Back and front peripersonal space: behavioural and EMG evidence of top-down and bottom-up mechanisms.

Previous studies have identified a 'defensive graded field' in the peripersonal front space where potential threatening stimuli induce stronger blink responses, mainly modulated by top-down mechanisms, which include various factors, such as proximity to the body, stimulus valence, and social cues. However, very little is known about the mechanisms responsible for representation of the back space and the possible role of bottom-up information. By means of acoustic stimuli, we evaluated individuals' representation for front and back space in an ambiguous environment that offered some degree of uncertainty in terms of both distance (close vs. far) and front-back egocentric location of sound sources. We aimed to consider verbal responses about localization of sound sources and EMG data on blink reflex. Results suggested that stimulus distance evaluations were better explained by subjective front-back discrimination, rather than real position. Moreover, blink response data were also better explained by subjective front-back discrimination. Taken together, these findings suggest that the mechanisms that dictate blink response magnitude might also affect sound localization (possible bottom-up mechanism), probably interacting with top-down mechanisms that modulate stimuli location and distance. These findings are interpreted within the defensive peripersonal framework, suggesting a close relationship between bottom-up and top-down mechanisms on spatial representation.

Sequence Processing in Music Predicts Reading Skills in Young Readers: A Longitudinal Study.

Musical abilities, both in the pitch and temporal dimension, have been shown to be positively associated with phonological awareness and reading abilities in both children and adults. There is increasing evidence that the relationship between music and language relies primarily on the temporal dimension, including both meter and rhythm. It remains unclear to what extent skill level in these temporal aspects of music may uniquely contribute to the prediction of reading outcomes. A longitudinal design was used to test a group-administered musical sequence transcription task (MSTT). This task was designed to preferentially engage sequence processing skills while controlling for fine-grained pitch discrimination and rhythm in terms of temporal grouping. Forty-five children, native speakers of Portuguese (Mage = 7.4 years), completed the MSTT and a cognitive-linguistic protocol that included visual and auditory working memory tasks, as well as phonological awareness and reading tasks in second grade. Participants then completed reading assessments in third and fifth grades. Longitudinal regression models showed that MSTT and phonological awareness had comparable power to predict reading. The MSTT showed an overall classification accuracy for identifying low-achievement readers in Grades 2, 3, and 5 that was analogous to a comprehensive model including core predictors of reading disability. In addition, MSTT was the variable with the highest loading and the most discriminatory indicator of a phonological factor. These findings carry implications for the role of temporal sequence processing in contributing to the relationship between music and language and the potential use of MSTT as a language-independent, time- and cost-effective tool for the early identification of children at risk of reading disability.

Development of an adaptive test of musical scene analysis abilities for normal-hearing and hearing-impaired listeners.

Auditory scene analysis (ASA) is the process through which the auditory system makes sense of complex acoustic environments by organising sound mixtures into meaningful events and streams. Although music psychology has acknowledged the fundamental role of ASA in shaping music perception, no efficient test to quantify listeners' ASA abilities in realistic musical scenarios has yet been published. This study presents a new tool for testing ASA abilities in the context of music, suitable for both normal-hearing (NH) and hearing-impaired (HI) individuals: the adaptive Musical Scene Analysis (MSA) test. The test uses a simple 'yes-no' task paradigm to determine whether the sound from a single target instrument is heard in a mixture of popular music. During the online calibration phase, 525 NH and 131 HI listeners were recruited. The level ratio between the target instrument and the mixture, choice of target instrument, and number of instruments in the mixture were found to be important factors affecting item difficulty, whereas the influence of the stereo width (induced by inter-aural level differences) only had a minor effect. Based on a Bayesian logistic mixed-effects model, an adaptive version of the MSA test was developed. In a subsequent validation experiment with 74 listeners (20 HI), MSA scores showed acceptable test-retest reliability and moderate correlations with other music-related tests, pure-tone-average audiograms, age, musical sophistication, and working memory capacities. The MSA test is a user-friendly and efficient open-source tool for evaluating musical ASA abilities and is suitable for profiling the effects of hearing impairment on music perception.

Singing Ability Assessment: Development and validation of a singing test based on item response theory and a general open-source software environment for singing data.

We describe the development of the Singing Ability Assessment (SAA) open-source test environment. The SAA captures and scores different aspects of human singing ability and melodic memory in the context of item response theory. Taking perspectives from both melodic recall and singing accuracy literature, we present results from two online experiments (N = 247; N = 910). On-the-fly audio transcription is produced via a probabilistic algorithm and scored via latent variable approaches. Measures of the ability to sing long notes indicate a three-dimensional principal components analysis solution representing pitch accuracy, pitch volatility and changes in pitch stability (proportion variance explained: 35%; 33%; 32%). For melody singing, a mixed-effects model uses features of melodic structure (e.g., tonality, melody length) to predict overall sung melodic recall performance via a composite score [R2c = .42; R2m = .16]. Additionally, two separate mixed-effects models were constructed to explain performance in singing back melodies in a rhythmic [R2c = .42; R2m = .13] and an arhythmic [R2c = .38; R2m = .11] condition. Results showed that the yielded SAA melodic scores are significantly associated with previously described measures of singing accuracy, the long note singing accuracy measures, demographic variables, and features of participants' hardware setup. Consequently, we release five R packages which facilitate deploying melodic stimuli online and in laboratory contexts, constructing audio production tests, transcribing audio in the R environment, and deploying the test elements and their supporting models. These are published as open-source, easy to access, and flexible to adapt.

Development and validation of the first adaptive test of emotion perception in music.

ABSTRACTThe Musical Emotion Discrimination Task (MEDT) is a short, non-adaptive test of the ability to discriminate emotions in music. Test-takers hear two performances of the same melody, both played by the same performer but each trying to communicate a different basic emotion, and are asked to determine which one is "happier", for example. The goal of the current study was to construct a new version of the MEDT using a larger set of shorter, more diverse music clips and an adaptive framework to expand the ability range for which the test can deliver measurements. The first study analysed responses from a large sample of participants (N = 624) to determine how musical features contributed to item difficulty, which resulted in a quantitative model of musical emotion discrimination ability rooted in Item Response Theory (IRT). This model informed the construction of the adaptive MEDT. A second study contributed preliminary evidence for the validity and reliability of the adaptive MEDT, and demonstrated that the new version of the test is suitable for a wider range of abilities. This paper therefore presents the first adaptive musical emotion discrimination test, a new resource for investigating emotion processing which is freely available for research use.

The Behavioural Economics of Music: Systematic review and future directions.

Music-related decision-making encompasses a wide range of behaviours including those associated with listening choices, composition and performance, and decisions involving music education and therapy. Although research programmes in psychology and economics have contributed to an improved understanding of music-related behaviour, historically, these disciplines have been unconnected. Recently, however, researchers have begun to bridge this gap by employing tools from behavioural economics. This article contributes to the literature by providing a discussion about the benefits of using behavioural economics in music-decision research. We achieve this in two ways. First, through a systematic review, we identify the current state of the literature within four key areas of behavioural economics-heuristics and biases, social decision-making, behavioural time preferences, and dual-process theory. Second, taking findings of the literature as a starting point, we demonstrate how behavioural economics can inform future research. Based on this, we propose the Behavioural Economics of Music (BEM), an integrated research programme that aims to break new ground by stimulating interdisciplinary research in the intersection between music, psychology, and economics.

Learning to play a musical instrument in the middle school is associated with superior audiovisual working memory and fluid intelligence: A cross-sectional behavioral study.

Music training, in all its forms, is known to have an impact on behavior both in childhood and even in aging. In the delicate life period of transition from childhood to adulthood, music training might have a special role for behavioral and cognitive maturation. Among the several kinds of music training programs implemented in the educational communities, we focused on instrumental training incorporated in the public middle school curriculum in Italy that includes both individual, group and collective (orchestral) lessons several times a week. At three middle schools, we tested 285 preadolescent children (aged 10-14 years) with a test and questionnaire battery including adaptive tests for visuo-spatial working memory skills (with the Jack and Jill test), fluid intelligence (with a matrix reasoning test) and music-related perceptual and memory abilities (with listening tests). Of these children, 163 belonged to a music curriculum within the school and 122 to a standard curriculum. Significant differences between students of the music and standard curricula were found in both perceptual and cognitive domains, even when controlling for pre-existing individual differences in musical sophistication. The music children attending the third and last grade of middle school had better performance and showed the largest advantage compared to the control group on both audiovisual working memory and fluid intelligence. Furthermore, some gender differences were found for several tests and across groups in favor of females. The present results indicate that learning to play a musical instrument as part of the middle school curriculum represents a resource for preadolescent education. Even though the current evidence is not sufficient to establish the causality of the found effects, it can still guide future research evaluation with longitudinal data.

Musical development during adolescence: Perceptual skills, cognitive resources, and musical training.

Longitudinal studies on musical development can provide very valuable insights and potentially evidence for causal mechanisms driving the development of musical skills and cognitive resources, such as working memory and intelligence. Nonetheless, quantitative longitudinal studies on musical and cognitive development are very rare in the published literature. Hence, the aim of this paper is to document available longitudinal evidence on musical development from three different sources. In part I, data from a systematic literature review are presented in a graphical format, making developmental trends from five previous longitudinal studies comparable. Part II presents a model of musical development derived from music-related variables that are part of the British Millennium Cohort Study. In part III, data from the ongoing LongGold project are analyzed answering five questions on the change of musical skills and cognitive resources across adolescence and on the role that musical training and activities might play in these developmental processes. Results provide evidence for substantial near transfer effects (from musical training to musical skills) and weaker evidence for far-transfer to cognitive variables. But results also show evidence of cognitive profiles of high intelligence and working memory capacity that are conducive to strong subsequent growth rates of musical development.

Testing beat perception without sensory cues to the beat: the Beat-Drop Alignment Test (BDAT).

Beat perception can serve as a window into internal time-keeping mechanisms, auditory-motor interactions, and aspects of cognition. One aspect of beat perception is the covert continuation of an internal pulse. Of the several popular tests of beat perception, none provide a satisfying test of this faculty of covert continuation. The current study proposes a new beat-perception test focused on covert pulse continuation: The Beat-Drop Alignment Test (BDAT). In this test, participants must identify the beat in musical excerpts and then judge whether a single probe falls on or off the beat. The probe occurs during a short break in the rhythmic components of the music when no rhythmic events are present, forcing participants to judge beat alignment relative to an internal pulse maintained in the absence of local acoustic timing cues. Here, we present two large (N > 100) tests of the BDAT. In the first, we explore the effect of test item parameters (e.g., probe displacement) on performance. In the second, we correlate scores on an adaptive version of the BDAT with the computerized adaptive Beat Alignment Test (CA-BAT) scores and indices of musical experience. Musical experience indices outperform CA-BAT score as a predictor of BDAT score, suggesting that the BDAT measures a distinct aspect of beat perception that is more experience-dependent and may draw on cognitive resources such as working memory and musical imagery differently than the BAT. The BDAT may prove useful in future behavioral and neural research on beat perception, and all stimuli and code are freely available for download.

The Jack and Jill Adaptive Working Memory Task: Construction, Calibration and Validation.

Visuospatial working memory (VSWM) is essential to human cognitive abilities and is associated with important life outcomes such as academic performance. Recently, a number of reliable measures of VSWM have been developed to help understand psychological processes and for practical use in education. We sought to extend this work using Item Response Theory (IRT) and Computerised Adaptive Testing (CAT) frameworks to construct, calibrate and validate a new adaptive, computerised, and open-source VSWM test. We aimed to overcome the limitations of previous instruments and provide researchers with a valid and freely available VSWM measurement tool. The Jack and Jill (JaJ) VSWM task was constructed using explanatory item response modelling of data from a sample of the general adult population (Study 1, N = 244) in the UK and US. Subsequently, a static version of the task was tested for validity and reliability using a sample of adults from the UK and Australia (Study 2, N = 148) and a sample of Russian adolescents (Study 3, N = 263). Finally, the adaptive version of the JaJ task was implemented on the basis of the underlying IRT model and evaluated with another sample of Russian adolescents (Study 4, N = 239). JaJ showed sufficient internal consistency and concurrent validity as indicated by significant and substantial correlations with established measures of working memory, spatial ability, non-verbal intelligence, and academic achievement. The findings suggest that JaJ is an efficient and reliable measure of VSWM from adolescent to adult age.

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).

Survival of musical activities. When do young people stop making music?

Although making music is a popular leisure activity for children and adolescents, few stay musically engaged. Previous research has focused on finding reasons for quitting musical activities, pedagogical strategies to keep students engaged with music, and motivational factors of musical training. Nonetheless, we know very little about how the proportion of musically active children changes with age and what traits influence the survival of musical engagement. This study used longitudinal data from secondary school students in the UK and Germany aged between 10 and 17 years. A survival analysis was applied to investigate the trajectories of musical activities across this age span. Other factors like type of learned instrument, gender, personality and intelligence were taken into account for further analyses using generalized linear models. Results indicate that about 50% of all students drop out of music lessons and other musical activities by the time they turn 17 years old, with most students quitting between the ages of 15 and 17. Musical home environment is an important factor that is associated with lower drop out rates while conscientiousness and theory of musicality showed smaller significant associations.

Assessing room acoustic listening expertise.

Musicians and music professionals are often considered to be expert listeners for listening tests on room acoustics. However, these tests often target acoustic parameters other than those typically relevant in music such as pitch, rhythm, amplitude, or timbre. To assess the expertise in perceiving and understanding room acoustical phenomena, a listening test battery was constructed to measure the perceptual sensitivity and cognitive abilities in the identification of rooms with different reverberation times and different spectral envelopes. Performance in these tests was related to data from the Goldsmiths Musical Sophistication Index, self-reported previous experience in music recording and acoustics, and academic knowledge on acoustics. The data from 102 participants show that sensory and cognitive abilities are both correlated significantly with musical training, analytic listening skills, recording experience, and academic knowledge on acoustics, whereas general interest in and engagement with music do not show any significant correlations. The regression models, using only significantly correlated criteria of musicality and professional expertise, explain only small to moderate amounts (11%-28%) of the variance in the "room acoustic listening expertise" across the different tasks of the battery. Thus, the results suggest that the traditional criteria for selecting expert listeners in room acoustics are only weak predictors of their actual performances.

What Makes Babies Musical? Conceptions of Musicality in Infants and Toddlers.

Despite major advances in research on musical ability in infants, relatively little attention has been paid to individual differences in general musicality in infants. A fundamental problem has been the lack of a clear definition of what constitutes "general musicality" or "musical ability" in infants and toddlers, resulting in a wide range of test procedures that rely on different models of musicality. However, musicality can be seen as a social construct that can take on different meanings across cultures, sub-groups, and individuals, and may be subject to change over time. Therefore, one way to get a clearer picture of infant musicality is to assess conceptions of musicality in the general population. Using this approach, we surveyed 174 German adults, asking about their view and conceptions regarding behaviors that characterize a musical child under 3 years. Based on previous studies on adult and child musicality, we designed a survey containing 41 statements describing musical behaviors in children. Participants were asked to rate how indicative these behaviors were of musicality in infants and toddlers. PCA analysis revealed 4 components of musical abilities and behaviors in under-3-year-olds: Musical Communication, Enthusiasm and Motivation, Adaptive Expressiveness, and Musical Abilities as traditionally defined. Professional background and musical expertise of the respondents did not significantly influence participants' conceptions. Our results suggest that, in order to capture musicality in young children, a wider range of skills and observable behaviors should be taken into account than those assessed by traditional musical ability tests for young children.

An efficient and adaptive test of auditory mental imagery.

The ability to silently hear music in the mind has been argued to be fundamental to musicality. Objective measurements of this subjective imagery experience are needed if this link between imagery ability and musicality is to be investigated. However, previous tests of musical imagery either rely on self-report, rely on melodic memory, or do not cater in range of abilities. The Pitch Imagery Arrow Task (PIAT) was designed to address these shortcomings; however, it is impractically long. In this paper, we shorten the PIAT using adaptive testing and automatic item generation. We interrogate the cognitive processes underlying the PIAT through item response modelling. The result is an efficient online test of auditory mental imagery ability (adaptive Pitch Imagery Arrow Task: aPIAT) that takes 8 min to complete, is adaptive to participant's individual ability, and so can be used to test participants with a range of musical backgrounds. Performance on the aPIAT showed positive moderate-to-strong correlations with measures of non-musical and musical working memory, self-reported musical training, and general musical sophistication. Ability on the task was best predicted by the ability to maintain and manipulate tones in mental imagery, as well as to resist perceptual biases that can lead to incorrect responses. As such, the aPIAT is the ideal tool in which to investigate the relationship between pitch imagery ability and musicality.

The German Music@Home: Validation of a questionnaire measuring at home musical exposure and interaction of young children.

The present study introduces the German version of the original version of the Music@Home questionnaire developed in the UK, which systematically evaluates musical engagement in the home environment of young children. Two versions are available, an Infant version for children aged three to 23 months and a Preschool version for children aged two to five and a half years. For the present study, the original Music@Home questionnaire was translated from English into German and 656 caregivers completed the questionnaire online. A confirmatory factor analysis showed moderate to high fit indices for both versions, confirming the factor structure of the original questionnaire. Also, the reliability coefficients for the subscales (Parental beliefs, Child engagement with music, Parent initiation of singing, Parent initiation of music-making for the Infant version and Parental beliefs, Child engagement with music, Parent initiation of music behavior and Breadth of musical exposure for the Preschool version) ranged from moderate to high fits. Furthermore, the test-retest analysis (N = 392) revealed high correlations for the general factor and all subscales confirming their internal reliability. Additionally, we included language questionnaires for children of two and three years of age. Results showed that higher scores on the Music@Home questionnaire were moderately associated with better language skills in two-year-olds (N = 118). In sum, the study presents the validated German Music@Home questionnaire, which shows good psychometric properties. The two versions of the questionnaire are available for use in order to assess home musical engagement of young children, which could be of interest in many areas of developmental research.

The Timbre Perception Test (TPT): A new interactive musical assessment tool to measure timbre perception ability.

To date, tests that measure individual differences in the ability to perceive musical timbre are scarce in the published literature. The lack of such tool limits research on how timbre, a primary attribute of sound, is perceived and processed among individuals. The current paper describes the development of the Timbre Perception Test (TPT), in which participants use a slider to reproduce heard auditory stimuli that vary along three important dimensions of timbre: envelope, spectral flux, and spectral centroid. With a sample of 95 participants, the TPT was calibrated and validated against measures of related abilities and examined for its reliability. The results indicate that a short-version (8 minutes) of the TPT has good explanatory support from a factor analysis model, acceptable internal reliability (α = .69, ωt = .70), good test-retest reliability (r = .79) and substantial correlations with self-reported general musical sophistication (ρ = .63) and pitch discrimination (ρ = .56), as well as somewhat lower correlations with duration discrimination (ρ = .27), and musical instrument discrimination abilities (ρ = .33). Overall, the TPT represents a robust tool to measure an individual's timbre perception ability. Furthermore, the use of sliders to perform a reproductive task has shown to be an effective approach in threshold testing. The current version of the TPT is openly available for research purposes.

Talent Development in Achievement Domains: A Psychological Framework for Within- and Cross-Domain Research.

Achievement in different domains, such as academics, music, or visual arts, plays a central role in all modern societies. Different psychological models aim to describe and explain achievement and its development in different domains. However, there remains a need for a framework that guides empirical research within and across different domains. With the talent-development-in-achievement-domains (TAD) framework, we provide a general talent-development framework applicable to a wide range of achievement domains. The overarching aim of this framework is to support empirical research by focusing on measurable psychological constructs and their meaning at different levels of talent development. Furthermore, the TAD framework can be used for constructing domain-specific talent-development models. With examples for the application of the TAD framework to the domains of mathematics, music, and visual arts, the review provided supports the suitability of the TAD framework for domain-specific model construction and indicates numerous research gaps and open questions that should be addressed in future research.

The Musical Emotion Discrimination Task: A New Measure for Assessing the Ability to Discriminate Emotions in Music.

Previous research has shown that levels of musical training and emotional engagement with music are associated with an individual's ability to decode the intended emotional expression from a music performance. The present study aimed to assess traits and abilities that might influence emotion recognition, and to create a new test of emotion discrimination ability. The first experiment investigated musical features that influenced the difficulty of the stimulus items (length, type of melody, instrument, target-/comparison emotion) to inform the creation of a short test of emotion discrimination. The second experiment assessed the contribution of individual differences measures of emotional and musical abilities as well as psychoacoustic abilities. Finally, the third experiment established the validity of the new test against other measures currently used to assess similar abilities. Performance on the Musical Emotion Discrimination Task (MEDT) was significantly associated with high levels of self-reported emotional engagement with music as well as with performance on a facial emotion recognition task. Results are discussed in the context of a process model for emotion discrimination in music and psychometric properties of the MEDT are provided. The MEDT is freely available for research use.

The mistuning perception test: A new measurement instrument.

An important aspect of the perceived quality of vocal music is the degree to which the vocalist sings in tune. Although most listeners seem sensitive to vocal mistuning, little is known about the development of this perceptual ability or how it differs between listeners. Motivated by a lack of suitable preexisting measures, we introduce in this article an adaptive and ecologically valid test of mistuning perception ability. The stimulus material consisted of short excerpts (6 to 12 s in length) from pop music performances (obtained from MedleyDB; Bittner et al., 2014) for which the vocal track was pitch-shifted relative to the instrumental tracks. In a first experiment, 333 listeners were tested on a two-alternative forced choice task that tested discrimination between a pitch-shifted and an unaltered version of the same audio clip. Explanatory item response modeling was then used to calibrate an adaptive version of the test. A subsequent validation experiment applied this adaptive test to 66 participants with a broad range of musical expertise, producing evidence of the test's reliability, convergent validity, and divergent validity. The test is ready to be deployed as an experimental tool and should make an important contribution to our understanding of the human ability to judge mistuning.