A study on the relationship between musical ability and EFL pronunciation proficiency

This study investigates the relationship between musical ability and pronunciation proficiency of English as a foreign language [EFL] of university students of English philology. English pronunciation of the participants is evaluated by academic teachers of English in three categories: the general impression of the foreign or native accent, the accuracy of production of English sounds and the use of word stress and intonation. This experiment was conducted entirely online. Participants’ musical ability was tested using Gordon’s Advanced Measure of Music Audiation [AMMA]. The results of this study demonstrate a moderately positive correlation between musicality and FL pronunciation proficiency. The more musical students, the higher marks from the judges. The present findings seem to be consistent with other studies which suggest that musical skills may positively affect the acquisition of foreign language pronunciation.

Pupil Drift Rate Indexes Groove Ratings

Groove, understood as a pleasurable compulsion to move to musical rhythms, typically varies along an inverted U-curve with increasing rhythmic complexity (e.g., syncopation, pickups). Predictive coding accounts posit that moderate complexity drives us to move to reduce sensory prediction errors and model the temporal structure. While musicologists generally distinguish the effects of pickups (anacruses) and syncopations, their difference remains unexplored in groove. We used pupillometry as an index to noradrenergic arousal while subjects listened to and rated drumbeats varying in rhythmic complexity. We replicated the inverted U-shaped relationship between rhythmic complexity and groove and showed this is modulated by musical ability, based on a psychoacoustic beat perception test. The pupil drift rates suggest that groovier rhythms hold attention longer than ones rated less groovy. Moreover, we found complementary effects of syncopations and pickups on groove ratings and pupil size, respectively, discovering a distinct predictive process related to pickups. We suggest that the brain deploys attention to pickups to sharpen subsequent strong beats, augmenting the predictive scaffolding’s focus on beats that reduce syncopations’ prediction errors. This interpretation is in accordance with groove envisioned as an embodied resolution of precision-weighted prediction error.

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.

Diotic and Dichotic Mechanisms of Discrimination Threshold in Musicians and Non-Musicians

The perception of harmonic complexes provides important information for musical and vocal communication. Numerous studies have shown that musical training and expertise are associated with better processing of harmonic complexes, however, it is unclear whether the perceptual improvement associated with musical training is universal to different pitch models. The current study addresses this issue by measuring discrimination thresholds of musicians (n = 20) and non-musicians (n = 18) to diotic (same sound to both ears) and dichotic (different sounds to each ear) sounds of four stimulus types: (1) pure sinusoidal tones, PT; (2) four-harmonic complex tones, CT; (3) iterated rippled noise, IRN; and (4) interaurally correlated broadband noise, called the “Huggins” or “dichotic” pitch, DP. Frequency difference limens (DLF) for each stimulus type were obtained via a three-alternative-forced-choice adaptive task requiring selection of the interval with the highest pitch, yielding the smallest perceptible fundamental frequency (F0) distance (in Hz) between two sounds. Music skill was measured by an online test of musical pitch, melody and timing maintained by the International Laboratory for Brain Music and Sound Research. Musicianship, length of music experience and self-evaluation of musical skill were assessed by questionnaire. Results showed musicians had smaller DLFs in all four conditions with the largest group difference in the dichotic condition. DLF thresholds were related to both subjective and objective musical ability. In addition, subjective self-report of musical ability was shown to be a significant variable in group classification. Taken together, the results suggest that music-related plasticity benefits multiple mechanisms of pitch encoding and that self-evaluation of musicality can be reliably associated with objective measures of perception.

Development

Many people describe being musical as a dream that was never realistically attainable because they were not born with the innate talent required. Is this true or can all people become musical? How can they—and their parents and teachers—know if they have “what it takes” to become a musician? These are the kinds of questions addressed by developmental psychology. This chapter explains foundational principles of human music development. It shows that human beings are essentially “hardwired” to be musical, and that there is a predictable progression in which children typically develop musical abilities. Through a combination of factors related to enculturation (informal musical experiences) and education, people develop to a great variety of musical ability levels. The experiences and education received as a child can be very consequential in determining the level of musicality a person will enjoy throughout life.

Introduction to Music Psychology

Psychology and music can be complementary fields of study. Psychology is the study of the amazing human mind, and music comprises some of people’s most fascinating behaviors. Psychology promotes understanding of people: how they perceive and process the world around them, how they feel emotion, how they learn, and how they can skillfully perform certain behaviors, just to name several areas of interest. Music is made by human beings for human beings. Because people are the most important elements of music, aspiring musicians really cannot optimally advance their craft without considering the insights offered by psychology. This chapter introduces the psychology of music as a field of study. It covers a number of topics, including the cultural nature of music, the contributors to emotionally powerful music experiences, and the acquired skill explanation of musical ability.

Enhancing students' understanding and skills on dance music: An action research

Dance students in university tend to have minimum understanding and skills in processing music to address the creativity needs in new dance works. Therefore, effective and critical learning strategies are needed so they are able to process music to create dance works. This research aims at enhancing dance students’ understanding and skills to process music in creating new dance works in the future. It was conducted using an action research design involving 30 dance students at one of the universities in Indonesia. The results showed that, in terms of skills and understanding of music, students were not used to processing music for their dance works, since they were mostly assisted by music stylists. Through internal and external music exploration learning, the musical dance students’ skills could be improved. Therefore, the findings of this research are recommended to be used as an alternative learning in enhancing dance students’ musical ability. Keywords: Dance Music, Movement Exploration, External Music, Internal Music, Dance Creativity.

Effects of Music Self-Perception on Music Education and Nonmusic Majors’ Ensemble Participation

In this study, I examined the relationship between undergraduate music education and nonmusic education majors and their music self-perception, or how they perceived themselves as musicians. A secondary purpose of the research included investigating the relationship between music self-esteem, gender, concentration, year in school, and continued arts participation. Participants ( N = 66) were music education and nonmusic education undergraduate volunteers from one band, one chorus, and four music education classes at a large, public university in the Northeastern United States. The participants completed a shortened version of Schmitt’s Self-Esteem of Musical Ability Scale, along with questions about gender, ensemble participation, major, and instrument. Results indicated no significant difference between music self-esteem in music education majors and nonmusic education majors who participated in college ensembles. There were significant differences in music education majors’ comparison of themselves to their high school peers, self-comparisons over 1 year, and planned future ensemble participation. More years of experience in ensembles predicted higher Schmitt’s Self-Esteem of Musical Ability Scale scores.

The genetic aspect of musicality, perfect pitch and congenital Amusia

As one of the most important aspects of art, music is also a part of human biology and has had a significant influence on human evolution and development. In addition, it is an essential component of cultural heritage. Both hereditary and environmental variables are thought to play a role in developing and manifesting musical talent. Although environmental variables affecting musical ability have been extensively studied, genetic influences are less well understood. The genetic influence was strongly supported in studies of a random population, twins, and families of talented musicians. Linkage analysis, variation in gene copy number, and scanning for whole-genome expression were among the modern biomolecular methods used to discover genes or chromosomal areas linked to musical ability. Singing and music perception have been linked to many loci on chromosome 4, while absolute pitch and music perception have been linked to specific loci on chromosome 8q. Music perception, memory, and listening have all been linked to the AVPR1A gene on chromosome 12q, while SLC6A4 on chromosome 17q has been linked to music memory and choir involvement.