Both American and European investigators have long searched for factors that contribute to musical proficiency. The present article considers several interpretations of musical talent that were advanced by persons who were themselves skilled musicians. Especial emphasis is afforded to the approach of Raleigh M. Drake, an American, who obtained his PhD in Europe, but opposed the most widely utilized early 20th-century American conception of musical talent. Drake also interacted with several early and eminent American psychologists in considering (...) the underlying issue of ‘special talents’. The scholarly contributions of Drake are assessed both in terms of their relationship to some early 20th-century conceptions of musical talent and as a prospective influence on other investigations of that ability. (shrink)

Studies involving direct language imitation tasks have shown that pronunciation ability is related to musical competence and working memory capacities. However, this type of task may measure individual differences in many different linguistic dimensions, other than just phonetic ones. The present study uses an indirect imitation task by asking participants to a fake a foreign accent in order to specifically target individual differences in phonetic abilities. Its aim is to investigate whether musical expertise and working memory capacities (...) relate to phonological awareness (i.e., participants’ implicit knowledge about the phonological system of the target language and its structural properties at the segmental, suprasegmental and phonotactic levels) as measured on this task. To this end, French native listeners (N = 36) graded how well German native imitators (N = 25) faked a French accent while speaking in German. The imitators also performed a musicality test, a self-assessment of their singing abilities and working memory tasks. The results indicate that the ability to fake a French accent correlates with singing ability and musical perceptual abilities, but not with working memory capacities. This suggests that heightened musical abilities may lead to an increased phonological awareness probably by providing participants with highly efficient memorization strategies and highly accurate long-term phonetic representations of foreign sounds. Comparison with data of previous studies shows that working memory could be implicated in the pronunciation learning process which direct imitation tasks target, whereas musical expertise influences both storing of knowledge and later retrieval here assessed via an indirect imitation task. (shrink)

Perception of music and speech is based on similar auditory skills, and it is often suggested that those with enhanced music perception skills may perceive and learn novel words more easily. The current study tested whether music perception abilities are associated with novel word learning in an ambiguous learning scenario. Using a cross-situational word learning (CSWL) task, nonmusician adults were exposed to word-object pairings between eight novel words and visual referents. Novel words were either non-minimal pairs differing in all sounds (...) or minimal pairs differing in their initial consonant or vowel. In order to be successful in this task, learners need to be able to correctly encode the phonological details of the novel words and have sufficient auditory working memory to remember the correct word-object pairings. Using the Mistuning Perception Test (MPT) and the Melodic Discrimination Test (MDT), we measured learners’ pitch perception and auditory working memory. We predicted that those with higher MPT and MDT values would perform better in the CSWL task and in particular for novel words with high phonological overlap (i.e., minimal pairs). We found that higher musical perception skills led to higher accuracy for non-minimal pairs and minimal pairs differing in their initial consonant. Interestingly, this was not the case for vowel minimal pairs. We discuss the results in relation to theories of second language word learning such as the Second Language Perception model (L2LP). (shrink)

Music training is associated with enhanced executive function but little is known about the extent to which harmonic aspects of musical training are associated with components of executive function. In the current study, an array of cognitive tests associated with one or more components of executive function, was administered to young adult musicians and non-musicians. To investigate how harmonic aspects of musical training relate to executive function, a test of the ability to compose a four-part harmony was (...) developed and administered to musicians. We tested the working hypothesis that musicians would outperform non-musicians on measures of executive function, and that among musicians, the ability to harmonize would correlate positively with measures of executive function. Results indicate that musicians outperformed non-musicians on the Tower of London task, a measure of planning and problem-solving. Group differences were not detected on tasks more selective for inhibitory control, conflict resolution, or working memory. Among musicians, scores on the harmony assessment were positively correlated with performance of the Tower of London task. Taken together, the current results support a strong relationship between musicianship and planning and problem solving abilities, and indicate that the ability to harmonize is associated with components of executive function contributing to planning and problem solving. (shrink)

In the near future, vehicles will gradually gain more autonomous functionalities. Drivers’ activity will be less about driving than about monitoring intelligent systems to which driving action will be delegated. Road safety, therefore, remains dependent on the human factor and we should identify the limits beyond which driver’s functional state (DFS) may no longer be able to ensure safety. Depending on the level of automation, estimating the DFS may have different targets, e.g. assessing driver’s situation awareness in lower levels of (...) automation and his ability to respond to emerging hazard or assessing driver’s ability to monitor the vehicle performing operational tasks in higher levels of automation. Unfitted DFS (e.g., drowsiness) may impact the driver ability respond to taking over abilities. This paper reviews the most appropriate psychophysiological indices in naturalistic driving while considering the DFS through exogenous sensors, providing the more efficient trade-off between reliability and intrusiveness. The DFS also originates from kinematic data of the vehicle, thus providing information that indirectly relates to drivers behaviour. The whole data should be synchronously processed, providing a diagnosis on the DFS, and bringing it to the attention of the decision maker in real time. Next, making the information available can be permanent or intermittent (or even undelivered), and may also depend on the automation level. Such interface can include recommendations for decision support or simply give neutral instruction. Mapping of relevant psychophysiological and behavioural indicators for DFS will enable practitioners and researchers provide reliable estimates, fitted to the level of automation. (shrink)

The Musical Emotion Discrimination Task (MEDT) is a short, non-adaptive test of the ability to discriminate emotions in music. Test-takers hear two performances of the same melody, both played by the same performer but each trying to communicate a different basic emotion, and are asked to determine which one is “happier”, for example. The goal of the current study was to construct a new version of the MEDT using a larger set of shorter, more diverse music clips and (...) an adaptive framework to expand the ability range for which the test can deliver measurements. The first study analysed responses from a large sample of participants (N = 624) to determine how musical features contributed to item difficulty, which resulted in a quantitative model of musical emotion discrimination ability rooted in Item Response Theory (IRT). This model informed the construction of the adaptive MEDT. A second study contributed preliminary evidence for the validity and reliability of the adaptive MEDT, and demonstrated that the new version of the test is suitable for a wider range of abilities. This paper therefore presents the first adaptive musical emotion discrimination test, a new resource for investigating emotion processing which is freely available for research use. (shrink)

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. (shrink)

A recently emerging view in music cognition holds that music is not only social and participatory in its production, but also in its perception, i.e. that music is in fact perceived as the sonic trace of social rela- tions between a group of real or virtual agents. While this view appears compatible with a number of intriguing music cognitive phenomena, such as the links between beat entrainment and prosocial behaviour or between strong musical emotions and empathy, direct evidence is (...) lacking that listeners are at all able to use the acoustic features of a musical interaction to infer the affiliatory or controlling nature of an underlying social intention. We created a novel experimental situation in which we asked expert music improvisers to communicate 5 types of non-musical social intentions, such as being domineering, dis- dainful or conciliatory, to one another solely using musical interaction. Using a combination of decoding studies, computational and psychoacoustical analyses, we show that both musically-trained and non musically-trained listeners can recognize relational intentions encoded in music, and that this social cognitive ability relies, to a sizeable extent, on the information processing of acoustic cues of temporal and harmonic coordination that are not present in any one of the musicians’ channels, but emerge from the dynamics of their interaction. By manipulating these cues in two-channel audio recordings and testing their impact on the social judgements of non-musician observers, we finally establish a causal relationship between the affiliation dimension of social behaviour and musical harmonic coordination on the one hand, and between the control dimension and musical temporal coordination on the other hand. These results provide novel mechanistic insights not only into the social cognition of musical interactions, but also into that of non-verbal interactions as a whole. (shrink)

Music can act as a mnemonic device that can elicit multiple memories. How musical and non-musical information integrate into complex cross-modal memory representations has however rarely been investigated. Here, we studied the ability of human subjects to associate visual objects with melodies. Musical laypersons and professional musicians performed an associative inference task that tested the ability to form and memorize paired associations between objects and melodies and to integrate these pairs into more complex representations where (...) melodies are linked with two objects across trials. We further investigated whether and how musical expertise modulates these two processes. We analyzed accuracy and reaction times of direct and indirect trials in both groups. We reasoned that the musical and cross-modal memory demands of musicianship might modulate performance in the task and might thus reveal mechanisms that underlie the association and integration of visual information with musical information. Although musicians showed a higher overall memory accuracy, non-musicians’ accuracy was well above chance level in both trial types, thus indicating a significant ability to associate and integrate musical with visual information even in musically untrained subjects. However, non-musicians showed shorter RTs in indirect compared to direct trials, whereas the reverse pattern was found in musicians. Moreover, accuracy of direct and indirect trials correlated significantly in musicians but not in non-musicians. Consistent with previous accounts of visual associative memory, we interpret these findings as suggestive of at least two complimentary mechanisms that contribute to visual-melodic memory integration. A default mechanism that mainly operates at encoding of complex visual-melodic associations and that works with surprising efficacy even in musically untrained subjects. A retrieval-based mechanism that critically depends on an expert ability to maintain and discriminate visual-melodic associations across extended memory delays. Future studies may investigate how these mechanisms contribute to the everyday experience of music-evoked memories. (shrink)

BackgroundCognitive deficits are one of the core features of major depressive disorder that play crucial role in functional recovery. Studies have explored cognitive deficits in MDD, however, given inconsistent results, especially in mild-moderate MDD. Recently, studies have explored music as cognitive ability in various clinical conditions. In MDD, large focus has been on evaluating emotion deficits and just a handful on music cognition. With growing evidence on use of music based intervention to target cognitive deficits, it is imperative to (...) explore nature of music cognitive ability in MDD.AimTo examine musical and neuro-cognitive deficits in patients with mild-moderate MDD.MethodsPatients diagnosed with mild or moderate MDD and matched healthy controls were evaluated on selected tests from NIMHANS Neuropsychological test battery and Montreal battery for evaluation of amusia.ResultsMDD group performed significantly lower than HC on working memory, verbal learning and retention. Three indices were computed for a comprehensive evaluation. Groups did not differ significantly in any of the indices- focused attention, executive function, learning and memory as well as on music cognition. Focused attention and memory index predicted music cognition in HC and the combined group. Attention alone contributed to 62.1% of variance in music cognition. Similarly, music cognition significantly predicted focused attention.ConclusionIndividuals with mild-moderate MDD show significant deficits in working memory, verbal learning and memory, however, not in music cognition. There exists a significant relationship between music cognition and attention, which could be implicated in use of music interventions to ameliorate cognitive deficits. Limitations of study include small sample size and heterogeneity. Future studies on larger cohort examining musical emotion perception and neurocognition is imperative to have deeper understanding of this debilitating condition. (shrink)

Congenital amusia in its most common form is a disorder characterized by a musical pitch processing deficit. Although pitch is involved in conveying emotion in music, the implications for pitch deficits on musical emotion judgements is still under debate. Relatedly, both limited and spared musical emotion recognition was reported in amusia in conditions where emotion cues were not determined by musical mode or dissonance. Additionally, assumed links between musical abilities and visuo-spatial attention processes need further (...) investigation in congenital amusics. Hence, we here test to what extent musical emotions can influence attentional performance. Fifteen congenital amusic adults and fifteen healthy controls matched for age and education were assessed in three attentional conditions: executive control, alerting, and orienting while music expressing either joy, tenderness, sadness, or tension was presented. Visual target detection was in the normal range for both accuracy and response times in the amusic relative to the control participants. Moreover, in both groups, music exposure produced facilitating effects on selective attention that appeared to be driven by the arousal dimension of musical emotional content, with faster correct target detection during joyful compared to sad music. These findings corroborate the idea that pitch processing deficits related to congenital amusia do not impede other cognitive domains, particularly visual attention. Furthermore, our study uncovers an intact influence of music and its emotional content on the attentional abilities of amusic individuals. The results highlight the domain-selectivity of the pitch disorder in congenital amusia, which largely spares the development of visual attention and affective systems. (shrink)

Suppose that we develop a medically safe and affordable means of enhancing human intelligence. For concreteness, we shall assume that the technology is genetic engineering (either somatic or germ line), although the argument we will present does not depend on the technological implementation. For simplicity, we shall speak of enhancing “intelligence” or “cognitive capacity,” but we do not presuppose that intelligence is best conceived of as a unitary attribute. Our considerations could be applied to specific cognitive abilities such as verbal (...) fluency, memory, abstract reasoning, social intelligence, spatial cognition, numerical ability, or musical talent. It will emerge that the form of argument that we use can be applied much more generally to help assess other kinds of enhancement technologies as well as other kinds of reform. However, to give a detailed illustration of how the argument form works, we will focus on the prospect of cognitive enhancement. (shrink)

Previous research suggests that mastering languages with distinct rather than similar rhythmic properties enhances musical rhythmic perception. This study investigates whether learning a second language (L2) enhances the perception of musical rhythmic variation in general, regardless of first and second languages’ rhythmic properties. Additionally, we investigated whether this perceptual enhancement could be alternatively explained by exposure to musical rhythmic complexity, such as the use of compound meter in Turkish music. Finally, it investigates if an enhancement of (...) class='Hi'>musical rhythmic perception could be observed among L2 learners whose first language relies heavily on pitch information, as is the case with tonal languages. Therefore, we tested Turkish, Dutch and Mandarin L2 learners of English and Turkish monolinguals on their ability to perceive musical rhythmic variation. Participants’ phonological and working memory capacities, melodic aptitude, years of formal musical training and daily exposure to music were assessed to account for cultural and individual differences which could impact their rhythmic ability. Our results suggest that mastering a second language rather than exposure to musical rhythmic complexity could explain individuals’ enhanced perception of musical rhythmic variation. An even stronger enhancement of musical rhythmic perception was observed for L2 learners whose first and second languages differ regarding their rhythmic properties, as enhanced performance of Mandarin and Turkish in comparison with Dutch L2 learners of English seem to suggest. Our findings provide further support for a cognitive transfer between the language and music domain, which may find its grounds on a common evolutionary basis. (shrink)

The purpose is to improve the teaching and learning efficiency of college Innovation and Entrepreneurship Education. Firstly, from the perspective of aesthetic education, this work designs the teacher and student sides of the Computer-aided Instruction system. Secondly, the CAI model is implemented based on the weight sharing and local perception of the Convolutional Neural Network. Finally, the performance of the CNN-based CAI model is tested. Meanwhile, it analyses students’ IEE experience under the proposed CAI model through a case study of (...) Music Majors from Xi’an Conservatory of Music. The experimental data show that the CNN-based CAI model can respond quickly and stably when users access different functional modules, such as webpage browsing. The proposed CAI model increases students’ entrepreneurial interest, skills, and knowledge by 55.62, 57.32, and 72.12%, respectively. Students’ entrepreneurial practice ability has been improved by over 50.00%; such an increase in entrepreneurial practice ability has also shown individual differences. Thus, the proposed Music Majors-oriented IEE-infiltrated CAI model based on CNN improves students’ entrepreneurial practice ability and reflects the positive experience of Music Majors on IEE. The finding provides references for the step-by-step identification of the CNN-based CAI model and has certain guiding significance for analyzing the effect of college IEE. (shrink)

The ability to distinguish between an individual's own actions and those of another person is a requirement for successful joint action, particularly in domains such as group music making where precise interpersonal coordination ensures perceptual overlap in the effects of co-performers' actions. We tested the hypothesis that such coordination benefits from simultaneous integration and segregation of information about ‘self’ and ‘other’ in an experiment using a musical joint action paradigm. Sixteen pairs of individuals with little or no (...) class='Hi'>musical training performed a dyadic synchronization task on a pair of electronic music boxes. The relationship between pitches produced by paired participants (same vs. different) and the relationship between movement frequencies required to trigger synchronous tones (congruent vs. incongruent) were varied in a repeated measures design. The results indicate that interpersonal coordination was most accurate when sounds were different in pitch but movement frequency was congruent. Under other conditions, participants often drifted apart, resulting in poor coordination, especially with same sounds and incongruent movements across co-performers. These findings suggest that interpersonal coordination was facilitated when simultaneous self-other integration and segregation occurred across sensory modalities in an asymmetrical manner where pitch relations favoured segregation via auditory streaming while movement congruence favoured integration via visuo-motor coupling. Such self-other representational balance may enable co-performers to maintain autonomous control while attending, anticipating, and adapting to each other's timing when joint action requires precise temporal coordination. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Reconception of Performance Study in the Philosophy of Music EducationValerie L. TrollingerThe actual place of performance in music education has been the subject of numerous debates over the years. Most debates have revolved within the paradigm of the performance ability of the teacher and consequently the performance ability of the students. Is the level to be attained that of a winning concert band/marching band/choir? Or, is (...) the level to be attained the level at which the students and teacher feel the most comfortable and pleased? Most of this debate, along with the development of various assessments (including the Watkins-Farnum Test) and various rubrics to score music performance competitions, has emphasized characteristics of performance pertaining to accuracy of notes, precision of rhythm, and attendance to musicianship, style, and interpretation. On the other hand, the aesthetic value of performance has also been questioned in that the value of music in the schools should not be assessed solely by the importance placed on the attainment of performance skills by the students, suggesting that it is only through performance that one may know music. For example, in a recent article in the Music Educator's Journal,1 Bennett Reimer promotes the [End Page 193] position that time spent in either performance studies and active performance in music education (both at the K-12 and college teacher training levels) is not vital to the reconception of the National Standards (USA) for music education and, by extension, the field of music education itself. In the MEJ article, Reimer wrote:there is no reason to believe that highly developed performers make the best general music teachers, just as there is no reason to believe the reverse. We must get over the outdated and unrealistic assumption that performance is the one, singular, royal road to being musical and being an effective music educator.... [T]eachers cannot be expected to do what performance specialists do, and their teacher education curriculum must reflect that fact.2This position has also been recently supported by sociological publications3 and the following statement—echoed by several colleagues of mine—by a music teacher-training specialist,There is one big misconception among many music education students. Many graduates view themselves as musicians who are going into teaching. I attribute my own success to the realization that I am a teacher at heart. My first responsibility is teaching children. The vehicle through which I connect to them is music.4It is likely within the previous paradigm in which these respected authors positioned their arguments for the place of performance in the music curriculum and in that regard these assertions are unquestionably valid. What this particular paradigm concerns is the quantity and quality of performance based on purely musical attributes. The omission is that it does not include the quality of performance in relationship to health-based music education, a growing area of concern in the performing arts medicine field and, by extension, music educators who are concerned about this particular aspect of performance.5 The reason for the concern and hence this paper calling to the philosophical community to re-think the place and quality of performance in music education is that these viewpoints have had a great impact upon the validity of music education, in that they ignore a growing body of research from the performance and medical fields. While it must be made clear for the purposes of this paper that the writers of the above quotes have framed their ideas gracefully within their individual philosophical structures of music education, it must be pointed out that current research and knowledge in performance arts, in its conception as a physical human activity, needs to be incorporated into a revised philosophy of music education and curriculum. Music performance in music education has traditionally been viewed as a cognitive and emotional experience. However, it [End Page 194] is also a psychomotor experience, involving all sorts of soft body tissues, bones, and cartilages, which can enhance or detract from the total musical experience. Many music educators do not get enough instruction in college on how to teach voice or instruments healthfully and this is the reason for the concern... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Reconception of Performance Study in the Philosophy of Music EducationValerie L. TrollingerThe actual place of performance in music education has been the subject of numerous debates over the years. Most debates have revolved within the paradigm of the performance ability of the teacher and consequently the performance ability of the students. Is the level to be attained that of a winning concert band/marching band/choir? Or, is (...) the level to be attained the level at which the students and teacher feel the most comfortable and pleased? Most of this debate, along with the development of various assessments (including the Watkins-Farnum Test) and various rubrics to score music performance competitions, has emphasized characteristics of performance pertaining to accuracy of notes, precision of rhythm, and attendance to musicianship, style, and interpretation. On the other hand, the aesthetic value of performance has also been questioned in that the value of music in the schools should not be assessed solely by the importance placed on the attainment of performance skills by the students, suggesting that it is only through performance that one may know music. For example, in a recent article in the Music Educator's Journal,1 Bennett Reimer promotes the [End Page 193] position that time spent in either performance studies and active performance in music education (both at the K-12 and college teacher training levels) is not vital to the reconception of the National Standards (USA) for music education and, by extension, the field of music education itself. In the MEJ article, Reimer wrote:there is no reason to believe that highly developed performers make the best general music teachers, just as there is no reason to believe the reverse. We must get over the outdated and unrealistic assumption that performance is the one, singular, royal road to being musical and being an effective music educator.... [T]eachers cannot be expected to do what performance specialists do, and their teacher education curriculum must reflect that fact.2This position has also been recently supported by sociological publications3 and the following statement—echoed by several colleagues of mine—by a music teacher-training specialist,There is one big misconception among many music education students. Many graduates view themselves as musicians who are going into teaching. I attribute my own success to the realization that I am a teacher at heart. My first responsibility is teaching children. The vehicle through which I connect to them is music.4It is likely within the previous paradigm in which these respected authors positioned their arguments for the place of performance in the music curriculum and in that regard these assertions are unquestionably valid. What this particular paradigm concerns is the quantity and quality of performance based on purely musical attributes. The omission is that it does not include the quality of performance in relationship to health-based music education, a growing area of concern in the performing arts medicine field and, by extension, music educators who are concerned about this particular aspect of performance.5 The reason for the concern and hence this paper calling to the philosophical community to re-think the place and quality of performance in music education is that these viewpoints have had a great impact upon the validity of music education, in that they ignore a growing body of research from the performance and medical fields. While it must be made clear for the purposes of this paper that the writers of the above quotes have framed their ideas gracefully within their individual philosophical structures of music education, it must be pointed out that current research and knowledge in performance arts, in its conception as a physical human activity, needs to be incorporated into a revised philosophy of music education and curriculum. Music performance in music education has traditionally been viewed as a cognitive and emotional experience. However, it [End Page 194] is also a psychomotor experience, involving all sorts of soft body tissues, bones, and cartilages, which can enhance or detract from the total musical experience. Many music educators do not get enough instruction in college on how to teach voice or instruments healthfully and this is the reason for the concern... (shrink)

There is a problem with the definition of talent as presented by Howe et al. that makes it dependent on experts' ability to detect it in the untrained. In addition, the choice of musical performance as the example for innate talent is inappropriate, and musical board results are selective and biased tests of it. Outstanding mathematical reasoning ability offers much better evidence of genetic influence.

Background and purposeJapanese elementary school children are trained in arts and crafts, music, arithmetic, the Japanese language, life environment studies, physical education, and so on. Children must learn through doing as they develop physically, because the range of activities in their daily lives is still narrow. Subject learning is inseparable from daily life. Teachers should plan lessons with an awareness of the physicality of activities. Therefore, this study clarified the relationship between the ability for skillful and quick physical movement (...) and subject learning among Japanese elementary school students.MethodsFor the second to fourth grades of elementary school, the measurement results and subject evaluation were compared at the individual level. Students were divided into a group with high grades in subject learning and one with middle and lower grades, and a t-test was conducted to observe if there was a significant difference in the records of two physical activities: repeated side jump and softball throw.Main findingsSignificant difference was found for repeated side jumps depending on whether the arts and crafts grades were high for all children in grades 2–4. Additionally, there was a significant difference in softball throwing records between the second and third graders, depending on whether the children’s performance in arts and crafts was high. Conversely, there was no significant difference between the second to fourth grade children’s musical scores and repeated side jump records. There was a negative correlation between sophomore and senior year music performances and the softball throwing record. Thus, the development of children’s dexterity is related to subject learning.ConclusionConsidering that elementary school teachers spend sufficient time with children on a daily basis teaching subjects such as physical education and music, it may be beneficial for them to be aware of dexterity’s importance across multiple subjects. Furthermore, it allows for an approach that engages children in physical activities from early childhood which can help in preparing them for learning a variety of subjects in school. (shrink)

This study examined individual differences in spatial abilities of architecture students. Students at different educational levels were assessed on spatial ability tests that varied in their domain-specificity to architecture, with the hypothesis that larger differences between beginner and advanced students will emerge on more domain-specific tests. We also investigated gender differences in test performance and controlled for general reasoning ability across analyses. In a cross sectional study, master students (N= 91) outperformed beginners (N= 502) on two novel tests (...) involving perspective taking and object composition, as well as on a standardized visualization of cross-sections test, but not on a standardized mental rotations test. Longitudinally (N= 117), spatial performance improved after the first bachelor year on visualization of cross-sections, object composition and mental rotation. Although both genders showed higher spatial test performance with increased experience, male students outperformed females across tests and levels of education. The results overall confirmed improvements in spatial performance during architecture studies, with partial support for the domain-specificity hypothesis. A gender gap among advanced students calls for further examining architecture-specific spatial thinking. (shrink)

Following Snyderman and Rothman, we surveyed expert opinions on the current state of intelligence research. This report examines expert opinions on causes of international differences in student assessment and psychometric IQ test results. Experts were surveyed about the importance of culture, genes, education, wealth, health, geography, climate, politics, modernization, sampling error, test knowledge, discrimination, test bias, and migration. The importance of these factors was evaluated for diverse countries, regions, and groups including Finland, East Asia, sub-Saharan Africa, Southern Europe, the Arabian-Muslim (...) world, Latin America, Israel, Jews in the West, Roma, and Muslim immigrants. Education was rated by N = 71 experts as the most important cause of international ability differences. Genes were rated as the second most relevant factor but also had the highest variability in ratings. Culture, health, wealth, modernization, and politics were the next most important factors, whereas other factors such as geography, climate, test bias, and sampling error were less important. The paper concludes with a discussion of limitations of the survey. (shrink)

The internal structure of ability emotional intelligence tests at item level has been hardly studied, and if studied often the predicted structure did not show. In the present study, an a priori model for responses to EI ability items using Likert response scales with a Situational Judgement Test format is investigated with confirmatory factor analysis. The model consists of a target EI ability factor, an acquiescence factor, which is a method factor induced by the Likert response scales, (...) and design-based error covariances, which are induced by the SJT format. It is investigated whether this a priori model can account for the observed associations between the raw item responses of the Components of Emotion Understanding Test-24. The CEUT-24 is a new test developed to assess emotion understanding, a key aspect of the EI ability construct, based on the componential emotion framework. The sample consisted of 1184 participants from four European countries speaking four different languages. Findings showed that the a priori model fitted the data well in all four languages. Furthermore, measurement invariance testing gave evidence for a well-fitting configural, metric, and partial scalar invariance model. The conclusion is that within a regular CFA framework using raw observed items responses, method factors can be disentangled from the targeted EI ability factor. (shrink)

This chapter contains sections titled: Introduction Disability Accommodations Unfairness and the Motivation of Candidates Unfairness in Music Conservatoires Unfairness in 11‐Plus Selection Conclusion Notes References.

There is widespread interest in the possibility that music training enhances nonmusical abilities. This possibility has been examined primarily for speech perception and domain-general abilities su...

The goals of the present study were to test whether (and which) basic numerical abilities can be improved with training and whether training effects transfer to improvement in children’s math achievement. The literature is mixed with evidence that does or does not substantiate the efficacy of training basic numerical ability. In the present study, we developed a child-friendly software named ‘123 Bakery’ which includes four training modules; non-symbolic numerosity comparison, non-symbolic numerosity estimation, approximate arithmetic and symbol-to-numerosity mapping. Fifty-six first (...) graders were randomly assigned to either the training or control group. The training group participated in 6 weeks of training (5 times a week, 30 minutes per day). All participants underwent pre- and post- training assessment of their basic numerical processing ability (including numerosity discrimination acuity, symbolic/non-symbolic magnitude estimation, approximate arithmetic, symbol-to-numerosity mapping), overall math achievement and intelligence, 6 weeks apart. The acuity for numerosity discrimination (approximate number sense acuity; ANS acuity) significantly improved after training, but this training effect did not transfer to improvement in symbolic, exact calculation, or any other math ability. We conclude that basic numerical cognition training leads to improvement in ANS acuity, but whether this effect transfers to symbolic math ability remains to be further tested. (shrink)

How music and speech evolved is a mystery. Several hypotheses on their origins, including one on their joint origins, have been put forward but rarely tested. Here we report and comment on the first experiment testing the hypothesis that speech and music bifurcated from a common system. We highlight strengths of the reported experiment, point out its relatedness to animal work, and suggest three alternative interpretations of its results. We conclude by sketching a future empirical programme extending this work.

This study examined individual differences in mathematics learning by combining antecedent (A), opportunity (O), and propensity (P) indicators within the Opportunity-Propensity model. Although there is already some evidence for this model based on secondary datasets, there currently is no primary data available that simultaneously takes into account A,O and P factors in children with and without Mathematical Learning Disabilities (MLD). Therefore the mathematical abilities of 114 school-aged children (grade 3 till 6) with and without MLD were analyzed and combined with (...) information retrieved from standardized tests and questionnaires. Results indicated significant differences in personality, motivation, temperament, subjective well-being, self-esteem, self-perceived competence and parental aspirations when comparing children with and without MLD. In addition, A, O and P factors were found to underlie mathematical abilities and disabilities. For the A factors, parental aspirations explained about half of the variance in fact retrieval speed in children without MLD, and SES was especially involved in the prediction of procedural accuracy in general. Teachers’ experience contributed as O factor and explained about 6% of the variance in mathematical abilities. P indicators explained between 52 and 69% of the variance, with especially intelligence as overall significant predictor. Indirect effects pointed towards the interrelatedness of the predictors and the value of including A, O and P indicators in a comprehensive model. The role parental aspirations played in fact retrieval speed was partially mediated through the self-perceived competence of the children, whereas the effect of SES on procedural accuracy was partially mediated through intelligence in children of both groups and through working memory capacity in children with MLD. Moreover, in line with the componential structure of mathematics, our findings were dependent on the math task used. Different A, O and P indicators seemed to be important for fact retrieval speed compared to procedural accuracy. Also, mathematical development type (MLD or typical development) mattered since some A, O and P factors were predictive for MLD only and the other way around. Practical implications of these findings and recommendations for future research on MLD and on individual differences in mathematical abilities are provided. (shrink)

Despite widespread support for the idea of measuring EI as an ability based on Mayer and Salovey’s model, only a few performance-based EI tests have been developed. I argue that both the original and updated ability EI model provide little guidance for a theory-driven generation of items and their scoring, as the functions and processes associated with high and low EI are not specified in enough detail. One solution is to draw on theories from other fields when creating (...) a measurement rationale for a new EI test. I illustrate this approach by describing two new tests measuring emotional understanding and emotion management. (shrink)

Locally-developed measures represent great tools for institutions to use in assessing student outcomes. Such measures can be easy to administer, can be cost-effective, and can provide meaningful data for improving student learning. However, many institutions struggle with questions surrounding the quality of their locally-developed assessments. Are their instruments reliable? Are their instruments valid? Can the data generated from these instruments be trusted to drive change and improvement? The good news for faculty, staff, and assessment professionals is that there are steps (...) they can take to address these concerns and help to ensure the validity and reliability of their processes. This article describes the development and testing of a novel research instrument of students’ attitudes and abilities relating to critical thinking, metacognition, and intellectual humility. Using a $1,000 assessment grant from Sam Houston State University (SHSU), Dr. Glenn Sanford and Dr. David Wright devised the early drafts of the instruments, collaborated with colleagues, and joined with Mr. Jeff Roberts, Director of Assessment at SHSU, to develop and to test this new instrument. What follows is a description of the development of the resulting research instrument, results from the factor analysis and reliability testing of that instrument, and an overview of how those results have been used to make further instrument improvements. (shrink)

Introduction. A radical tendency in modern approaches to understanding the mechanisms of the brain is the tendency of some scientists to believe that the brain is a receptor capable of capturing thoughts; the nature of the occurrence of the thoughts themselves, however, is not to be clarified. However, speech expressing thoughts is undoubtedly the result of the work of the brain, so studies of the frequency structure of speech can be the basis for considering the material structure of the brain (...) as a kind of “antenna”. In this approach, the problem of noise protection against the background of the undeniable frequency similarity of speech and music appears to us from somewhat different positions. This study raises the question of how essential the overall height of the musical system is to the perception of music (are there musical systems that are harmful or useful, in terms of their effects on the psyche). This question is also relevant to speech perception.Methodology and sources. The main sources in which the work of the brain and the essence of consciousness are considered from the positions indicated above were for us the work of American and British neurophysiologists and psychiatrists (Sam Parnia, Peter Fenwick). These scientists are studying the phenomena that accompany clinical death, and argue that at these moments the brain functions to the greatest extent as a receiving “antenna”. Assuming that any antenna is to be tuned, we are trying to identify possible ways to “tune” the brain. To do this, we propose to study the frequency characteristics of speech (in the simplest case, when singing vowels in a calm state) for their belonging to a particular musical system, as well as the peculiarities of music perception depending on the musical system (on the height of the note “la”). Varying the frequency characteristics of speech in a particular musical system can be considered, in our opinion, the main way to “tune” the brain. The methodology of the method is based on the use of frequency analysis of sound and the basic provisions of the elementary theory of music.Results and discussion. The main conclusion made by Western psychiatrists is the brain is not an organ of thought, consciousness exists independently from outside, the work of consciousness cannot be explained by the functioning of the brain – it requires a hardware check. If the neural network is an “antenna” that captures thoughts, and its “adjustment” at the physical level can be carried out (and is carried out) through sensory systems (including the hearing organ), the study of the frequency structure of speech will answer a number of important questions, including including related and higher brain functions (insight, creativity). Our experiments (Saint Petersburg Electrotechnical University, FIBS, department of EUT) showed that the influence of the “increased” or “lowered” musical-speech system on brain activity is insignificant. The study revealed the equiprobability of the frequency structure of speech. Since our brain lacks some characteristic set of frequencies – elements of a uniformly temperamental system, it is not necessary to talk about the harmful (or any other noise) effect of the “raised” and “lowered” systems due to deviation from the “internal standard”.Conclusion. In response to the assumptions made by Western experts, we proposed a frequency interpretation of the processes occurring in the brain, which, perhaps, will explain in more detail such phenomena as inspiration, discovery, etc., which occur with minimal activity of consciousness. Despite the limited methods of hardware study of factors that influence the activity of the brain and largely determine its higher functions (for example, creativity), the results of the brain's work in relation to music (both in terms of its creation and in terms of our reaction to it) are quite analyzable, which was shown in this study. The “musicality” of speech is extremely vividly represented in its frequency structure and allows one to reveal, to one degree or another, the features of the brain. (shrink)