Towards a Native OPERA Hypothesis: Musicianship and English Stress Perception

Why Aren't All Cantonese Tones Equally Confusing to English Listeners?

English listeners often struggle to perceive tones, but some are easier than others. This study examined these phenomena grounded in the feature weighing perspective (FWP) and the Perceptual Assimilation Model for Suprasegmentals (PAM-S). Forty-seven English and Cantonese listeners completed 4,212 trials of Cantonese tone discrimination and sequence recall tasks. The English listeners showed asymmetrical perceptual patterns of discrimination but not sequence recall. Specifically, these English listeners discriminated T1-T5, T3-T5, and T4-T5 more accurately than T1-T4, T3-T4, and T1-T3. However, they recalled the contour tone and level tone sequences with similar accuracies. Results of the discrimination task aligned with the predictions of PAM-S but not FWP. However, results of the sequence recall task did not support PAM-S. Together, these results suggest that PAM-S only applies to simple discrimination, not abstract phonological processing with a high memory load.

Does musicianship influence the perceptual integrality of tones and segmental information?

This study investigated the effect of musicianship on the perceptual integrality of tones and segmental information in non-native speech perception. We tested 112 Cantonese musicians, Cantonese non-musicians, English musicians, and English non-musicians with a modified Thai tone AX discrimination task. In the tone discrimination task, the control block only contained tonal variations, whereas the orthogonal block contained both tonal and task-irrelevant segmental variations. Relative to their own performance in the control block, the Cantonese listeners showed decreased sensitivity index (d') and increased response time in the orthogonal block, reflecting integral perception of tones and segmental information. By contrast, the English listeners performed similarly across the two blocks, indicating independent perception. Bayesian analysis revealed that the Cantonese musicians and the Cantonese non-musicians perceived Thai tones and segmental information equally integrally. Moreover, the English musicians and the English non-musicians showed similar degrees of independent perception. Based on the above results, musicianship does not seem to influence tone-segmental perceptual integrality. While musicianship apparently enhances tone sensitivity, not all musical advantages are transferrable to the language domain.

Enduring musician advantage among former musicians in prosodic pitch perception

Musical training has been associated with various cognitive benefits, one of which is enhanced speech perception. However, most findings have been based on musicians taking part in ongoing music lessons and practice. This study thus sought to determine whether the musician advantage in pitch perception in the language domain extends to individuals who have ceased musical training and practice. To this end, adult active musicians (n = 22), former musicians (n = 27), and non-musicians (n = 47) were presented with sentences spoken in a native language, English, and a foreign language, French. The final words of the sentences were either prosodically congruous (spoken at normal pitch height), weakly incongruous (pitch was increased by 25%), or strongly incongruous (pitch was increased by 110%). Results of the pitch discrimination task revealed that although active musicians outperformed former musicians, former musicians outperformed non-musicians in the weakly incongruous condition. The findings suggest that the musician advantage in pitch perception in speech is retained to some extent even after musical training and practice is discontinued.

What Is "Music" in Music-to-Language Transfer? Musical Ability But Not Musicianship Supports Cantonese Listeners' English Stress Perception

PURPOSE

This study investigates how Cantonese language experience influences the potential effects of (a) musicianship and (b) musical ability on English stress perception.

METHOD

The sample contained 124 participants, evenly split into Cantonese musician, Cantonese nonmusician, English musician, and English nonmusician groups. They completed the English stress discrimination task, English stress sequence recall task, Musical Ear Test, and nonverbal intelligence task. Following the musicianship-based analysis, 44 Cantonese and English listeners were reassigned to four groups based on their musical ability-Cantonese high musical ability, Cantonese low musical ability, English high musical ability, and English low musical ability groups.

RESULTS

Musicianship-based analysis on English stress perception revealed a significant interaction between musicianship and language. Specifically, musicians outperformed nonmusicians only among the English but not the Cantonese listeners. By contrast, ability-based analysis showed significant main effects of musical ability and language. For both Cantonese and English listeners, those with a high musical ability outperformed those with a low musical ability. Regardless of musical ability, Cantonese listeners outperformed English listeners. Correlational analyses yielded consistent findings.

CONCLUSIONS

This study has found cross-sectional evidence that musical ability, but not musicianship, facilitates Cantonese English as a second language (ESL) listeners' English stress perception. From a theoretical perspective, the current findings motivate two potential additions to the OPERA (Overlap, Precision, Emotion, Repetition, and Attention) hypothesis for music-to-language transfer-unsaturation and utilization. Practically, the findings cast doubt on the application of nonperceptual based instrumental music training to enhance Cantonese ESL learners' perceptual learning of English stress.

SUPPLEMENTAL MATERIAL

https://doi.org/10.23641/asha.21266478.

Musicianship Influences Language Effect on Musical Pitch Perception

Given its practical implications, the effect of musicianship on language learning has been vastly researched. Interestingly, growing evidence also suggests that language experience can facilitate music perception. However, the precise nature of this facilitation is not fully understood. To address this research gap, I investigated the interactive effect of language and musicianship on musical pitch and rhythmic perception. Cantonese and English listeners, each divided into musician and non-musician groups, completed the Musical Ear Test and the Raven’s 2 Progressive Matrices. Essentially, an interactive effect of language and musicianship was found on musical pitch but not rhythmic perception. Consistent with previous studies, Cantonese language experience appeared to facilitate musical pitch perception. However, this facilitatory effect was only present among the non-musicians. Among the musicians, Cantonese language experience did not offer any perceptual advantage. The above findings reflect that musicianship influences the effect of language on musical pitch perception. Together with the previous findings, the new findings offer two theoretical implications for the OPERA hypothesis—bi-directionality and mechanisms through which language experience and musicianship interact in different domains.