Wk 9 - Music and Learning Flashcards

(49 cards)

1
Q

NEAR - Low road transfer of learning

A

Automated skills - spontaneous and automatic

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
2
Q

examples of NEAR

A

Perceptual processing of sound
Timing
Pitch/timbre
Fine motor skills
Emotional sensitivity
Conceptions of relationships between written materials and sound
Reading/memorisation of music and text

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
3
Q

FAR - High road transfer

A

requires reflection and conscious processing

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
4
Q

examples of FAR

A

IQ
Attainment

Recognise strengths/weaknesses
Strategies relating to motivation, concentration, monitoring progress, and evaluating outcomes.

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
5
Q

Music and the Brain

A

greater musical expertise associated with increased grey matter density

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
6
Q

Left inferior frontal gyrus

A

syntactic processing, executive functions, and working memory

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
7
Q

Left intraparietal sulcus

A

visuomotor coordination.

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
8
Q

Right fusiform gyrus

A

in visual pattern recognition.

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
9
Q

Right mid orbital gyrus

A

tonal sensitivity

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
10
Q

what areas of the brain are increased for musicians

A

Morphological areas

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
11
Q

cortical structure which emerge in relation to such things as (6)

A

Age music training starts

Training and Practice

Instrument and type of training

Sex differences (Shaky evidence only)

Absolute Pitch

Genetics, environment, and individual differences

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
12
Q

learning to play an instrument involves what type of training

A

sensorimotor and multimodal training

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
13
Q

Schneider et al., 2023

A

Longitudinal study of musicians (n=66) and non-musicians (n=46) throughout adolescence

tested at 5 time points (starting at 7 - young)

Also compared with data from previous cross sectional studies with young adults (19-29 y) and middle aged adults (30-67 y) .

Measures:
- MRI – measures of grey matter in Heschl’s gyrus and Planum temporale

  • Magnetoencephalography (MEG) – measures of P1, N1, and P2 in relation to auditory stimulus.
  • Auditory Discrimination – Frequency, Intensity, Onset ramp, Duration, Rhythm, Subjective Pitch

(NEAR transfer)

subjective pitch - play them a note, tell what it is, play them another note, can say what it is - scale in their head

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
14
Q

Schneider et al., 2023 (grey matter)

A

Greater grey matter in both right and left Heschl’s gyrus (HG) for musicians, but lower level in Planum temporale (PT)

This remains quite static across all ages.

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
15
Q

what is the overlap between music perception and language

A

neural overlap

phonological awareness

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
16
Q

music and literacy - language

A

speech and music have similar acoustic and structural features

  • particularly patterning of strong and weak syllables or beats that make up rhythm, meter etc
  • making sound supports the development of aural processing systems, facilitates the encoding and identification of speech sounds and patterns which, in turn, should enhance language skills.
How well did you know this?
1
Not at all
2
3
4
5
Perfectly
17
Q

what type of music making is effective for young children

A

informal in the home and more formal activities in playschools

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
18
Q

what do current neurophysiological models assume speech and music processing are based on

A

the synchronization of internal neuronal oscillations with temporally regular stimuli

Similar to neuroplasticity it would seem the earlier the engagement with music training, the better.

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
19
Q

what 5 things all contribute to literacy

A

phonological awareness

speech-in-noise perception

rhythm perception

auditory working memory

the ability to learn sound patterns

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
20
Q

phonological awareness

A

For speech, one important area is voice onset time (VOT)

Delay between when a sound begins and when the vocal cords start vibrating

Difference between hearing “Da” or “Ta” only 10ms
- vowel is same but is the onset of the vowel that makes the difference

21
Q

rhythm - durational patterns

A

Notes stressed at different levels depending on how they align to metrical framework.

Helps guide beat perception- when tapping along individuals tend tap close to the first beat where the stress is.

Similarly with speech – listener can take advantage of durational regularities such as slowing at end of sentence, and, somewhat, predictable occurrence of syllables with different degrees of stress.

Temporal regularities used for speech segmentation – necessary for the development of phonological awareness .

Good readers show greater sensitivity to speech rhythm.

Therefore, tracking rhythmic patterns is vital for both music and speech perception. Furthermore, this is important for reading skills.

22
Q

what is dynamic attending theory in music

A

Set of neural oscillators that phase-lock and resonate to temporal structure of music.

Attentional focus that waxes and wanes following rhythmic structure of piece of music.

23
Q

what is temporal sampling hypothesis - speech

A

Track rise and fall in speech amplitude over time.

Phase locking of slow neural oscillations in delta and theta range (2-7 Hz)

“Samples” low frequency information crucial to speech segmentation and discrimination of speech sounds.

24
Q

if the Dynamic attending theory and Temporal Sampling Hypothesis are correct, what does this mean for rhythm in music and speech

A

they are tracked via the same biological mechanism

25
what is vital for musical performance
auditory working memory musicians show enhanced verbal and auditory working memory
26
Gordon et al. (2015)
Meta analysis of 13 studies (a) inclusion of music training vs. control groups (b) inclusion of pre- vs. post-comparison measures (c) indication that reading instruction was held constant across groups. Music training leads to improvements in phonological skills. Effect small! however, no transfer effect found for reading skills.
27
What point did Schellenberg (2004/6/11) raise from Gordon et al.'s (2015) work
cognitive advantages in musicians come from a natural predisposition in the individual.
28
Carioti et al. (2019)
would seem to support Schellenberg’s theory In comparison to control groups, following one year of intensive music training, there was no improvement in reading ability. However, controls who had previously had music training, and those who had chosen to take part in the music intervention performed better than the controls with no music experience at both time points.
29
what are the two key theories why there may be a relationship between music and spatial-temporal reasoning.
Connectivity theory Near transfer theory
30
Connectivity theory
The processing of music and spatial tasks is underpinned by an overlap in brain functions (Fiske, 1996). Because of neurological connections in the cortex, development of certain kinds of musical and spatial abilities are related (Shaw, 2000) “Music training at an early age is exercise" for such higher brain functions as spatial-temporal reasoning (Leng & Shaw, 1991) “Rhythm” theory – proposes that the rhythmic element of music links musical and spatial processing (Parsons, 1997)
31
Near Transfer Theory
Modular approach – Making music requires coordination over extended periods of six intelligences - musical, visual-spatial, bodily-kinesthetic, logical/mathematical, interpersonal, and intrapersonal. Therefore training in music should lead to improvements in a number of visuospatial skills. Two theories are not mutually exclusive – together may explain music’s effect on spatial ability (Hetland, 2000).
32
Hetland (2000)
Review of 15 studies finding a reliable effect of music training on spatial-temporal outcomes with a moderate effect size [r = .37]
33
(Hallam and Himonides, 2022).
Rhythm based training seems to have the strongest effect, followed by learning to play the piano, and to a lesser extent singing
34
Holmes and Hallam (2017)
found strong evidence for improved spatial-temporal ability following rhythmic instruction over a period of 2 years for 4 – 7 year olds However, benefits for mathematical ability were only found for the youngest participants in the study with a far lower effect size than that found for the spatial-temporal tasks.
35
Sala and Gobet (2020) meta analysis
found no effect of music training on both reading and maths except in less well designed studies with either non-random allocation or non-active controls. Evidence of near transfer, but does not extend to academic achievement?
36
Music and Spatial-Temporal Reasoning/Mathematical Performance
In a similar fashion to there being evidence for music training positively affecting phonological skills but not reading skills, there seems evidence of benefits in spatial-temporal reasoning, but not in mathematical performance
37
Cooper (2020)
Meta-analysis on the effects of music training on cognitive measures in children. The mean effect size from 21 studies was small to medium. However, similar to Sala and Gobet (2020), when moderators related to methodological quality (such as when studies were moved from classroom to lab) were taken into account, the overall findings became non-significant. Importantly, though there is evidence for a benefit of music training, there is little evidence that it has a greater effect than other cognitive interventions.
38
Cooper (2020) key takeaway
many musical interventions have been found to be beneficial and should be structured into schools other interventions demonstrate potential for cognitive growth, however music is sociable and enjoyable for children - important factor
39
Akin (2023) - mathematical performance meta analysis
moderators: - types of musical intervention - mathematical skills - instructional mathematical content - age - developmental results: overall small to moderate positive effect size of music intervention on mathematics achievement benefits particularly in arithmetic
40
Rauscher et al. (1993) - The Mozart Effect
36 undergrads 10 minutes listening condition - Mozart - Sonata K448 - Relaxation Instructions - Silence Better performance following Mozart for a spatial-temporal task (paper folding and cutting) but not for Matrices task or pattern analysis. Effect disappeared after 10 minutes.
41
what was the driving theory for the Mozart Effect
showed that similar neural firings patterns occur when listening to music and performing spatial tasks Thus, the authors predicted that the music/spatial causal relationship is due to the cultivation of pattern development by groups of neurons brought about by musical operations The trion model, developed by Shaw - Leng & Shaw, 1991
42
Chabris, 1999
17 papers considered Only seems to be an effect for tasks involving spatial-temporal processing. Small effect size: d=0.14 or 2.1 IQ points. One-quarter as large as that originally reported for a broader class of cognitive abilities in Rauscher et al. (1993) Not statistically significant Smaller than the average variation of a single persons IQ test performance.
43
Hetland 2000 - debunked Mozart effect?
meta analysis - 36 studies d = 0.50
44
what 5 reasons did Rauscher propose why the effect is not replicated
Task validity Expectancy effects Instructions to participants Item difficulty Practice Effects
45
Pietschnig, Voracek, & Forman, 2010
This time including only studies which had used Mozart sonata. 39 studies Mozart vs Silence or non musical – small/medium effect size (d=0.37) Other musical stimuli vs Silence or non musical - similar small/medium effect size (d=0.38) Mozart vs Other musical stimuli – very small effect (d = 0.15). A small significant overall effect for exposure to the Mozart sonata compared to other musical stimuli. However, this finding can equally be explained by potentially differently activating music. Publication bias – overall Pietschnig and colleagues found noticeably higher effects for studies by Rauscher and colleagues. Concluded little evidence for a specific performance-enhancing Mozart effect.
46
Schellenberg & Hallam (2005)
The Blur Effect Large sample of 10 and 11 year olds were tested after they listened to: - contemporary pop music - music composed by Mozart - discussion about the present experiment Performance on one of the tests (square completion) did not differ as a function of the listening experience, but performance on the other test (paper folding) was superior for children who listened to popular music compared to the other two groups enjoyed (subject preferred) music has benefits on cognitive abilities
47
Nantais & Schellenberg (1999)
The Stephen King Effect Performance was an artifact of preference compared to Mozart itself Ppts performed better in their preferred condition - Mozart or Stephen King story
48
Thompson et al (2001)
Arousal-mood hypothesis Replication of Mozart effect - performance better in PF&C in Mozart group than Albinoni however, effect disappears when mood and arousal are controlled for enhance mood and arousal from Mozart music cause of better performance instead of the music of Mozart itself
49
what do Lim & Watson (2018) show regarding arousal
the more engaged you become with a piece of music, the higher your level of arousal will be Manipulating levels of arousal in this way and correlating cognitive performance with both physical and subjective indices of arousal should provide a further test of the arousal hypothesis