Music Training and Nonmusical Abilities.

Music training is generally assumed to improve perceptual and cognitive abilities. Although correlational data highlight positive associations, experimental results are inconclusive, raising questions about causality. Does music training have far-transfer effects, or do preexisting factors determine who takes music lessons? All behavior reflects genetic and environmental influences, but differences in emphasis-nature versus nurture-have been a source of tension throughout the history of psychology. After reviewing the recent literature, we conclude that the evidence that music training causes nonmusical benefits is weak or nonexistent, and that researchers routinely overemphasize contributions from experience while neglecting those from nature. The literature is also largely exploratory rather than theory driven. It fails to explain mechanistically how music-training effects could occur and ignores evidence that far transfer is rare. Instead of focusing on elusive perceptual or cognitive benefits, we argue that it is more fruitful to examine the social-emotional effects of engaging with music, particularly in groups, and that music-based interventions may be effective mainly for clinical or atypical populations.

Is musical expertise associated with self-reported foreign-language ability?

Many claims have been made about links between musical expertise and language ability. Rhythm ability, in particular, has been shown to predict phonological, grammatical, and second-language (L2) abilities, whereas music training often predicts reading and speech-perception skills. Here, we asked whether musical expertise-musical ability and/or music training-relates to L2 (English) abilities of Portuguese native speakers. Participants (N = 154) rated their L2 ability on seven 7-point scales, one each for speaking, reading, writing, comprehension, vocabulary, fluency, and accent. They also completed a test of general cognitive ability, an objective test of musical ability with melody and rhythm subtests, and a questionnaire that measured music training and other aspects of musical behaviors. L2 ability correlated positively with education and cognitive ability but not with music training. It also had no association with musical ability or with self-reports of musical behaviors. Moreover, Bayesian analyses provided evidence for the null hypotheses (i.e., no link between L2 and rhythm ability, no link between L2 and years of music lessons). In short, our findings-based on participants' self-reports of L2 ability-raise doubts about proposed associations between musical and second-language abilities, which may be limited to specific populations or measures. (PsycInfo Database Record (c) 2023 APA, all rights reserved).

Individuals with congenital amusia remember music they like.

Music is better recognized when it is liked. Does this association remain evident when music perception and memory are severely impaired, as in congenital amusia? We tested 11 amusic and 11 matched control participants, asking whether liking of a musical excerpt influences subsequent recognition. In an initial exposure phase, participants-unaware that their recognition would be tested subsequently-listened to 24 musical excerpts and judged how much they liked each excerpt. In the test phase that followed, participants rated whether they recognized the previously heard excerpts, which were intermixed with an equal number of foils matched for mode, tempo, and musical genre. As expected, recognition was in general impaired for amusic participants compared with control participants. For both groups, however, recognition was better for excerpts that were liked, and the liking enhancement did not differ between groups. These results contribute to a growing body of research that examines the complex interplay between emotions and cognitive processes. More specifically, they extend previous findings related to amusics' impairments to a new memory paradigm and suggest that (1) amusic individuals are sensitive to an aesthetic and subjective dimension of the music-listening experience, and (2) emotions can support memory processes even in a population with impaired music perception and memory.

Individual differences in musical ability among adults with no music training.

Good musical abilities are typically considered to be a consequence of music training, such that they are studied in samples of formally trained individuals. Here, we asked what predicts musical abilities in the absence of music training. Participants with no formal music training (N = 190) completed the Goldsmiths Musical Sophistication Index, measures of personality and cognitive ability, and the Musical Ear Test (MET). The MET is an objective test of musical abilities that provides a Total score and separate scores for its two subtests (Melody and Rhythm), which require listeners to determine whether standard and comparison auditory sequences are identical. MET scores had no associations with personality traits. They correlated positively, however, with informal musical experience and cognitive abilities. Informal musical experience was a better predictor of Melody than of Rhythm scores. Some participants (12%) had Total scores higher than the mean from a sample of musically trained individuals (⩾6 years of formal training), tested previously by Correia et al. Untrained participants with particularly good musical abilities (top 25%, n = 51) scored higher than trained participants on the Rhythm subtest and similarly on the Melody subtest. High-ability untrained participants were also similar to trained ones in cognitive ability, but lower in the personality trait openness-to-experience. These results imply that formal music training is not required to achieve musician-like performance on tests of musical and cognitive abilities. They also suggest that informal music practice and music-related predispositions should be considered in studies of musical expertise.

Music Listening, Emotion, and Cognition in Older Adults.

Using the arousal and mood hypothesis as a theoretical framework, we examined whether community-dwelling older adults (N = 132) exhibited cognitive benefits after listening to music. Participants listened to shorter (≈2.5 min) or longer (≈8 min) excerpts from recordings of happy- or sad-sounding music or from a spoken-word recording. Before and after listening, they completed tasks measuring visuospatial working memory (WM), cognitive flexibility and speed, verbal fluency, and mathematical ability, as well as measures of arousal and mood. In general, older adults improved from pre- to post-test on the cognitive tasks. For the test of WM, the increase was greater for participants who heard happy-sounding music compared to those in the other two groups. The happy-sounding group also exhibited larger increases in arousal and mood, although improvements in mood were evident only for the long-duration condition. At the individual level, however, improvements in WM were unrelated to changes in arousal or mood. In short, the results were partially consistent with the arousal and mood hypothesis. For older adults, listening to happy-sounding music may optimize arousal levels and mood, and improve performance on some cognitive tasks (i.e., WM), even though there is no direct link between changes in arousal/mood and changes in WM.

Enhanced recognition of vocal emotions in individuals with naturally good musical abilities.

Music training is widely assumed to enhance several nonmusical abilities, including speech perception, executive functions, reading, and emotion recognition. This assumption is based primarily on cross-sectional comparisons between musicians and nonmusicians. It remains unclear, however, whether training itself is necessary to explain the musician advantages, or whether factors such as innate predispositions and informal musical experience could produce similar effects. Here, we sought to clarify this issue by examining the association between music training, music perception abilities and vocal emotion recognition. The sample (N = 169) comprised musically trained and untrained listeners who varied widely in their musical skills, as assessed through self-report and performance-based measures. The emotion recognition tasks required listeners to categorize emotions in nonverbal vocalizations (e.g., laughter, crying) and in speech prosody. Music training was associated positively with emotion recognition across tasks, but the effect was small. We also found a positive association between music perception abilities and emotion recognition in the entire sample, even with music training held constant. In fact, untrained participants with good musical abilities were as good as highly trained musicians at recognizing vocal emotions. Moreover, the association between music training and emotion recognition was fully mediated by auditory and music perception skills. Thus, in the absence of formal music training, individuals who were "naturally" musical showed musician-like performance at recognizing vocal emotions. These findings highlight an important role for factors other than music training (e.g., predispositions and informal musical experience) in associations between musical and nonmusical domains. (PsycInfo Database Record (c) 2022 APA, all rights reserved).

Can musical ability be tested online?

We sought to determine whether an objective test of musical ability could be successfully administered online. A sample of 754 participants was tested with an online version of the Musical Ear Test (MET), which had Melody and Rhythm subtests. Both subtests had 52 trials, each of which required participants to determine whether standard and comparison auditory sequences were identical. The testing session also included the Goldsmiths Musical Sophistication Index (Gold-MSI), a test of general cognitive ability, and self-report questionnaires that measured basic demographics (age, education, gender), mind-wandering, and personality. Approximately 20% of the participants were excluded for incomplete responding or failing to finish the testing session. For the final sample (N = 608), findings were similar to those from in-person testing in many respects: (1) the internal reliability of the MET was maintained, (2) construct validity was confirmed by strong associations with Gold-MSI scores, (3) correlations with other measures (e.g., openness to experience, cognitive ability, mind-wandering) were as predicted, (4) mean levels of performance were similar for individuals with no music training, and (5) musical sophistication was a better predictor of performance on the Melody than on the Rhythm subtest. In sum, online administration of the MET proved to be a reliable and valid way to measure musical ability.

The Musical Ear Test: Norms and correlates from a large sample of Canadian undergraduates.

We sought to establish norms and correlates for the Musical Ear Test (MET), an objective test of musical ability. A large sample of undergraduates at a Canadian university (N > 500) took the 20-min test, which provided a Total score as well as separate scores for its Melody and Rhythm subtests. On each trial, listeners judged whether standard and comparison auditory sequences were the same or different. Norms were derived as percentiles, Z-scores, and T-scores. The distribution of scores was approximately normal without floor or ceiling effects. There were no gender differences on either subtest or the total score. As expected, scores on both subtests were correlated with performance on a test of immediate recall for nonmusical auditory stimuli (Digit Span Forward). Moreover, as duration of music training increased, so did performance on both subtests, but starting lessons at a younger age was not predictive of better musical abilities. Listeners who spoke a tone language exhibited enhanced performance on the Melody subtest but not on the Rhythm subtest. The MET appears to have adequate psychometric characteristics that make it suitable for researchers who seek to measure musical abilities objectively.

Individual differences in musical ability are stable over time in childhood.

The development of human abilities stems from a complex interplay between genetic predispositions and environmental factors. Numerous studies have compared musicians with non-musicians on measures of musical and non-musical ability, frequently attributing musicians' superior performance to their training. By ignoring preexisting differences, however, this view assumes that taking music lessons is akin to random assignment. In the present longitudinal study, the musical ability of 5- to 10-year-olds was measured at Time 1 with a test of music perception and cognition. Five years later, at Time 2, the children took the same test and a second test designed for older listeners. The test-retest correlation for aggregate scores was remarkably high, r ≈ 0.7, and remained strong when confounding variables (age, cognitive abilities, personality) were held constant. At both time points, music training was associated with musical ability, but the association at Time 2 became nonsignificant when musical ability at Time 1 was held constant. Time 1 musical ability also predicted duration of subsequent music training. These data are consistent with results from genetic studies, which implicate genes in all aspects of musical behavior and achievement, and with meta-analyses, which indicate that transfer effects from music training are weak. In short, early musical abilities significantly predicted later abilities, demonstrating that individual differences are stable over time. We found no evidence, however, to suggest that music training predicted musical ability after accounting for prior ability. The results underscore the importance of considering preexisting abilities in any type of learning.

Rhythm and syntax processing in school-age children.

Scholars debate whether musical and linguistic abilities are associated or independent. In the present study, we examined whether musical rhythm skills predict receptive grammar proficiency in childhood. In Experiment 1, 7- to 17-year-old children (N = 68) were tested on their grammar and rhythm abilities. In the grammar-comprehension task, children heard short sentences with subject-relative (e.g., "Boys that help girls are nice") or object-relative (e.g., "Boys that girls help are nice") clauses, and determined the gender of the individual performing the action. In the rhythm-discrimination test, children heard two short rhythmic sequences on each trial and decided if they were the same or different. Children with better performance on the rhythm task exhibited higher scores on the grammar test, even after holding constant age, gender, music training, and maternal education. In Experiment 2, we replicated this finding with another group of same-age children (N = 96) while further controlling for working memory. Our data reveal, for the first time, an association between receptive grammar and rhythm perception in typically developing children. This finding is consistent with the view that music and language share neural resources for rule-based temporal processing. (PsycInfo Database Record (c) 2020 APA, all rights reserved).

Musical ability, music training, and language ability in childhood.

We tested theories of links between musical expertise and language ability in a sample of 6- to 9-year-old children. Language ability was measured with tests of speech perception and grammar. Musical expertise was measured with a test of musical ability that had 3 subtests (melody discrimination, rhythm discrimination, and long-term memory for music) and as duration of music training. Covariates included measures of demographics, general cognitive ability (IQ, working memory), and personality (openness-to-experience). Music training was associated positively with performance on the grammar test, musical ability, IQ, openness, and age. Musical ability predicted performance on the tests of speech perception and grammar, as well as IQ, working memory, openness, and age. Regression analyses-with other variables held constant-revealed that language abilities had significant partial associations with musical ability and IQ but not with music training. Rhythm discrimination was a better predictor of language skills compared with melody discrimination, but memory for music was equally good. Bayesian analyses confirmed the results from the standard analyses. The implications of the findings are threefold: (a) musical ability predicts language ability, and the association is independent of IQ and other confounding variables; (b) links between music and language appear to arise primarily from preexisting factors and not from formal training in music; and (c) evidence for a special link between rhythm and language may emerge only when rhythm discrimination is compared with melody discrimination. (PsycInfo Database Record (c) 2021 APA, all rights reserved).

Musical Competence is Predicted by Music Training, Cognitive Abilities, and Personality.

Individuals differ in musical competence, which we defined as the ability to perceive, remember, and discriminate sequences of tones or beats. We asked whether such differences could be explained by variables other than music training, including socioeconomic status (SES), short-term memory, general cognitive ability, and personality. In a sample of undergraduates, musical competence had positive simple associations with duration of music training, SES, short-term memory, general cognitive ability, and openness-to-experience. When these predictors were considered jointly, musical competence had positive partial associations with music training, general cognitive ability, and openness. Nevertheless, moderation analyses revealed that the partial association between musical competence and music training was evident only among participants who scored below the mean on our measure of general cognitive ability. Moreover, general cognitive ability and openness had indirect associations with musical competence by predicting music training, which in turn predicted musical competence. Musical competence appears to be the result of multiple factors, including but not limited to music training.

Explaining the association between music training and reading in adults.

We sought to clarify whether the positive association between music lessons and reading ability is explained better by shared resources for processing pitch and temporal information, or by general cognitive abilities. Participants were native and nonnative speakers of English with varying levels of music training. We measured reading ability (comprehension and speed), music-perception skills (melody and rhythm), general cognitive ability (nonverbal intelligence, short-term memory, and working memory), and socioeconomic status (SES; family income, parents' education). Reading ability was associated positively with music training, English as a native language, and general cognitive ability. The association between reading and music training was significant after SES, native language, and music-perception skills were controlled. After general cognitive abilities were held constant, however, there was no longer an association between reading and music training. These findings suggest that the association between reading ability and music training is a consequence of general cognitive abilities. (PsycINFO Database Record

Memory for melody and key in childhood.

After only two exposures to previously unfamiliar melodies, adults remember the tunes for over a week and the key for over a day. Here, we examined the development of long-term memory for melody and key. Listeners in three age groups (7- to 8-year-olds, 9- to 11-year-olds, and adults) heard two presentations of each of 12 unfamiliar melodies. After a 10-min delay, they heard the same 12 old melodies intermixed with 12 new melodies. Half of the old melodies were transposed up or down by six semitones from initial exposure. Listeners rated how well they recognized the melodies from the exposure phase. Recognition was better for old than for new melodies, for adults compared to children, and for older compared to younger children. Recognition ratings were also higher for old melodies presented in the same key at test as exposure, and the detrimental effect of the transposition affected all age groups similarly. Although memory for melody improves with age and exposure to music, implicit memory for key appears to be adult-like by 7 years of age.

Children's and adults' perception of questions and statements from terminal fundamental frequency contours.

The present study compared children's and adults' identification and discrimination of declarative questions and statements on the basis of terminal cues alone. Children (8-11 years, n = 41) and adults (n = 21) judged utterances as statements or questions from sentences with natural statement and question endings and with manipulated endings that featured intermediate fundamental frequency (F0) values. The same adults and a different sample of children (n = 22) were also tested on their discrimination of the utterances. Children's judgments shifted more gradually across categories than those of adults, but their category boundaries were comparable. In the discrimination task, adults found cross-boundary comparisons more salient than within-boundary comparisons. Adults' performance on the identification and discrimination tasks is consistent with but not definitive regarding categorical perception of statements and questions. Children, by contrast, discriminated the cross-boundary comparisons no better than other comparisons. The findings indicate age-related sharpening in the perception of statements and questions based on terminal F0 cues and the gradual emergence of distinct perceptual categories.

Musical competence and phoneme perception in a foreign language.

We investigated whether musical competence was associated with the perception of foreign-language phonemes. The sample comprised adult native-speakers of English who varied in music training. The measures included tests of general cognitive abilities, melody and rhythm perception, and the perception of consonantal contrasts that were phonemic in Zulu but not in English. Music training was associated positively with performance on the tests of melody and rhythm perception, but not with performance on the phoneme-perception task. In other words, we found no evidence for transfer of music training to foreign-language speech perception. Rhythm perception was not associated with the perception of Zulu clicks, but such an association was evident when the phonemes sounded more similar to English consonants. Moreover, it persisted after controlling for general cognitive abilities and music training. By contrast, there was no association between melody perception and phoneme perception. The findings are consistent with proposals that music- and speech-perception rely on similar mechanisms of auditory temporal processing, and that this overlap is independent of general cognitive functioning. They provide no support, however, for the idea that music training improves speech perception.

Pupils dilate for vocal or familiar music.

Previous research reveals that vocal melodies are remembered better than instrumental renditions. Here we explored the possibility that the voice, as a highly salient stimulus, elicits greater arousal than nonvocal stimuli, resulting in greater pupil dilation for vocal than for instrumental melodies. We also explored the possibility that pupil dilation indexes memory for melodies. We tracked pupil dilation during a single exposure to 24 unfamiliar folk melodies (half sung to la la, half piano) and during a subsequent recognition test in which the previously heard melodies were intermixed with 24 novel melodies (half sung, half piano) from the same corpus. Pupil dilation was greater for vocal melodies than for piano melodies in the exposure phase and in the test phase. It was also greater for previously heard melodies than for novel melodies. Our findings provide the first evidence that pupillometry can be used to measure recognition of stimuli that unfold over several seconds. They also provide the first evidence of enhanced arousal to vocal melodies during encoding and retrieval, thereby supporting the more general notion of the voice as a privileged signal. (PsycINFO Database Record

Children's identification of questions from rising terminal pitch.

Young children are slow to master conventional intonation patterns in their yes/no questions, which may stem from imperfect understanding of the links between terminal pitch contours and pragmatic intentions. In Experiment 1, five- to ten-year-old children and adults were required to judge utterances as questions or statements on the basis of intonation alone. Children eight years of age or younger performed above chance levels but less accurately than adult listeners. To ascertain whether the verbal content of utterances interfered with young children's attention to the relevant acoustic cues, low-pass filtered versions of the same utterances were presented to children and adults in Experiment 2. Low-pass filtering reduced performance comparably for all age groups, perhaps because such filtering reduced the salience of critical pitch cues. Young children's difficulty in differentiating declarative questions from statements is not attributable to basic perceptual difficulties but rather to absent or unstable intonation categories.