Music Modulates Cognitive Flexibility? An Investigation of the Benefits of Musical Training on Markers of Cognitive Flexibility.

Cognitive flexibility enables the rapid change in goals humans want to attain in everyday life as well as in professional contexts, e.g., as musicians. In the laboratory, cognitive flexibility is usually assessed using the task-switching paradigm. In this paradigm participants are given at least two classification tasks and are asked to switch between them based on valid cues or memorized task sequences. The mechanisms enabling cognitive flexibility are investigated through two empirical markers, namely switch costs and n-2 repetition costs. In this study, we assessed both effects in a pre-instructed task-sequence paradigm. Our aim was to assess the transfer of musical training to non-musical stimuli and tasks. To this end, we collected the data of 49 participants that differed in musical training assessed using the Goldsmiths Musical Sophistication Index. We found switch costs that were not significantly influenced by the degree of musical training. N-2 repetition costs were small for all levels of musical training and not significant. Musical training did not influence performance to a remarkable degree and did not affect markers of mechanisms underlying cognitive flexibility, adding to the discrepancies of findings on the impact of musical training in non-music-specific tasks.

Same or different pitch? Effects of musical expertise, pitch difference, and auditory task on the pitch discrimination ability of musicians and non-musicians.

Musical expertise promotes both the perception and the processing of music. The aim of the present study was to analyze if musicians compared to non-musicians already have auditory processing advantages at the neural level. 50 musicians and 50 non-musicians worked on a task to determine the individual auditory difference threshold (individual JND threshold). A passive oddball paradigm followed while the EEG activity was recorded. Frequent standard sounds (528 hertz [Hz]) and rare deviant sounds (individual JND threshold, 535 Hz, and 558 Hz) were presented in the oddball paradigm. The mismatch negativity (MMN) and the P3a were used as indicators of auditory discrimination skills for frequency differences. Musicians had significantly smaller individual JND thresholds than non-musicians, but musicians were not faster than non-musicians. Musicians and non-musicians showed both the MMN and the P3a at the 535 Hz and 558 Hz condition. In the individual JND threshold condition, non-musicians, whose individual JND threshold was at 539.8 Hz (and therefore even above the deviant sound of 535 Hz), predictably showed the MMN and the P3a. Musicians, whose individual JND threshold was at 531.1 Hz (and thus close to the standard sound of 528 Hz), showed no MMN and P3a-although they were behaviorally able to differentiate frequencies individually within their JND threshold range. This may indicate a key role of attention in triggering the MMN during the detection of frequency differences in the individual JND threshold range (see Tervaniemi et al. in Exp Brain 161:1-10, 2005).

Decoding emotions in expressive music performances: A multi-lab replication and extension study.

With over 560 citations reported on Google Scholar by April 2018, a publication by Juslin and Gabrielsson (1996) presented evidence supporting performers' abilities to communicate, with high accuracy, their intended emotional expressions in music to listeners. Though there have been related studies published on this topic, there has yet to be a direct replication of this paper. A replication is warranted given the paper's influence in the field and the implications of its results. The present experiment joins the recent replication effort by producing a five-lab replication using the original methodology. Expressive performances of seven emotions (e.g. happy, sad, angry, etc.) by professional musicians were recorded using the same three melodies from the original study. Participants (N = 319) were presented with recordings and rated how well each emotion matched the emotional quality using a 0-10 scale. The same instruments from the original study (i.e. violin, voice, and flute) were used, with the addition of piano. In an effort to increase the accessibility of the experiment and allow for a more ecologically-valid environment, the recordings were presented using an internet-based survey platform. As an extension to the original study, this experiment investigated how musicality, emotional intelligence, and emotional contagion might explain individual differences in the decoding process. Results found overall high decoding accuracy (57%) when using emotion ratings aggregated for the sample of participants, similar to the method of analysis from the original study. However, when decoding accuracy was scored for each participant individually the average accuracy was much lower (31%). Unlike in the original study, the voice was found to be the most expressive instrument. Generalised Linear Mixed Effects Regression modelling revealed that musical training and emotional engagement with music positively influences emotion decoding accuracy.

The decay of pitch memory during rehearsal.

The present study investigates the decay of pitch memory over time. In a delayed pitch comparison paradigm, participants had to memorize the pitch of a Shepard tone, with silent, overt, or without any rehearsal. During overt rehearsal, recordings of the rehearsing were effectuated. Performance was best for silent rehearsal and worst for overt rehearsal. The differences, although partially significant, were not marked. The voice pitch during overt rehearsal was compatible with a random walk model, providing a possible explanation of why rehearsal does not improve the retention of the pitch trace.

Absolute pitch and pupillary response: effects of timbre and key color.

The pitch identification performance of absolute pitch possessors has previously been shown to depend on pitch range, key color, and timbre of presented tones. In the present study, the dependence of pitch identification performance on key color and timbre of musical tones was examined by analyzing hit rates, reaction times, and pupillary responses of absolute pitch possessors (n = 9) and nonpossessors (n = 12) during a pitch identification task. Results revealed a significant dependence of pitch identification hit rate but not reaction time on timbre and key color in both groups. Among absolute pitch possessors, peak dilation of the pupil was significantly dependent on key color whereas the effect of timbre was marginally significant. Peak dilation of the pupil differed significantly between absolute pitch possessors and nonpossessors. The observed effects point to the importance of learning factors in the acquisition of absolute pitch.