Musicianship Influences Language Effect on Musical Pitch Perception

Abstract

Given its practical implications, the effect of musicianship on language learning has been vastly researched. Interestingly, growing evidence also suggests that language experience can facilitate music perception. However, the precise nature of this facilitation is not fully understood. To address this research gap, I investigated the interactive effect of language and musicianship on musical pitch and rhythmic perception. Cantonese and English listeners, each divided into musician and non-musician groups, completed the Musical Ear Test and the Raven’s 2 Progressive Matrices. Essentially, an interactive effect of language and musicianship was found on musical pitch but not rhythmic perception. Consistent with previous studies, Cantonese language experience appeared to facilitate musical pitch perception. However, this facilitatory effect was only present among the non-musicians. Among the musicians, Cantonese language experience did not offer any perceptual advantage. The above findings reflect that musicianship influences the effect of language on musical pitch perception. Together with the previous findings, the new findings offer two theoretical implications for the OPERA hypothesis—bi-directionality and mechanisms through which language experience and musicianship interact in different domains.

Language experience predicts music processing in ½ million speakers of 54 languages

“…Our results also help clarify the previously mixed pattern of results concerning the effects of linguistic experience on music processing across different tasks and samples. For example, an advantage for tonal language speakers in melodic pattern processing is consistent with the majority of previous studies (Alexander et al, 2008; Bradley, 2016; Chen et al, 2016; Choi, 2021; Swaminathan et al, 2021; Wong et al, 2012), though not all of them (Peretz et al, 2011; Stevens et al, 2013; Zheng & Samuel, 2018). Meanwhile, similar levels of performance on the fine-grained pitch task between tonal and non-tonal language speakers is supported by some prior studies (Bent et al, 2006; Bidelman et al, 2011a; Stevens et al, 2013; Tong et al, 2018; Zheng & Samuel, 2018) but not other studies that point to a tonal advantage/disadvantage on related tasks (Bidelman et al, 2013; Chang et al, 2016; Giuliano et al, 2011; Hutka et al, 2015; Peretz et al, 2011; Pfordresher & Brown, 2009).…”

“…Many studies have tested this question by comparing native speakers of tonal and non-tonal languages on a variety of musical pitch perception tasks. Some studies report that tonal language speakers excel at discriminating melodic patterns (Alexander et al, 2008; Bradley, 2016; Chen et al, 2016; Choi, 2021; Ngo et al, 2016; Swaminathan et al, 2021; Wong et al, 2012); or at discerning fine-grained pitch difference either in isolation or in the context of detuned intervals, contours, and melodies (Bidelman et al, 2013; Chen et al, 2016; Giuliano et al, 2011; Hutka et al, 2015). But other studies fail to replicate these patterns, both for melodic discrimination (Peretz et al, 2011; Stevens et al, 2013; Zheng & Samuel, 2018) and fine-scale pitch discrimination (Bent et al, 2006; Bidelman et al, 2011a; Pfordresher & Brown, 2009; Stevens et al, 2013; Tong et al, 2018; Wong et al, 2012).…”

The choice of musical instrument matters: Effect of pitched but not unpitched musicianship on tone identification and word learning

“…The participants were sorted into three groups, that is, pitched musician ( n = 15), unpitched musician ( n = 13), and non-musician ( n = 15). Adopting pre-established criteria in previous studies (Choi, 2021, 2022b, 2022c; Cooper & Wang, 2012), the pitched musicians had at least 7 years of continuous piano and/or violin training, less than 2 years of unpitched percussion training, and could play their instruments at the time of testing. The unpitched musician had at least 7 years of continuous unpitched percussion training, less than 2 years of pitched musical training, and could play their instruments at the time of testing.…”

“…The participants were sorted into three groups, that is, pitched musician (n = 15), unpitched musician (n = 13), and non-musician (n = 15). Adopting pre-established criteria in previous studies (Choi, 2021(Choi, , 2022b(Choi, , 2022cCooper & Wang, 2012) non-musicians. On average, the pitched musicians and the unpitched musicians had received 11.77 years (SD = 3.87 years) and 10.81 years (SD = 3.68 years) of music training, respectively, while three non-musicians had only received 1 year (SD = 0 year) of music training.…”

Towards a Native OPERA Hypothesis: Musicianship and English Stress Perception

“…Forty native English listeners were recruited at University College London through an online participant recruitment system. Based on the criteria adopted in previous studies (Choi, 2020; 2021b; Tong et al, 2018), the listeners were assigned to the musician (n = 20) and non-musician (n = 20) groups. All musicians had received at least seven years of continuous music training and were able to play their instruments at the time of testing.…”