Musical Experience Limits the Degradative Effects of Background Noise on the Neural Processing of Sound

Parbery‐Clark, Alexandra; Skoe, Erika; Kraus, Nina

doi:10.1523/jneurosci.3256-09.2009

Cited by 345 publications

(439 citation statements)

References 68 publications

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“…Moreover, we did not find that our violinist cohort -who spent significantly greater time in ensembles (see ST 2) -performed any better than our pianist cohort. These results contrast with previous reports of enhanced musician performance under the demands of competing speech (Parbery-Clark et al, 2009a, 2009b, 2011Strait et al, 2012b), sources of informational masking (Oxenham et al, 2003; see footnote 10), backward masking (Strait et al, 2010), and detection of auditory objects (Zendel & Alain, 2009. Our findings also contrast with previous evidence that specific expertise with ensemble settings benefits selective attention to spatially segregated sounds (Nager et al, 2003).…”

Section: Auditory Scene Analysiscontrasting

confidence: 99%

“…Schneider et al (2002) found enhanced early MEG component responses (N19m and P30m) in professional and amateur musicians compared to non-musicians (presumably reflecting contributions from auditory cortex generators). A variety of studies by Kraus and colleagues (e.g., Parbery-Clark et al, 2011;2009a;Strait et al 2012a;Skoe & Kraus, 2013) 7. Since the present experimental battery was 3+ hours in duration, we were not able to assess fullscale IQ for each participant.…”

Section: Discussionmentioning

confidence: 99%

“…Orchestral conductors -whose primary role is to analyze, interpret, and manipulate a colossal auditory sceneshow enhanced selectivity in attending to spatially segregated auditory signals (noise bursts), when compared to both pianists and non-musicians (Nager et al, 2003). Musicians' long experience in musically-based scene analysis may also be a causal factor in their enhanced ability to comprehend speech when the speech signal is masked by noise (classic 'energetic' masking) or multi-talker babble (energetic plus so-called 'informational masking' -see footnote 4; Parbery-Clark et al, 2009a, 2009b, 2011Strait & Kraus, 2011b;Strait et al, 2012b; but see also Patel, 2011). However, recent data suggest that musicians and non-musicians do not differ in susceptibility to informational and energetic masking during speech-in-noise perception (Ruggles et al, 2014).…”

Section: Auditory Scene Analysismentioning

confidence: 99%

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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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Section: Auditory Scene Analysiscontrasting

confidence: 99%

Section: Discussionmentioning

confidence: 99%

Section: Auditory Scene Analysismentioning

confidence: 99%

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

Carey

Rosen²,

Krishnan

et al. 2015

Cognition

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“…É importante citar ainda, que a estruturação temporal para execução deste teste é adquirida a partir dos 7 anos, e que no decorrer do desenvolvimento as crianças adquirem a possibilidade de estruturar conjuntos sempre mais longos e complexos (Stambak, 1968 (Blundell et al, 2007;Ho et al, 2003;Parbery-Clark et al, 2009;Peretz & Zatorre, 2005;Rauscher & Zupan, 2000;Williamson et al, 2006).…”

Section: Discussionunclassified

Treino musical e capacidade da memória operacional em crianças iniciantes, veteranas e sem conhecimentos musicais

Ribeiro¹,

Santos²

2012

Psicol. Reflex. Crit.

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ResumoA memória operacional e a atividade musical ativam áreas encefálicas recíprocas e homólogas, contudo não há evidências se o treino musical pode ampliar a capacidade da memória operacional. Objetivo: Avaliar o desempenho do treino musical sob a memória operacional em crianças de 9 e 10 anos de idade, praticantes de treino musical e sem experiência musical. Participantes: Crianças Iniciantes (n=20), Veteranas (n=20) e Grupo Controle (n=20). Materiais: Instrumentos computadorizados para avaliação da memória operacional. Resultados: Crianças veteranas apresentaram melhores pontuações no BCPR (Teste de Repetição de Pseudopalavras para crianças brasileiras) e em subtestes da AWMA (Avaliação Automatizada da Memória Operacional). Conclusão: O treino musical parece ter contribuído para o desenvolvimento da memória operacional em crianças veteranas no programa de treino musical. Palavras-chave: AWMA, memória operacional, treino musical, ensino da música. AbstractWorking memory and musical activity activate reciprocal and homologues brain areas. However, there is a lack of evidence if musical training can amplify the working memory span. Objective: To assess the performance of musical training on working memory in children aged 9 and 10 years old who regularly have musical training or with no musical training at all. Participants: Beginners (n=20), Veterans (n=20) and a Control Group (n=20 A memória operacional pode ser definida como um sistema complexo, que possui a capacidade de reter e manipular informações por curtos períodos de tempo (Baddeley & Hitch, 1974). Esse sistema possui atualmente quatro componentes. Um deles é a alça fonológica que possui a função de armazenar e manipular informações baseadas na fala, e recebe informação tanto por via direta (apresentação auditiva) quanto por via indireta (apresentação visual). Outro componente é o esboço visuoespacial que armazena informações visuais e espaciais, como lembrar formas e cores, locais e velocidade de objetos no espaço. Este também está envolvido em tarefas que necessitam planejamento de movimento no espaço (Baddeley, 2000).Um terceiro componente, o executivo central, é o sistema controlador da atenção que não exibe especificidade modal, possui capacidade atencional limitada e é supostamente responsável pelo processamento de tarefas cognitivas (Baddeley, 1992). Está relacionado à organização de aprendizagem e planejamento das informações (Repovš & Baddeley, 2006). E finalmente o retentor episódico, que integra e armazena informações fonológica, visual, espacial e memória de longo prazo, temporariamente em uma representação episódica coerente e única, porém com códigos multidimensionais (Baddeley, 2000). A capacidade de cada componente da memória operacional aumenta linearmente da infância até o início da adolescência

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“…These enhancements extend to the subcortical auditory system, with musicians showing responses to sound that are faster (55, 57-61), are degraded less by background noise (32, 61), represent speech formant structure more robustly (32,(62)(63)(64). differentiate speech sounds to a greater extent (65-67), track stimulus pitch more accurately (68, 69), and are more consistent across trials (59, 70).…”

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Music training alters the course of adolescent auditory development

Tierney

Krizman

Kraus

2015

Proc. Natl. Acad. Sci. U.S.A.

131

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Fundamental changes in brain structure and function during adolescence are well-characterized, but the extent to which experience modulates adolescent neurodevelopment is not. Musical experience provides an ideal case for examining this question because the influence of music training begun early in life is wellknown. We investigated the effects of in-school music training, previously shown to enhance auditory skills, versus another inschool training program that did not focus on development of auditory skills (active control). We tested adolescents on neural responses to sound and language skills before they entered high school (pretraining) and again 3 y later. Here, we show that inschool music training begun in high school prolongs the stability of subcortical sound processing and accelerates maturation of cortical auditory responses. Although phonological processing improved in both the music training and active control groups, the enhancement was greater in adolescents who underwent music training. Thus, music training initiated as late as adolescence can enhance neural processing of sound and confer benefits for language skills. These results establish the potential for experience-driven brain plasticity during adolescence and demonstrate that in-school programs can engender these changes. music | training | auditory B y age six, the brain has reached 90% of its adult size (1).However, the years between childhood and young adulthood are marked by a host of subtler neural developments. Myelination and synaptic pruning (2-5) lead to a decrease in gray matter and an increase in white matter (6-13). Resting-state oscillations decline (14-16), and passive evoked responses to sound change in complex ways. Cortically, the P1, which is a positive deflection at around 50 ms generated within lateral Heschl's gyrus (17), declines whereas the N1, a negative deflection at around 100 ms generated within primary and secondary auditory cortices (18)(19)(20), increases (21-23). Subcortically, the trial-by-trial consistency of the response declines (24,25). An open question is how experience interacts with this developmental plasticity during adolescence. Is the transition from the plasticity of childhood to the stability of adulthood malleable by experience? And if so, what types of enrichment have the greatest impact on the development of the neural mechanisms contributing to auditory and language skills?Music training is an enrichment program commonly available to high school students, and its neural and behavioral consequences are well-understood (for a review, see ref. 26). Studies comparing nonmusicians with musicians who began training early in life have revealed a "signature" set of enhancements associated with musical experience (27,28). Relative to nonmusician peers, musicians tend to show enhanced speech-innoise perception (29-34), verbal memory (30-33, 35-38), phonological skills (39-45), and reading (46-50), although not without exception (51, 52). Music training has also been linked to enhancements in the enco...

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Musical Experience Limits the Degradative Effects of Background Noise on the Neural Processing of Sound

Cited by 345 publications

References 68 publications

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

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

Treino musical e capacidade da memória operacional em crianças iniciantes, veteranas e sem conhecimentos musicais

Music training alters the course of adolescent auditory development

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