Abstract:The musical brain is built over time through experience with a multitude of sounds in the auditory environment. However, learning the melodies, timbres, and rhythms unique to the music and language of one’s culture begins already within the mother’s womb during the third trimester of human development. We review evidence that the intrauterine auditory environment plays a key role in shaping later auditory development and musical preferences. We describe evidence that externally and internally generated sounds … Show more
“…Music may provide a way to deliver structured patterns to the developing brain, which could in turn lead to neurodevelopmental benefits. Even ‘simple music’ such as lullabies are far more structured than the panoply of noise possible in the NICU, and thus might provide a form of early sensory enrichment for the developing brain . Once again, animal studies provide an interesting model.…”
Provides a neuroscience framework for considering how music might attenuate stress in neonatal intensive care unit (NICU) infants. Considers how repeated stress may cause negative neurodevelopmental impacts in infants born preterm. Posits epigenetics can serve as a mechanistic pathway for music moderating the stress response.
“…Music may provide a way to deliver structured patterns to the developing brain, which could in turn lead to neurodevelopmental benefits. Even ‘simple music’ such as lullabies are far more structured than the panoply of noise possible in the NICU, and thus might provide a form of early sensory enrichment for the developing brain . Once again, animal studies provide an interesting model.…”
Provides a neuroscience framework for considering how music might attenuate stress in neonatal intensive care unit (NICU) infants. Considers how repeated stress may cause negative neurodevelopmental impacts in infants born preterm. Posits epigenetics can serve as a mechanistic pathway for music moderating the stress response.
“…The preferred tempo of music decreases with age and leg length (Drake, Jones, & Baruch, 2000). But since tempo biases and the detection of a regular pulse in an auditory signal can be demonstrated in children from birth, even before walking (Winkler, Haden, Ladinig, Sziller, & Honing, 2009), it has been proposed that movements of the mother may influence such rhythmic behavior more than does the child's own movements (Ullal-Gupta et al, 2013). Newborns distinguish regular features in the acoustic environment despite alteration and they have spectral as well as temporal processing prerequisites of music perception (Winkler et al, 2009).…”
We contrast two related hypotheses of the evolution of dance: H1: Maternal bipedal walking influenced the fetal experience of sound and associated movement patterns; H2: The human transition to bipedal gait produced more isochronous/predictable locomotion sound resulting in early music-like behavior associated with the acoustic advantages conferred by moving bipedally in pace. The cadence of walking is around 120 beats per minute, similar to the tempo of dance and music. Human walking displays long-term constancies. Dyads often subconsciously synchronize steps. The major amplitude component of the step is a distinctly produced beat. Human locomotion influences, and interacts with, emotions, and passive listening to music activates brain motor areas. Across dance-genres the footwork is most often performed in time to the musical beat. Brain development is largely shaped by early sensory experience, with hearing developed from week 18 of gestation. Newborns reacts to sounds, melodies, and rhythmic poems to which they have been exposed in utero. If the sound and vibrations produced by footfalls of a walking mother are transmitted to the fetus in coordination with the cadence of the motion, a connection between isochronous sound and rhythmical movement may be developed. Rhythmical sounds of the human mother locomotion differ substantially from that of nonhuman primates, while the maternal heartbeat heard is likely to have a similar isochronous character across primates, suggesting a relatively more influential role of footfall in the development of rhythmic/musical abilities in humans. Associations of gait, music, and dance are numerous. The apparent absence of musical and rhythmic abilities in nonhuman primates, which display little bipedal locomotion, corroborates that bipedal gait may be linked to the development of rhythmic abilities in humans. Bipedal stimuli in utero may primarily boost the ontogenetic development. The acoustical advantage hypothesis proposes a mechanism in the phylogenetic development.
“…Other work suggests that music development may also undergo a process of perceptual narrowing . In particular, two infant studies, conducted by Hannon and Trehub, reported the first evidence of perceptual narrowing to musical rhythm.…”
Section: Introductionmentioning
confidence: 99%
“…[19][20][21] Other work suggests that music development may also undergo a process of perceptual narrowing. [22][23][24][25][26][27][28][29][30][31] In particular, two infant studies, conducted by Hannon and Trehub, 23,24 reported the first evidence of perceptual narrowing to musical rhythm. In these studies, the authors tested whether younger and doi: 10.1111/nyas.14050 older Western infants could detect structural violations to the meter of native and nonnative musical rhythms.…”
Previous research suggests that infants’ perception of musical rhythm is fine‐tuned to culture‐specific rhythmic structures over the first postnatal year of human life. To date, however, little is known about the neurobiological principles that may underlie this process. In the current study, we used a dynamical systems model featuring neural oscillation and Hebbian plasticity to simulate infants’ perceptual learning of culture‐specific musical rhythms. First, we demonstrate that oscillatory activity in an untrained network reflects the rhythmic structure of either a Western or a Balkan training rhythm in a veridical fashion. Next, during a period of unsupervised learning, we show that the network learns the rhythmic structure of either a Western or a Balkan training rhythm through the self‐organization of network connections. Finally, we demonstrate that the learned connections affect the networks’ response to violations to the metrical structure of native and nonnative rhythms, a pattern of findings that mirrors the behavioral data on infants’ perceptual narrowing to musical rhythms.
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