Music training for the development of auditory skills

Kraus, Nina; Chandrasekaran, Bharath

doi:10.1038/nrn2882

Cited by 833 publications

(831 citation statements)

References 72 publications

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“…A compreensão do processamento dos estímulos sonoros, da captação externa às análises mais centrais no encéfalo, tem sido um objeto de difícil controle, o que tem gerado contradições nos resultados dos estudos encontrados, no que diz respeito ao funcionamento diferenciado da audição entre o sexo dos indivíduos, estejam eles relacionados aos mais diversos atributos (Clynes, 1982;Kraus & Chandrasekaran, 2010;Moore, 2007;Zatorre, 2001).…”

Section: Discussionunclassified

Mulheres e homens: diferentes também na percepção das notas musicais?

Silva

Bezerra

Gadelha

et al. 2014

Psic.: Teor. e Pesq.

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RESUMO -O objetivo deste estudo foi avaliar a percepção das notas musicais RÉ, FÁ, e LÁ em adultos jovens. Participaram do estudo 20 homens e 20 mulheres de 18 a 29 anos, saudáveis, não músicos e não usuários de fármacos ou outras substâncias tóxicas. Realizou-se um teste de discriminação de notas musicais com escolha forçada entre duas alternativas, por meio do qual os participantes escolheram um estímulo previamente apresentado. Comparou-se a frequência de acertos na discriminação das notas musicais em relação ao sexo dos participantes. Encontraram-se diferenças estatisticamente significantes na nota musical Fá, sendo que os homens apresentaram maior quantidade de acertos que as mulheres. Esses resultados encontrados sugerem diferença na percepção das notas musicais para mulheres e homens. ABSTRACT -The objective of this study was to evaluate the perception of musical notes D, F, and A in young adults. The study included 20 men and 20 women, aged 18 to 29 years, healthy, non-musicians, and non-users of drugs or other toxic substances. Participants did a two-alternative forced choice discrimination test of musical notes, in which they were asked to select the stimulus that was previously presented. The frequency of correct discrimination of the musical notes was compared between both sexes. Statistically significant differences in the musical note F were found. Men had a higher number of hits than women. These results suggest differences in the perception of musical notes by women and men. O conhecimento a respeito do processamento musical pode ser um importante referente na discussão de questões sociais, clínicas e neurobiológicas relacionadas aos aspectos auditivos (McDermott & Oxenham, 2008;Omar, Hailstone, Warren, Crutch, & Warren, 2010). Estudos nessa direção analisaram a habilidade de discriminação de sons, utilizando variáveis diversificadas em animais e em humanos. Palavras KeywordsSloan, Dodd e Rennaker (2009), por exemplo, compararam a discriminação de frequências sonoras por ratos albinos em duas tarefas distintas. A primeira requisitava a detecção de uma mudança de frequência, a partir de um tom de referência permanente. A segunda requeria a detecção de uma mudança de frequência entre as reproduções de uma sequência de referência de tons repetidos. Para cada tarefa, o limiar diferencial de frequência foi medido em uma faixa de referência de 2,31 a 27,7 kHz a 60 dB em nível de pressão sonora, com deslocamentos de frequência para cima e para baixo. Todos os 24 sujeitos utilizados aprenderam rapidamente a primeira tarefa, mas apenas 13 aprenderam também a segunda. O desempenho dos sujeitos em cada uma delas melhorou, em média, com o aumento da frequência de referência e, em ambas as tarefas, os limiares de mudança ascendente da frequência foram significativamente maiores do que os limiares de mudanças descendentes.Já Walker, Schunupp, Hart-Schunupp, King e Bizley (2009) treinaram quatro furões (Mustela putorius) no método de escolha forçada entre duas alternativas, em uma tarefa de discriminação de son...

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Section: Discussionunclassified

Mulheres e homens: diferentes também na percepção das notas musicais?

Silva

Bezerra

Gadelha

et al. 2014

Psic.: Teor. e Pesq.

View full text Add to dashboard Cite

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“…Our results nevertheless provide some evidence of interactions between cognitive skills and perceptual acuity: top-down attentional abilities may partly account for fine acuity for certain auditory signal features in both experts and non-experts. These findings hold implications for the extent to which musical training may be an effective intervention for learning or language-related difficulties (for discussion, see Parbery-Clark et al, 2013;Strait et al, 2012b;Kraus & Chandrasekaran, 2010). Musical training could yield benefits to difficulties related to fine-grained listening, but perhaps may provide greatest benefit when integrated with attentional skill training.…”

Section: Discussionmentioning

confidence: 99%

Generality and specificity in the effects of musical expertise on perception and cognition

Carey

Rosen²,

Krishnan

et al. 2015

Cognition

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Performing musicians invest thousands of hours becoming experts in a range of perceptual, attentional, and cognitive skills. The duration and intensity of musicians' training -far greater than that of most educational or rehabilitation programs -provides a useful model to test the extent to which skills acquired in one particular context (music) generalize to different domains. Here, we asked whether the instrument-specific and more instrument-general skills acquired during professional violinists' and pianists' training would generalize to superior performance on a wide range of analogous (largely non-musical) skills, when compared to closely matched non-musicians.Violinists and pianists outperformed non-musicians on fine-grained auditory psychophysical measures, but surprisingly did not differ from each other, despite the different demands of their instruments. Musician groups did differ on a tuning system perception task: violinists showed clearest biases towards the tuning system specific to their instrument, suggesting that long-term experience leads to selective perceptual benefits given a training-relevant context. However, we found only weak evidence of group differences in non-musical skills, with musicians differing marginally in one measure of sustained auditory attention, but not significantly on auditory scene analysis or multi-modal sequencing measures. Further, regression analyses showed that this sustained auditory attention metric predicted more variance in one auditory psychophysical measure than did musical expertise. Our findings suggest that specific musical expertise may yield distinct perceptual outcomes within contexts close to the area of training. Generalization of expertise to relevant cognitive domains may be less clear, particularly where the task context is non-musical.Keywords: expertise; musicians; perception; cognition; generalization GENERALITY AND SPECIFICITY IN MUSICAL EXPERTISE EFFECTS 3 Highlights 1. We studied generalization of expertise to auditory perceptual and broader cognitive skills.2. Musician groups perceived auditory signal differences more finely than non-musicians.3. Musician groups differed in fine perception given a training-relevant context. 4. Musical expertise did not strongly generalize to several cognitive measures (e.g., auditory scene analysis).5. 5. Sustained attention predicted variance in fine perception of AM depth above expertise. GENERALITY AND SPECIFICITY IN MUSICAL EXPERTISE EFFECTS 4 Generality and Specificity in the Effects of Musical Expertise on Perception and CognitionPerceptual and cognitive skills can be shaped and enhanced through our experience with the world (e.g., Goldstone, 1999;Palmeri & Gauthier, 2004). Pursuit of expertise in a given domain is a particularly striking example: groups as diverse as chess masters, physicians, athletes and musicians spend thousands of hours training and practicing, honing perceptual, cognitive and motor skills critical to success in their field (see Ericsson, 2006;Palmeri et al., 2004; Chi, 200...

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“…A number of studies have already reported a positive relationship between musical competence and the processing and imitation of a foreign accent (Schön et al, 2004;Thompson et al, 2004;Wong and Perrachione, 2007;Pastuszek-Lipinska, 2008;Milovanov, 2009;Nardo and Reiterer, 2009;Kraus and Chandrasekaran, 2010;Reiterer et al, 2011;Hu et al, 2012;Christiner, 2013). Musicians, that is to say individuals with increased musical ability, show an improved auditory working memory and remember speech streams for longer when compared to those without (Pastuszek-Lipinska, 2008;Nardo and Reiterer, 2009;Reiterer et al, 2011;Hu et al, 2012;Christiner, 2013).…”

Section: Introductionmentioning

confidence: 99%

“…We then compared this to their ability to sing and their working memory skills. The aim was to go beyond previous L2 research which had, to this point, focussed mainly on music perception and its effect on the production and memorization of language (Schön et al, 2004;Thompson et al, 2004;Wong and Perrachione, 2007;Pastuszek-Lipinska, 2008;Milovanov, 2009;Kraus and Chandrasekaran, 2010).…”

Section: Introductionmentioning

confidence: 99%

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

Christiner¹,

Reiterer²

2013

PsycEXTRA Dataset

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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.

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Music training for the development of auditory skills

Cited by 833 publications

References 72 publications

Mulheres e homens: diferentes também na percepção das notas musicais?

Mulheres e homens: diferentes também na percepção das notas musicais?

Generality and specificity in the effects of musical expertise on perception and cognition

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

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