Visual memory in musicians and non-musicians

Exploring the role of singing, semantics, and amusia screening in speech-in-noise perception in musicians and non-musicians

Sentence repetition has been the focus of extensive psycholinguistic research. The notion that music training can bolster speech perception in adverse auditory conditions has been met with mixed results. In this work, we sought to gauge the effect of babble noise on immediate repetition of spoken and sung phrases of varying semantic content (expository, narrative, and anomalous), initially in 100 English-speaking monolinguals with and without music training. The two cohorts also completed some non-musical cognitive tests and the Montreal Battery of Evaluation of Amusia (MBEA). When disregarding MBEA results, musicians were found to significantly outperform non-musicians in terms of overall repetition accuracy. Sung targets were recalled significantly better than spoken ones across groups in the presence of babble noise. Sung expository targets were recalled better than spoken expository ones, and semantically anomalous content was recalled more poorly in noise. Rerunning the analysis after eliminating thirteen participants who were diagnosed with amusia showed no significant group differences. This suggests that the notion of enhanced speech perception-in noise or otherwise-in musicians needs to be evaluated with caution. Musicianship aside, this study showed for the first time that sung targets presented in babble noise seem to be recalled better than spoken ones. We discuss the present design and the methodological approach of screening for amusia as factors which may partially account for some of the mixed results in the field.

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.

Effect of Occupational Noise Exposure on Cognition and Suprathreshold Auditory Skills in Normal-Hearing Individuals

OBJECTIVES

Adverse effects of noise exposure on hearing and cognition are well documented in the literature. Recently, it has becoming increasingly evident that noise exposure deteriorates suprathreshold auditory skills, even though the hearing sensitivity is intact. This condition is termed as cochlear synaptopathy or hidden hearing loss, which is apparent in animal models. However, equivocal findings are reported in humans. This study aimed at assessing the working memory, attention abilities, and suprathreshold hearing abilities in normal-hearing individuals with and without occupational noise exposure. We also explored the relationship between cognitive measures and suprathreshold auditory measures.

DESIGN

The study participants were divided into two groups. All the participants had normal-hearing thresholds. The control group consisted of 25 individuals with no occupational noise exposure, whereas the noise exposure group had 25 individuals exposed to occupational noise of 85 dBA for a minimum period of 1 year. Working memory was assessed using auditory digit span (forward and backward), operation span, and reading span. The Erikson flanker test was used to evaluate attention abilities. The suprathreshold hearing was assessed in terms of gap detection thresholds and sentence identification in noise.

RESULTS

The results showed that the noise exposure group performed poorly compared to the control group on all auditory and cognitive tasks except the reading span.

CONCLUSION

The results of the study suggest that occupational noise exposure may hamper the cognitive skills and suprathreshold hearing abilities of the individual despite having normal peripheral hearing.

Musical Aptitude as a Variable in the Assessment of Working Memory and Selective Attention Tasks

Background and Objectives

The influence of musical aptitude on cognitive test performance in musicians is a long-debated research question. Evidence points to the low performance of nonmusicians in visual and auditory cognitive tasks (working memory and attention) compared with musicians. This cannot be generalized to all nonmusicians, as a sub-group in this population can have innate musical abilities even without any formal musical training. The present study aimed to study the effect of musical aptitude on the working memory and selective attention.

Subjects and Methods

Three groups of 20 individuals each (a total of 60 participants), including trained-musicians, nonmusicians with good musical aptitude, and nonmusicians with low musical aptitude, participated in the present study. Cognitive-based visual (Flanker’s selective attention test) and auditory (working memory tests: backward digit span and operation span) tests were administered.

Results

MANOVA (followed by ANOVA) revealed a benefit of musicianship and musical aptitude on backward digit span and Flanker’s reaction time (p<0.05). Discriminant function analyses showed that the groups could be effectively (accuracy, 80%) segregated based on the backward digit span and Flanker’s selective attention test. Trained musicians and nonmusicians with good musical aptitude were distinguished as one cluster and nonmusicians with low musical aptitude formed another cluster, hinting the role of musical aptitude in working memory and selective attention.

Conclusions

Nonmusicians with good musical aptitude can have enhanced working memory and selective attention skills like musicians. Hence, caution is required when these individuals are included as controls in cognitive-based visual and auditory experiments.

Domain-specific and domain-general contributions to reading musical notation

Musical practice may benefit not only domain-specific abilities, such as pitch discrimination and music performance, but also domain-general abilities, like executive functioning and memory. Behavioral and neural changes in visual processing have been associated with music-reading experience. However, it is still unclear whether there is a domain-specific visual ability to process musical notation. This study investigates the specificity of the visual skills relevant to simple decisions about musical notation. Ninety-six participants varying in music-reading experience answered a short survey to quantify experience with musical notation and completed a test battery that assessed musical notation reading fluency and accuracy at the level of individual note or note sequence. To characterize how this ability may relate to domain-general abilities, we also estimated general intelligence (as measured with the Raven's Progressive Matrices) and general object-recognition ability (as measure by a recently proposed construct o). We obtained reliable measurements on our various tasks and found evidence for a domain-specific ability of the perception of musical notation. This music-reading ability and domain-general abilities were found to contribute to performance on specific tasks differently, depending on the level of experience reading music.

The relationships between musical expertise and divergent thinking

Musical expertise has positive effects on cognition, especially on verbal and linguistic processing. In this study the relationships between musical expertise, not involving improvisation training, and divergent thinking were explored. Expert and self-taught musicians were tested in musical, verbal and visual divergent thinking, and were compared with a group of non-musicians in verbal and visual divergent thinking. The musical task required to generate many different pieces of music using the incipit of 'Happy Birthday' as a starting point; the verbal task required to list unusual uses for a cardboard box; the visual task asked to complete drawings adding details to basic stimuli. For each task fluency flexibility and originality scores were measured. Based on these scores, musical, verbal and visual creative indices were computed. In general, expert musicians showed higher creative indices in musical and verbal domains than self-taught musicians and in verbal creative index than non-musicians. No group difference was found in terms of visual creative index. These findings confirm that musical expertise enhances not only musical divergent thinking but also verbal divergent thinking, probably supporting the semantic associative modes of processing and improving verbal working memory, which facilitates the online recombination of information in new ways. This effect seems to be specifically supported by formal musical training. The lack of the association between musical expertise and visual divergent thinking, as well as future research directions, are discussed.

Orff-Based Music Training Enhances Children's Manual Dexterity and Bimanual Coordination

How music training and expertise influence non-musical abilities is a widely researched topic. Most studies focus on the differences between adult professional musicians and non-musicians, or examine the effects of intensive instrumental training in childhood. However, the impact of music programs developed in regular school contexts for children from low-income communities is poorly explored. We conducted a longitudinal training study in such communities to examine if collective (Orff-based) music training enhances fine motor abilities, when compared to a homologous training program in sports (basketball), and to no specific training. The training programs in music and sports had the same duration, 24 weeks, and were homologous in structure. A pre-test, training, post-test and follow-up design was adopted. Children attending the 3rd grade (n = 74, 40 girls; mean age 8.31 years) were pseudorandomly divided into three groups, music, sports and control that were matched on demographic and intellectual characteristics. Fine motor abilities were assessed with the Purdue pegboard test (eye-hand coordination and motor speed, both subsumed under manual dexterity, and bimanual coordination) and with the Grooved pegboard (manipulative dexterity) test. All groups improved in manipulative dexterity that was not affected by type of training. On bimanual coordination and manual dexterity, however, a robust and stable advantage of music training emerged. At the end of training (post-test), children from the music group significantly outperformed children from the sports and control groups, an advantage that persisted at follow-up 4 months after training at the start of the following school year. Also, at follow-up none of the children from the music group were performing below the 20th percentile in the Purdue pegboard subtests and more than half were performing at the high end level (>80th percentile). Children from the sports group also improved significantly from pre- to post-test but their performance was not significantly different from that of the control group. These results show that an affordable, collective-based music practice impacts positively on fine-motor abilities, a finding that is relevant for a better understanding of the impact of music in childhood development, and that may have implications for education at the primary grade.

Do musicians learn a fine sequential hand motor skill differently than non-musicians?

Do professional musicians learn a fine sequential hand motor skill more efficiently than non-musicians? Is this also the case when they perform motor imagery, which implies that they only mentally simulate these movements? Musicians and non-musicians performed a Go/NoGo discrete sequence production (DSP) task, which allows to separate sequence-specific from a-specific learning effects. In this task five stimuli, to be memorized during a preparation interval, signaled a response sequence. In a practice phase, different response sequences had to be either executed, imagined, or inhibited, which was indicated by different response cues. In a test phase, responses were required to familiar (previously executed, imagined, or inhibited) and unfamiliar sequences. In both phases, response times and response accuracy were measured while the electroencephalogram (EEG) was only registered during the practice phase to compare activity between motor imagery, motor execution, and motor inhibition for both groups. Results in the practice phase revealed that musicians learned the response sequences faster and more accurately than non-musicians although no difference in initiation time was found. EEG analyses revealed similar lateralized activity during learning a motor skill for both groups. Our results from the test phase showed better sequence-a-specific learning effects (i.e., faster response times and increased accuracy) for musicians than for non-musicians. Moreover, we revealed that non-musicians benefit more from physical execution while learning a required motor sequence, whereas sequence-specific learning effects due to learning with motor imagery were very similar for musicians and non-musicians.

Long-Term Musical Training Alters Tactile Temporal-Order Judgment

Long-term musical training is an enriched multisensory training environment that can alter uni- and multisensory substrates and abilities. Amongst these altered abilities are faster reaction times for simple and complex sensory tasks. The crossed arm temporal-order judgement (TOJ) task is a complex tactile task in which TOJ error rate increases when arms are crossed. Reaction times (RTs) for this task are typically proportionate to the difficulty of the stimulus onset asynchrony (SOA) and increase more when the arms are crossed than when uncrossed. The objective of this study was to study the impact of musical training on RTs and accuracy for the crossed arm TOJ task. Seventeen musicians and 20 controls were tested. Musicians had significantly faster RTs for all crossed arm conditions and half of the uncrossed conditions. However, musicians had significantly more TOJ errors for the crossed posture. We speculate that faster musician TOJ RTs leave little time to consolidate conflicting internal and external task-related information when crossing the arms, leading to increased incorrect responses. These results provide novel insights on the potential mechanisms underlying the increased TOJ error rates when arms are crossed. Moreover, they add to the growing literature of altered sensory ability in musicians and propose an unexpected consequence of faster reaction times.

Musicians have better memory than nonmusicians: A meta-analysis

BACKGROUND

Several studies have found that musicians perform better than nonmusicians in memory tasks, but this is not always the case, and the strength of this apparent advantage is unknown. Here, we conducted a meta-analysis with the aim of clarifying whether musicians perform better than nonmusicians in memory tasks.

METHODS

Education Source; PEP (WEB)-Psychoanalytic Electronic Publishing; Psychology and Behavioral Science (EBSCO); PsycINFO (Ovid); PubMed; ScienceDirect-AllBooks Content (Elsevier API); SCOPUS (Elsevier API); SocINDEX with Full Text (EBSCO) and Google Scholar were searched for eligible studies. The selected studies involved two groups of participants: young adult musicians and nonmusicians. All the studies included memory tasks (loading long-term, short-term or working memory) that contained tonal, verbal or visuospatial stimuli. Three meta-analyses were run separately for long-term memory, short-term memory and working memory.

RESULTS

We collected 29 studies, including 53 memory tasks. The results showed that musicians performed better than nonmusicians in terms of long-term memory, g = .29, 95% CI (.08-.51), short-term memory, g = .57, 95% CI (.41-.73), and working memory, g = .56, 95% CI (.33-.80). To further explore the data, we included a moderator (the type of stimulus presented, i.e., tonal, verbal or visuospatial), which was found to influence the effect size for short-term and working memory, but not for long-term memory. In terms of short-term and working memory, the musicians' advantage was large with tonal stimuli, moderate with verbal stimuli, and small or null with visuospatial stimuli.

CONCLUSIONS

The three meta-analyses revealed a small effect size for long-term memory, and a medium effect size for short-term and working memory, suggesting that musicians perform better than nonmusicians in memory tasks. Moreover, the effect of the moderator suggested that, the type of stimuli influences this advantage.

Musicians react faster and are better multisensory integrators

The results from numerous investigations suggest that musical training might enhance how senses interact. Despite repeated confirmation of anatomical and structural changes in visual, tactile, and auditory regions, significant changes have only been reported in the audiovisual domain and for the detection of audio-tactile incongruencies. In the present study, we aim at testing whether long-term musical training might also enhance other multisensory processes at a behavioural level. An audio-tactile reaction time task was administrated to a group of musicians and non-musicians. We found significantly faster reaction times with musicians for auditory, tactile, and audio-tactile stimulations. Statistical analyses between the combined uni- and multisensory reaction times revealed that musicians possess a statistical advantage when responding to multisensory stimuli compared to non-musicians. These results suggest for the first time that long-term musical training reduces simple non-musical auditory, tactile, and multisensory reaction times. Taken together with the previous results from other sensory modalities, these results strongly point towards musicians being better at integrating the inputs from various senses.

Music Makes the World Go Round: The Impact of Musical Training on Non-musical Cognitive Functions-A Review

Musical training is becoming increasingly popular as a topic for scientific research. Here we review the available studies investigating whether and to which degree musical experience generalizes to cognitive functions unrelated to music abilities in healthy humans. In general, it seems that musical training is associated with enhancing effects, even if sometimes only restricted to the auditory domain, on various cognitive functions spanning from executive control to creativity. We conclude that musical engagement may be a useful cognitive training to promote cognitive enhancement, but more research using longitudinal studies and taking into account individual differences is necessary to determine actual benefits.

The effect of musical practice on gesture/sound pairing

Learning to play a musical instrument is a demanding process requiring years of intense practice. Dramatic changes in brain connectivity, volume, and functionality have been shown in skilled musicians. It is thought that music learning involves the formation of novel audio visuomotor associations, but not much is known about the gradual acquisition of this ability. In the present study, we investigated whether formal music training enhances audiovisual multisensory processing. To this end, pupils at different stages of education were examined based on the hypothesis that the strength of audio/visuomotor associations would be augmented as a function of the number of years of conservatory study (expertise). The study participants were violin and clarinet students of pre-academic and academic levels and of different chronological ages, ages of acquisition, and academic levels. A violinist and a clarinetist each played the same score, and each participant viewed the video corresponding to his or her instrument. Pitch, intensity, rhythm, and sound duration were matched across instruments. In half of the trials, the soundtrack did not match (in pitch) the corresponding musical gestures. Data analysis indicated a correlation between the number of years of formal training (expertise) and the ability to detect an audiomotor incongruence in music performance (relative to the musical instrument practiced), thus suggesting a direct correlation between knowing how to play and perceptual sensitivity.