Temporal Information Processing in Musicians and Nonmusicians

Rammsayer, Thomas; Altenmüller, Eckart

doi:10.1525/mp.2006.24.1.37

Cited by 182 publications

(162 citation statements)

References 61 publications

(58 reference statements)

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“…Another study conducted with professional and amateur singers, signing in and out of key, showed the superiority of musicians who have received proper music theory training over the years in the temporal ordering tests compared to those who did not receive any theoretical training in music, which showed that exposure to music theory is a contributing factor to the auditory temporal processing (10) . Other studies with musicians who played a musical instrument and non-musicians showed that those with the greatest musical aptitude show superiority in temporal processing when compared to non-musicians (9,11) . There is a theoretical gap in the literature in relation to studies covering musicians and temporal processing.…”

Section: Introductionmentioning

confidence: 94%

Avaliação dos aspectos temporais em cantores populares

Ribeiro

Scharlach

Pinheiro

2015

CoDAS

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RESUMO Objetivo: Avaliar o processamento temporal de cantores populares que tocam ou não instrumento musical. Métodos: O estudo foi composto por 30 cantores populares de bandas baile,15 dos quais cantam e tocam instrumento(s) musical(is) (G1) e 15 apenas cantam (G2). Todos os participantes foram submetidos à realização da avaliação audiológica básica e dos testes do processamento temporal: teste de padrão de frequência (TPF) e teste de detecção de gaps no ruído (GIN). Resultados: Houve diferença estatisticamente significante na comparação do desempenho entre os grupos no que se refere ao limiar de acuidade temporal e percentual de acertos do GIN, bem como no desempenho do TPF, sendo os resultados do grupo de cantores que tocam instrumento musical melhores do que os obtidos pelo grupo que só canta. Conclusão: Cantores populares que tocam instrumentos musicais apresentam melhor desempenho nas habilidades auditivas de resolução e ordenação temporal quando comparados àqueles que só cantam.

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Section: Introductionmentioning

confidence: 94%

Avaliação dos aspectos temporais em cantores populares

Ribeiro

Scharlach

Pinheiro

2015

CoDAS

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“…A considerable body of research suggests that musicians tend to out-perform non-musicians in perceiving fine differences in a number of basic auditory properties, including frequency and/or pitch (Spiegel & Watson, 1984;Micheyl et al, 2006;Kishon-Rabin et al, 2001;Amir, Amir & Kishon-Rabin, 2003;Nikjeh, Lister & Frisch, 2009;Koelsch, Schröger & Tervaniemi, 1999;Parbery-Clark et al, 2009b), tone interval size (Zarate, Ritson & Poeppel, 2012Siegel & Siegel, 1977), temporal interval size (Rammsayer & Altenmüller, 2006;Cicchini et al, 2012;Ehrle & Samson, 2005), and timbre (Pitt, 1994). Below, we review evidence for lower-level and contextually-relevant perceptual advantages in differently trained musician cohorts.…”

Section: Musicianship and Auditory Perceptionmentioning

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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“…Musicians had more right matches for isolate tones than non-musicians (Table 1). It is known that musicians have better frequency perception and discrimination than non--musicians (13)(14)(15)(16)(17) and the lack of musical exposure may be one of the causes for a possible pitch-matching inaccuracy (2) . During the task that involved the reproduction of a sound sequencing of frequency patterns, musicians also showed a better performance when compared to non-musicians (Table 2).…”

Section: Discussionmentioning

confidence: 99%

“…It is known that musical experience enhance auditory perception, both of duration and frequency, given that musicians are superior to non-musicians (18)(19)(20) . When comparing isolate tone tasks with tone sequencing, both groups had more right matches at the isolate tone task and, for the NMG, the sequencing task turned out to be more difficult ( Table 3), showing that it seems that musical learning, either formal or informal, helps the individual to overcome this greater difficulty that is the sound sequencing (13)(14)(15)(16)(17) . This fact corroborates the study that concluded that the longer the sequence of auditory stimuli for the sequencing task, the more difficult the activity becomes, since it involves a greater number of auditory abilities (12) and a greater auditory processing refinement (21) .…”

Section: Discussionmentioning

confidence: 99%

Triagem da Afinação Vocal: comparação do desempenho de musicistas e não musicistas

Moreti

Pereira

Gielow

2012

J. Soc. Bras. Fonoaudiol.

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OBJETIVOS: Elaborar um procedimento simples e de rápida aplicação contendo tarefas de imitação vocal de sons musicais de diferentes tons e de ordenação temporal de três tons; verificar sua aplicabilidade, comparando o desempenho de musicistas e não musicistas. MÉTODOS: Participaram 32 indivíduos adultos, de ambos os gêneros, sem queixas vocais, auditivas e/ou de processamento auditivo, que foram divididos igualmente em dois grupos: grupo musicistas - GM e grupo não musicistas - GNM. Todos passaram pela Triagem da Afinação Vocal, que incluiu estímulos musicais compatíveis com a tessitura vocal de homens e mulheres, agrupados em dois tipos de tarefas: tons isolados e sequências de três tons. Os participantes foram instruídos a ouvir os tons apresentados e reproduzí-los vocalmente. As emissões vocais foram gravadas, analisadas acusticamente e os acertos e erros cometidos nos dois tipos de tarefas foram caracterizados. As variáveis referentes à comparação entre os grupos e os tipos de tarefas foram analisadas estatisticamente. RESULTADOS: Houve diferença na comparação entre os dois tipos de tarefas para o GNM, o que não ocorreu com o GM. Foram observadas diferenças na comparação entre os grupos, sendo que o GM apresentou um maior número de acertos nos dois tipos de tarefas. CONCLUSÃO: A Triagem da Afinação Vocal foi criada e mostrou-se sensível para avaliação e comparação do desempenho entre grupos, podendo ser utilizada como instrumento de rastreamento de afinação vocal. Musicistas apresentaram melhor desempenho que não musicistas na Triagem da Afinação Vocal.

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Temporal Information Processing in Musicians and Nonmusicians

Cited by 182 publications

References 61 publications

Avaliação dos aspectos temporais em cantores populares

Avaliação dos aspectos temporais em cantores populares

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

Triagem da Afinação Vocal: comparação do desempenho de musicistas e não musicistas

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