The Musical Ear Test: Norms and correlates from a large sample of Canadian undergraduates

Should teaching strategies emphasize emotion or competence? Enhancing audience acceptance of children with autism through online music performances - evidence from China

This study investigates the experiences and perceptions of audiences watching online music performances by children with autism, focusing on how the emotions and competence displayed by the children during the performances affect the audience's sense of immersion and acceptance. We conducted an online survey with 949 respondents, t-tests was used to compare the differences before and after the respondents watching the performance, and structural equation modeling was used to analyzed the path relationships among variables. The results showed that audience acceptance was significantly higher after watching the music performances (t = -6.104, p < 0.05). We found that the competence demonstrated during the performances had a medium effect on both the audience's sense of immersion (β = 0.337, p < 0.05) and acceptance (β = 0.211, p < 0.05). Emotions expressed through the performances also significantly influenced the audience's immersion (β = 0.323, p < 0.05) and had a large effect on their acceptance (β = 0.401, p < 0.05). Based on these findings, we propose the Music-Driven Acceptance Model (MDAM), which suggests that while fostering the competence of children with autism, teachers might consider placing instructional emphasis on guiding children to learn methods of expressing emotions through music.

Does Reality Television-Style Singing Influence Singing Self-Concept?

HYPOTHESIS

Due to upward social comparison, we hypothesized that exposure to reality television singing (a technically demanding style of contemporary commercial music singing) would negatively influence singing self-concept compared to hearing amateur singers or plain, unembellished singing by professionals.

STUDY DESIGN AND METHODS

A between-subjects, online experiment was used. A sample of 212 individuals (Mage = 33.14; 69.30% female) participated in the study. After completing a background section, participants were randomly allocated into one of the experimental conditions (hearing one of four versions of a well-known song: a control version with piano and no singing, amateur singing, professional plain singing, and professional singing in the style of reality television singing). Participants were then asked to judge the performance they heard and to respond to items concerning their singing self-concept (including singing ability).

RESULTS AND CONCLUSIONS

A series of ANCOVAs was used to examine the impact of the experimental condition on the participants' performance judgments and singing self-concept. The amateur singing was judged as the lowest quality. While there was no significant difference by experimental condition regarding possessing good singing ability, the experimental condition did affect people's singing aspirations and perceived ability to sing along with the performers. The pattern of results suggests that exposure to reality television-style singing may have negative impacts on people's singing self-concept via upward social comparison. Self-concept has been identified as an important predictor of musical engagement and participation and plays a role in motivating action. These results encourage music educators, singing voice pedagogues, and community musicians seeking to promote musical and singing participation to be aware of cultural influences on an individual's singing self-concept.

Frontoparietal network topology as a neural marker of musical perceptual abilities

Why are some individuals more musical than others? Neither cognitive testing nor classical localizationist neuroscience alone can provide a complete answer. Here, we test how the interplay of brain network organization and cognitive function delivers graded perceptual abilities in a distinctively human capacity. We analyze multimodal magnetic resonance imaging, cognitive, and behavioral data from 200+ participants, focusing on a canonical working memory network encompassing prefrontal and posterior parietal regions. Using graph theory, we examine structural and functional frontoparietal network organization in relation to assessments of musical aptitude and experience. Results reveal a positive correlation between perceptual abilities and the integration efficiency of key frontoparietal regions. The linkage between functional networks and musical abilities is mediated by working memory processes, whereas structural networks influence these abilities through sensory integration. Our work lays the foundation for future investigations into the neurobiological roots of individual differences in musicality.

Online assessment of musical ability in 10 minutes: Development and validation of the Micro-PROMS

We describe the development and validation of a test battery to assess musical ability that taps into a broad range of music perception skills and can be administered in 10 minutes or less. In Study 1, we derived four very brief versions from the Profile of Music Perception Skills (PROMS) and examined their properties in a sample of 280 participants. In Study 2 (N = 109), we administered the version retained from Study 1-termed Micro-PROMS-with the full-length PROMS, finding a short-to-long-form correlation of r = .72. In Study 3 (N = 198), we removed redundant trials and examined test-retest reliability as well as convergent, discriminant, and criterion validity. Results showed adequate internal consistency ( ω ¯ = .73) and test-retest reliability (ICC = .83). Findings supported convergent validity of the Micro-PROMS (r = .59 with the MET, p < .01) as well as discriminant validity with short-term and working memory (r ≲ .20). Criterion-related validity was evidenced by significant correlations of the Micro-PROMS with external indicators of musical proficiency ( r ¯ = .37, ps < .01), and with Gold-MSI General Musical Sophistication (r = .51, p<.01). In virtue of its brevity, psychometric qualities, and suitability for online administration, the battery fills a gap in the tools available to objectively assess musical ability.

Validation and applicability of the music ear test on a large Chinese sample

In the context of extensive disciplinary integration, researchers worldwide have increasingly focused on musical ability. However, despite the wide range of available music ability tests, there remains a dearth of validated tests applicable to China. The Music Ear Test (MET) is a validated scale that has been reported to be potentially suitable for cross-cultural distribution in a Chinese sample. However, no formal translation and cross-cultural reliability/validity tests have been conducted for the Chinese population in any of the studies using the Music Ear Test. This study aims to assess the factor structure, convergence, predictiveness, and validity of the Chinese version of the MET, based on a large sample of Chinese participants (n≥1235). Furthermore, we seek to determine whether variables such as music training level, response pattern, and demographic data such as gender and age have intervening effects on the results. In doing so, we aim to provide clear indications of musical aptitude and expertise by validating an existing instrument, the Music Ear Test, and provide a valid method for further understanding the musical abilities of the Chinese sample.

Individual differences in musical ability among adults with no music training

Good musical abilities are typically considered to be a consequence of music training, such that they are studied in samples of formally trained individuals. Here, we asked what predicts musical abilities in the absence of music training. Participants with no formal music training (N = 190) completed the Goldsmiths Musical Sophistication Index, measures of personality and cognitive ability, and the Musical Ear Test (MET). The MET is an objective test of musical abilities that provides a Total score and separate scores for its two subtests (Melody and Rhythm), which require listeners to determine whether standard and comparison auditory sequences are identical. MET scores had no associations with personality traits. They correlated positively, however, with informal musical experience and cognitive abilities. Informal musical experience was a better predictor of Melody than of Rhythm scores. Some participants (12%) had Total scores higher than the mean from a sample of musically trained individuals (⩾6 years of formal training), tested previously by Correia et al. Untrained participants with particularly good musical abilities (top 25%, n = 51) scored higher than trained participants on the Rhythm subtest and similarly on the Melody subtest. High-ability untrained participants were also similar to trained ones in cognitive ability, but lower in the personality trait openness-to-experience. These results imply that formal music training is not required to achieve musician-like performance on tests of musical and cognitive abilities. They also suggest that informal music practice and music-related predispositions should be considered in studies of musical expertise.

Language experience predicts music processing in a half-million speakers of fifty-four languages

Tonal languages differ from other languages in their use of pitch (tones) to distinguish words. Lifelong experience speaking and hearing tonal languages has been argued to shape auditory processing in ways that generalize beyond the perception of linguistic pitch to the perception of pitch in other domains like music. We conducted a meta-analysis of prior studies testing this idea, finding moderate evidence supporting it. But prior studies were limited by mostly small sample sizes representing a small number of languages and countries, making it challenging to disentangle the effects of linguistic experience from variability in music training, cultural differences, and other potential confounds. To address these issues, we used web-based citizen science to assess music perception skill on a global scale in 34,034 native speakers of 19 tonal languages (e.g., Mandarin, Yoruba). We compared their performance to 459,066 native speakers of other languages, including 6 pitch-accented (e.g., Japanese) and 29 non-tonal languages (e.g., Hungarian). Whether or not participants had taken music lessons, native speakers of all 19 tonal languages had an improved ability to discriminate musical melodies on average, relative to speakers of non-tonal languages. But this improvement came with a trade-off: tonal language speakers were also worse at processing the musical beat. The results, which held across native speakers of many diverse languages and were robust to geographic and demographic variation, demonstrate that linguistic experience shapes music perception, with implications for relations between music, language, and culture in the human mind.

Worlds apart? Testing the cultural distance hypothesis in music perception of Chinese and Western listeners

According to the cultural distance hypothesis (CDH), individuals learn culture-specific statistical structures in music as internal stylistic models and use these models in predictive processing of music, with musical structures closer to their home culture being easier to predict. This cultural distance effect may be affected by domain-specific (musical ability) and domain-general individual characteristics (openness, implicit cultural bias). To test the CDH and its modulation by individual characteristics, we recruited Chinese and Western adults to categorize stylistically ambiguous and unambiguous Chinese and Western melodies by cultural origin. Categorization performance was better for unambiguous (low CD) than ambiguous melodies (high CD), and for in-culture melodies regardless of ambiguity for both groups, providing evidence for CDH. Musical ability, but not other traits, correlated positively with melody categorization, suggesting that musical ability refines internal stylistic models. Therefore, both cultures show musical enculturation in their home culture with a modulatory effect of individual musical ability.

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.

Can musical ability be tested online?

We sought to determine whether an objective test of musical ability could be successfully administered online. A sample of 754 participants was tested with an online version of the Musical Ear Test (MET), which had Melody and Rhythm subtests. Both subtests had 52 trials, each of which required participants to determine whether standard and comparison auditory sequences were identical. The testing session also included the Goldsmiths Musical Sophistication Index (Gold-MSI), a test of general cognitive ability, and self-report questionnaires that measured basic demographics (age, education, gender), mind-wandering, and personality. Approximately 20% of the participants were excluded for incomplete responding or failing to finish the testing session. For the final sample (N = 608), findings were similar to those from in-person testing in many respects: (1) the internal reliability of the MET was maintained, (2) construct validity was confirmed by strong associations with Gold-MSI scores, (3) correlations with other measures (e.g., openness to experience, cognitive ability, mind-wandering) were as predicted, (4) mean levels of performance were similar for individuals with no music training, and (5) musical sophistication was a better predictor of performance on the Melody than on the Rhythm subtest. In sum, online administration of the MET proved to be a reliable and valid way to measure musical ability.