporal features of speech that is facilitated by musical training and supported, in part, by right hemisphere homologues of established speech processing regions of the brain.

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“…Musicians can classify voiced sounds, vowels, more easily and quickly than non-musicians (Bidelman et al, 2014), and have advantages in relation to the processing of linguistic syntax (Fiveash and Pammer, 2014) and in making judgements about grammar (Patston and Tippett, 2011). They are better able to distinguish rapidly changing sounds (Gaab et al, 2005), harmonic differences (Corrigall and Trainor, 2009;Musacchia et al, 2008;Zendel and Alain, 2009), temporal novelty (Herdener et al, 2014) and tonal variations in non-native speech sounds (Chandrasekaran et al, 2009;Cooper and Wang, 2010;Kühnis et al, 2013;Marques et al, 2007;Martinez-Montes et al, 2013;Perfors and Ong, 2012;Yang et al, 2014). They can perceive speech better than those without training when it is accompanied by noise (Parbery-Clark et al, 2009a;, and can identify syllables presented when spectral information is degraded (Elmer et al, 2012), identify whether sentences in a foreign language which is tone based are the same or different (Marie et al, 2011a; and predict the ability to perceive and produce subtle phonetic contrasts 3.…”

Section: Comparisons Between Musicians and Non-musiciansmentioning

confidence: 99%

7. Executive Functioning and Self-Regulation

Hallam¹,

Himonides²

2022

The Power of Music

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Evangelos HimonidesDr Evangelos Himonides held the University of London's first ever lectureship in music technology education and now holds the country's first ever Chair in Technology, Education, and Music. Evangelos works at University College London, where he leads a number of courses and supervises doctoral and post-doctoral research. At postgraduate level, he has led and now serves the MA in Music Education programme at UCL, with courses in 'Music Technology in Education' and 'Choral Conducting, Leadership and Communication'. At undergraduate level, Evangelos developed UCL's first ever music-related course in the Institution's near two-century history, which is called 'Interactions of Music & Science' and offered under the innovative Bachelors of Arts and Sciences (BASc) programme. He is fellow of the RSA and Chartered Fellow (FBCS CITP) of the British Computer Society. As a musician, technologist and educator, Evangelos has had an ongoing career in experimental research in the fields of Psychoacoustics, Music Perception, Music Cognition, IT, Human-Computer Interaction, Special Needs, the Singing Voice & Singing Development. Publications currently number over two hundred in high-profile international journals, such as Frontiers of Psychology and Cognitive Science, Psychology of Music, IJME, RSME, Journal of Voice, Logopedics Phoniatrics Vocology. Evangelos has been working on numerous funded research projects for leading UK Research Councils such as the AHRC, ESRC, EPSRC, grant-making foundations/charities such as The Paul Hamlyn Foundation, RNIB, the AmberTrust and the Esmée Fairbairn Foundation, government agencies/departments (such as DfES, QCA) and also the European Union. Evangelos is associate editor for the Journal of Music, Technology and Education (Intellect), associate editor of Frontiers in Psychology, past associate editor for the Journal Logopedics Phoniatrics Vocology xv Author Biographies (Informa Healthcare), reviews editor for Psychology of Music (SAGE), editor of the Society for Education and Music Psychology Research (SEMPRE) Conference Series, and section editor for 'technology' for the Oxford Handbook of Music Education. Evangelos has co-edited, with Andrew King, two key volumes in Technology, Music and Education, published by Routledge.As a sound engineer and researcher, Evangelos has recorded in numerous venues (including York Minster, St.Paul's, RCM), with various artists such as Derek Lee Ragin (Farinelli), Vanessa Mae (SONY BMG) and Jarvis Cocker (Pulp) and for numerous media productions (for the BBC, Ch5, Discovery Channel, RTL, CBS, PBS, History Channel).Evangelos has developed the free online technologies for Sounds of Intent, Inspire-Music and the Online Afghan Rubab Tutor. In his spare time, Evangelos likes to record music, play guitar, and handcraft musical instruments in order to raise funds for his charitable work. Intellectual, Social and Personal Development of Children and Young People (2015). As the evidence was collated, it became clear that much more research had be...

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Can musical aptitude and experience predict success in non-native tone word learning?

Cited by 11 publications

References 0 publications

The impact of making music on aural perception and language skills: A research synthesis

The impact of making music on aural perception and language skills: A research synthesis

Neurophysiological evidence that musical training influences the recruitment of right hemispheric homologues for speech perception

7. Executive Functioning and Self-Regulation

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