Musical training reduces the Colavita visual effect

The simultaneous presentation of a visual and an auditory stimulus can lead to a decrease in people's ability to perceive or respond to the auditory stimulus. In this study, we investigate the effect that threat has upon this phenomenon, known as the Colavita visual dominance effect. Participants performed two blocks of trials containing 40% visual, 40% auditory, and 20% bimodal trials. The first block of trials was identical for all participants, while in the second block, either the visual stimulus (visual threat condition), auditory stimulus (auditory threat condition), or neither stimulus (control condition) was fear-conditioned using aversive electrocutaneous stimuli. We predicted that, when compared with the control condition, this visual dominance effect would increase in the visual threat condition and decrease in the auditory threat condition. This hypothesis was partially supported by the data. In particular, the results showed that the fear-conditioning of the visual stimulus significantly increased the visual dominance effect relative to the control condition. However, the fear-conditioning of the auditory stimulus did not reduce the visual dominance effect but instead increased it slightly. These findings are discussed in terms of the role that attention and arousal play in the dominance of vision over audition.

Musical training modulates the development of syntax processing in children

We investigated the effects of selective attention and musical training on the processing ofharmonic expectations. In Experiment 1, participants with and without musical training were required to respond to the contour of melodies as they were presented with chord progressions that were highly expected, slightly unexpected, or extremely unexpected. Reaction time and accuracy results showed that when attention was focused on the melody, musically trained participants were still sensitive to different harmonic expectations, whereas participants with no musical training were undifferentiated across expectation conditions. In Experiment 2, participants were required to listen holistically to the entire chord progression and to rate their preference for each chord progression. Results from preference ratings showed that all the participants, with or without musical training, were sensitive to manipulations of harmonic expectations. Experiments 3 and 4 showed that changing the speed of presentation of chord progressions did not affect the pattern of results. The four experiments together highlight the importance of attentional focus in musical training, especially as it relates to the processing of harmonic expectations.

Music not only regulates mood but also promotes the development and maintenance of empathy and social understanding. Since empathy is crucial for well-being and indispensable in social life, it is necessary to develop strategies to improve empathy and prosocial behaviors. To fulfill this aim, researchers have extensively investigated the effect of intensive musical training on the development of empathy. Here, we first summarize evidence showing the powerful influence of musical training on the development of empathy and then discuss psychological mechanisms responsible for those observations. The conclusions drawn from most previous studies were mainly based on behavioral measurements, while the neural basis of musical training in the development of the empathic brain is still unclear. Fortunately, brain imaging research has contributed greatly to our understanding of the neural underpinnings associated with musical training and its possible connection to the development of the empathic brain. One of the most distinctive signatures of musical training is structural and functional changes of multiple brain regions, and such changes might be related to some of the empathic behaviors observed in musically trained children. Therefore, intensive musical training in childhood may increase levels of empathy, and applied research is required to optimize the training strategy before implementing music education in empathy regulation. Moreover, future longitudinal studies are needed to better understand neural mechanisms underlying the causal effect of musical training on empathy development. These findings have important implications for understanding the development of the empathic brain and for improving prosocial behaviors.

Exposure to musical rhythms has been shown to influence the perception of subsequently presented speech. Until now, this effect has only been studied in native language (L1) processing. The present study investigated whether rhythmic priming could also benefit second language (L2) processing. A musical rhythmic priming experiment was designed based on previous studies in L1 children. Over two experiments, L2 adult speakers of French were asked to detect grammatical errors in naturally spoken French sentences. Sentences were either preceded by a regular or an irregular musical rhythmic prime. We also assessed participants' French language level, rhythmic perception abilities, and musical training. In Experiment 1, 34 participants from various L1 backgrounds were recruited. In Experiment 2, 33 participants with a Romance-family L1 were recruited. For both experiments, grammaticality judgments did not significantly differ after regular versus irregular rhythmic primes. However, in collapsing both experiments, grammaticality judgments correlated significantly with rhythmic abilities, suggesting that participants with better rhythm perception were better at grammaticality judgment tasks. Moreover, with the same French level, musicians were better at detecting grammatical errors than those who had not received music training. We also found that the rhythmic priming effect (better grammatical judgments after regular than after irregular rhythms) increased with the number of years of musical training, suggesting that regular rhythmic primes may improve L2 perception in particular for musically trained participants. These results suggest some interesting connections between music training, second language learning, and rhythmic priming, that can be explored in future research.

Previous research has demonstrated that musicians show superior neural sound discrimination when compared to non-musicians, and that these changes emerge with accumulation of training. Our aim was to investigate whether individual differences in executive functions predict training-related changes in neural sound discrimination. We measured event-related potentials induced by sound changes coupled with tests for executive functions in musically trained and non-trained children aged 9-11years and 13-15years. High performance in a set-shifting task, indexing cognitive flexibility, was linked to enhanced maturation of neural sound discrimination in both musically trained and non-trained children. Specifically, well-performing musically trained children already showed large mismatch negativity (MMN) responses at a young age as well as at an older age, indicating accurate sound discrimination. In contrast, the musically trained low-performing children still showed an increase in MMN amplitude with age, suggesting that they were behind their high-performing peers in the development of sound discrimination. In the non-trained group, in turn, only the high-performing children showed evidence of an age-related increase in MMN amplitude, and the low-performing children showed a small MMN with no age-related change. These latter results suggest an advantage in MMN development also for high-performing non-trained individuals. For the P3a amplitude, there was an age-related increase only in the children who performed well in the set-shifting task, irrespective of music training, indicating enhanced attention-related processes in these children. Thus, the current study provides the first evidence that, in children, cognitive flexibility may influence age-related and training-related plasticity of neural sound discrimination.

The psychology of musical ability : R. Shuter-Dyson and C. Gabriel: 2nd edn. Methuen, London (1981). xiv + 354 pp.

Biological impact of preschool music classes on processing speech in noise

Investigations of musical training provide a way to study neural plasticity within the domain of music, as well as to study transfer effects to other domains (speech). Previous research has reported anatomical and functional differences between musically trained and non-trained individuals. However, these studies have not addressed several issues, including (1) nature vs nurture, (2) timing of musical training, and (3) the temporal aspect (e.g., rhythm) of musical training rather than the frequency aspect (e.g., pitch). The current study aims to examine of the causal effect of musical training on the sensitivity to temporal information in both music and speech sounds in infancy. In the study, 9-month-old infants were randomly assigned to a 12-session musical training condition vs a control condition (mirroring the design of Kuhl et al., 2003). During training, infants were exposed to uncommon metrical structure in music through social, multimodal, and structured activities while infants played freely in the control condition. After training, infants’ sensitivities to occasional violations in temporal structure were examined, both in music and speech. A traditional oddball paradigm was used and infants’ neural activities were recorded by MEG. Data from pilot participants will be discussed. [Research supported by I-LABS’ Developing Mind Project.]

The presence and absence of distortion product otoacoustic emissions (DPOAEs) as well as DPOAE amplitudes were compared between college music majors and a control group of nonmusic majors. Participants included 28 music majors and 35 nonmusic majors enrolled at a university with ages ranging from 18-25 years. DPOAEs and hearing thresholds were measured bilaterally on all the participants. DPOAE amplitudes were analyzed at the following f2 frequencies: 1,187 Hz, 1,500 Hz, 1,906 Hz, 2,531 Hz, 3,031 Hz, 3812 Hz, 4,812 Hz, and 6,031 Hz. Significantly more music majors (7/28) than nonmusic majors (0/35) exhibited absent DPOAEs for at least one frequency in at least one ear. Both groups of students reported similar histories of recreational and occupational noise exposures that were unrelated to studying music, and none of the students reported high levels of noise exposure within the previous 48 h. There were no differences in audiometric thresholds between the groups at any frequency. At DPOAE f2 frequencies from 3,031 Hz to 6,031 Hz, nonsignificantly lower amplitudes of 2-4 dB were seen in the right ears of music majors versus nonmajors, and in the right ears of music majors playing brass instruments compared to music majors playing nonbrass instruments. Given the greater prevalence of absent DPOAEs in university music majors compared to nonmusic majors, it appears that early stages of cochlear damage may be occurring in this population. Additional research, preferably longitudinal and across multiple colleges/universities, would be beneficial to more definitively determine when the music students begin to show signs of cochlear damage, and to identify whether any particular subgroups of music majors are at a greater risk of cochlear damage.

Although there has been extensive research on the processing of the emotional meaning of music, little is known about other aspects of listeners’ experience of music. The present study investigated the neural correlates of the iconic meaning of music. Event-related potentials (ERP) were recorded while a group of 20 music majors and a group of 20 non-music majors performed a lexical decision task in the context of implicit musical iconic meaning priming. ERP analysis revealed a significant N400 effect of congruency in time window 260-510 ms following the onset of the target word only in the group of music majors. Time-course analysis using 50 ms windows indicated significant N400 effects both within the time window 410-460 ms and 460-510 ms for music majors, whereas only a partial N400 effect during time window 410-460 ms was observed for non-music majors. There was also a trend for the N400 effects in the music major group to be stronger than those in the non-major group in the sub-windows of 310-360ms and 410-460ms. Especially in the sub-window of 410-460 ms, the topographical map of the difference waveforms between congruent and incongruent conditions revealed different N400 distribution between groups; the effect was concentrated in bilateral frontal areas for music majors, but in central-parietal areas for non-music majors. These results imply probable neural mechanism differences underlying automatic iconic meaning priming of music. Our findings suggest that processing of the iconic meaning of music can be accomplished automatically and that musical training may facilitate the understanding of the iconic meaning of music.

The current study used cross-modal oddball tasks to examine cardiac and behavioral responses to changing auditory and visual information. When instructed to press the same button for auditory and visual oddballs, auditory dominance was found with cross-modal presentation slowing down visual response times more than auditory response times (Experiment 1). When instructed to make separate responses to auditory and visual oddballs, visual dominance was found with cross-modal presentation decreasing auditory discrimination, and participants also made more visual-based than auditory-based errors on cross-modal trials (Experiment 2). Experiment 3 increased task demands while requiring a single button press and found evidence of auditory dominance, suggesting that it is unlikely that increased task demands can account for the reversal in Experiment 2. Auditory processing speed was the best predictor of auditory dominance, with auditory dominance being stronger in participants who were slower at processing the sounds, whereas auditory and visual processing speed and baseline heart rate variability did not predict visual dominance. Examination of cardiac responses that were time-locked with stimulus onset showed cross-modal facilitation effects, with auditory and visual discrimination occurring earlier in the course of processing in the cross-modal condition than in the unimodal conditions. The current findings showing that response demand manipulations reversed modality dominance and that time-locked cardiac responses show cross-modal facilitation, not interference, suggest that auditory and visual dominance effects may both be occurring later in the course of processing, not from disrupted encoding.

Bandler and Grinder (1975) proposed the construct "most highly valued representational systems" to describe auditory, visual, and kinesthetic perceptual orientations among individuals. They set forth a predicate method for determining an individual's primary representational system. Contrary to Bandler and Grinder's construct, experimental evidence consistently supports the principle of visual dominance among humans. In order to test the effectiveness of Bandler and Grinder's constructs, 221 volunteers were screened by an alternate predicate method. 22 subjects were selected as "highly auditory" and 19 subjects were selected as "highly visual." These 41 subjects were asked to give their first impressions to 75 simultaneous, audio-visual presentations of letters, numbers, and words. Twenty-five of the simultaneous presentations were discrepant. Subjects were then individually interviewed. Their verbal responses to standardized questions were tape recorded. Four questions were examined. (1) Do the verbs, adverbs, and adjectives expressed by subjects in their taped interviews yield discrete classifications of primary representational systems by Bandler and Grinder's predicate method? (2) Do the predicate-method classifications correlate with the screening classifications derived by the alternate predicate method? (3) Do predicate-method classifications indicate whether individuals will make auditory or visual responses to the twenty-five discrepant presentations of auditory and visual stimuli? (4) Will subjects classified as auditory or visual respectively resort to auditory or visual responses with greater frequency as task and stimulus difficulty are increased over the five series of discrepant stimulus presentations? Predicate tabulations indicated that the majority of individuals could not be effectively classified by Bandler and Grinder's predicate method. A point biserial correlation was performed using the auditory and visual screening classifications and the proportion of auditory predicates expressed during the experimental interviews. No relationship was found between the two methods of classification. Attentional responses were analyzed by a 2 x 5 repeated measures ANOVA. No significant relationships were found between predicate-method classifications and responses to the discrepant stimulus presentations. Though a significant interaction resulted, the pattern of the means across the five tasks was not the pattern predicted. There was no significant relationship between predicate-method classifications and attentional responses across increasingly difficult tasks. The major finding of the study was a visual dominance effect. Thirty-six of the thirty-seven subjects responded more frequently to the visual stimuli than to the auditory stimuli on discrepant presentations. 92% of the possible 925 responses were visual, supporting the generalizability of the visual dominance principle to an experimental paradigm in which televised linguistic

Three chronometric experiments, each comparing vision and kinesthesis, were conducted to study visual dominance. The time required to switch attention from vision and from kinesthesis was equal, while switching to kinesthesis was faster than switching to vision (Experiment 1). Responses to a combined visual-kinesthetic stimulus were slower than responses to a kinesthetic stimulus alone when the subject was expecting the bimodal stimulus. The visual dominance effect was shown to depend on the subject knowing the modality of the stimulus in advance (Experiment 2). When subjects were instructed to attend one modality they had equal difficulty with conflicting visual and kinesthetic information (Experiment 3). These findings suggest that visual dominance results from a bias to attend vision when that modality seems adequate for the task. Te bias to attend vision may develop to overcome a deficiency in visual alerting.

IntroductionMusical aesthetic emotions often display pleasant characteristics and function as a key reward mechanism in music appreciation. Previous research suggests that temporary mindfulness meditation training can enhance the aesthetic experiences associated with music aesthetic emotion processing (MAEP), fostering richer and more pleasant emotional responses. However, empirical evidence on the relationship between MAEP and mindfulness—particularly with respect to music genre, music training, and newly identified MAEP dimensions—remains limited. Therefore, this study, based on music-trained individuals and Chinese pop music, aims to investigate the effects of a 10-min mindfulness meditation training on MAEP.MethodsA 2 (group: Mindfulness Music Group [MMG] vs. Music Listening Group [MLG]) 3 (music style: R&B/Pop/Folk) mixed experimental design was adopted. Sixty-three Chinese college students with professional music training were randomly assigned to MMG (Male = 15, Female = 16) or MLG (Male = 12, Female = 20). Psychological measures included the Geneva Emotional Music Scale (GEMS), the Five Facet Mindfulness Questionnaire (FFMQ), and the Positive and Negative Affect Schedule (PANAS). Data were analyzed using repeated measures analysis of variance and independent samples t-tests.ResultsSelf-report results indicated no significant between-group differences in PANAS or FFMQ scores (all p > 0.05). Aesthetic attitudes were found to be significantly positively correlated with emotional experiences, suggesting that aesthetic attitudes may represent a novel MAEP dimension. Additionally, temporary mindfulness meditation training significantly improved both aesthetic attitudes and aesthetic judgment scores across all three music styles. However, enhancements in emotional experiences were observed only for Chinese Folk music. Compared with the MLG, the MMG demonstrated greater attention and altered time perception, along with reduced bodily control during music listening.ConclusionThese findings provide new insights into the relationship between mindfulness and MAEP and highlight a potential new dimension—aesthetic attitudes—that may contribute to the psychological mechanisms underlying MAEP.