Experiences with art have been of longstanding concern for phenomenologists, yet the psychological question of the appearing of art appreciation has not been addressed. This article attends to this lack, exemplifying the merits of a phenomenological psychological investigation based on three semi-structured interviews conducted with museum visitors. The interviews were subjected to meaning condensation as well as to descriptions of the first aesthetic reception, the retrospective interpretation, and the “horizons of expectations” included in the meeting with art. The findings show (...) that art appreciation appears as variations in experiential forms comprised of gratifying experiences of beauty, challenges to the understanding, and bodily-informed alterations of the emotions. The phenomenological psychology of actual, lived experience can embrace the phenomenological theories of art appreciation by Heidegger and Merleau-Ponty, yet highlight the psychological importance of experiences with art. (shrink)

In _The Subject of Aesthetics_ Tone Roald develops a psychology of art based on people’s descriptions of their own engagement with visual art.

Empathy is a psychologically significant phenomenon. It plays a key role in the development of the self, sociality, and prosocial behaviour. The term empathy originated in 19th-century aesthetics, where the concept was seen as an explanation for aesthetic experience. Despite renewed interest in the relation between empathy and aesthetic experiences, investigations into how empathy shapes experiences of art are still scarce. Given this situation, we ask the following three questions: What does one experience when experiencing a work of art empathetically? (...) What is given during such moments? How is consciousness structured in aesthetic empathetic experience? To answer these questions, we analysed five different experiences with visual art using a phenomenological psychological methodology. We found that a complexity of psychologically significant meaning arises from the empathic experience of art. The core aspects of this meaning are captured in a structure incorporating experience of a foreign subjective sense, reliving and affective adherence, interiorisation, pleasure in sharing, and affective understanding. Based on this structure, we argue that aesthetic empathy features a sense of otherness to a degree not previously recognised and that aesthetic empathy is an inherently intersubjective experience in which the spectator is invited to participate and share feelings expressed in the work of art in moments of aesthetic presence. (shrink)

This article describes what it is like to experience beauty in visual art. Our phenomenological analysis of interviews with visual art museum visitors shows that beauty appears as the relationship between two different experiential modes. Initially, the perceiver feels herself affectively and bodily immersed in the perceived while awareness of herself pulls back. Self-awareness eventually returns, allowing for a subtle yet distinct mode of reflection in which the viewer looks back at the initial moment of felt connection with the perceived. (...) Our analysis suggests that beauty experience arises when a slight perceptual distance allows for a subtle mode of reflection on the involvement with the artwork that took place in the immediate past. The initial moment returns as an affectively charged memory, which the perceiver longs to restore or repeat. The article relates beauty’s apparent two-fold nature to the question of how the fundamental capacity for aesthetic experience psychologically develops. It concludes that beauty experience originates from the combined capacity of self-forgetful immersion and self-contemplative distance. (shrink)

In this article, we analyze how movement takes part in creating intersubjective meaning. We discuss what Daniel Stern termed ‘affect attunement,’ a primary way of constituting intersubjectivity. Based on an analysis of how movement, meaning-making, vitality affects, and primordial feelings interrelate in affect attunement, we show that primordial feelings and thereby movement play a much greater role in affect attunement than Stern proposed. This makes movement a primary meaning-making modality, indispensable to the development of intersubjectivity. To illustrate the relation between (...) movement and affect attunement in psychological development, we discuss the role of movement in autism. Recent research suggests that differences in movement precede the onset of social-communicative deficits and may be primary to autistic development. Building on the proposed interrelation of movement and primordial feelings in affect attunement, we suggest that autistic movement differences illuminate the vital role played by movement in early intersubjective development. (shrink)

Art has the capacity to shape and alter our identities. It can influence who and what we are. Those who have had aesthetic experiences know this intimately, and yet the study of art’s impact on the mind struggles to be recognized as a centrally important field within the discipline of psychology. The main thesis of Art and Identity is that aesthetic experience represents a prototype for meaningful experience, warranting intense philosophical and psychological investigation. Currently psychology remains too closed-off (...) from the rich reflection of philosophical aesthetics, while philosophy continues to be sceptical of the psychological reduction of art to its potential for Subjective experience. At the same time, philosophical aesthetics cannot escape making certain assumptions about the psyche and benefits from entering into a dialogue with psychology. Art and Identity brings together philosophical and psychological perspectives on aesthetics in order to explore how art creates minds. (shrink)

Emotions are essential for human existence, both lighting the way toward the brightest of achievements and setting the course into the darkness of suffering. Not surprisingly, then, emotion research is currently one of the hottest topics in the field of psychology. Yet to divine the nature of emotion is a complex and extensive task. In this book emotions are approached thought an exploration of the nature of cognition in emotion; the nature of thoughts in feelings. Different approaches to emotions (...) are explored, from brain research to research at the level of experience, and it is argued that all approaches must seriously take into account the experiential dimension. A qualitative study of experiences with art is therefore presented, as emotions and cognition are often expressed in experiences with art. It is the first study of its kind. Descriptions of various affective phenomena are then given which have significant implications for contemporary debates about emotions, resolving several contemporary controversies. ContentsAcknowledgementsIntroductionChapter 1: Describing EmotionChapter 2: Describing CognitionChapter 3: Theories about the Emotion-Cognition RelationshipChapter 4: Experiences with ArtChapter 5: A Phenomenological Study of Art AppreciationChapter 6: DiscussionBibliographyIndex. (shrink)

In this article, we demonstrate empirically that imagination is fundamental in experiences of visual art. We do so through phenomenological interviews and analysis in dialogue with works of the phenomenologists Mikel Dufrenne, Edmund Husserl and Maurice Merleau-Ponty. We challenge Dufrenne’s delimiting of imagination to a pre-reflective power of synthesis, and argue in favor of a more comprehensive psychological understanding of imagination, which encompasses psychological differences in actual lived experience. Our analysis shows how imagination is necessarily part of experiences with visual (...) art, as it provides ways of exploring and unfolding the expressions of the work of art. Such experiences are therefore characterized by a close relation between imagination and perception, as well as an affective lining which belongs to our imaginings. (shrink)

The research question addressed in this paper is: How do the activities of writing mediate knowledge of writing, disciplinary knowledge, and professional knowledge as intertwined sites of learning? To conceptualise the role that writing can take in these complex processes, we apply an analytical framework comprising two core concepts; mediation and learning trajectories. We draw on an empirical study from the context of initial teacher education in Norway. From our analysis, we identify three qualities of writing as important. First, the (...) writing process should in- clude responding to and sharing drafts. Other important qualities include high teacher expectations and continuous reflection. From the perspective adopted here, learning is understood to be distributed and situated. In particular, in situated cultural contexts, collaborative writing can become a significant mediational tool for learning. Initial teacher education seeks to prepare the student teacher for a highly complex professional competency, developing both professionally and in individual subjects. To do so, students must transform social structures and the tools embedded in practices into psychological tools. We contend that writing is one significant tool in moving through complex trajectories of learning towards becoming professional teachers. (shrink)

In this article we present a phenomenological single-case study of a client’s experience of her therapist’s bodily movement in the context of narrative therapy. A client was interviewed regarding her experience of selected bodily movements of the therapist based on a video recording of one of her therapeutic sessions. The movements were analyzed through Maxine Sheets-Johnstone’s cardinal structures of movement while the interview was analyzed through a modification of Giorgi’s method for phenomenological psychology. We focused on the relationship between (...) the therapist’s bodily movement and therapeutic movement in the client and arrived at general structures of the client’s experience of being moved by movement. The experience comprises three core constituents: ‘shifts in sense of self’, ‘sense of togetherness’ and ‘feelings of mobility’, and reveals that the therapist’s bodily movements can lead to therapeutic changes compatible with the aim of narrative therapy. (shrink)

The psychological effects of aesthetic education have often been discussed, and major studies such as Michael Parsons’s inquiry into art understanding show that the development of understanding works of visual art is influenced by education.1 His findings show that the way people talk about art can be structured in five stages of development according to the model of Jean Piaget’s theory of cognitive development. He believes that the understanding of art, just like general cognition, is based on mental maturation but (...) that some kind of education is necessary to acquire the different skills of the understanding of art at each stage of development. Parsons’s study does not include educational strategies, but his .. (shrink)

This demonstration recreates an example of introspective training from E.B. Titchener's laboratory manual of 1901-1905. The purpose is to prompt thought about the prospects of introspective training as a means of improving the quality of introspective reports about conscious experience. The demonstration requires speakers or headphones, and a high-speed internet connection is recommended.

Absolute pitch, besides the psychological and neurological interests it has, raises some conceptual difficulties that can teach us about the richness of our notion of musical tone and various aspects of its identification. It is argued that when AP is conceived under a slim notion of identifying the pitch of a crude sound, it is hardly meaningful and has no significance in music comprehension. The rich notion, which is the meaningful and important one, involves knowing the position of a (...) tone in a tone-space and its relations. This is presented as experiential: hearing and identifying tones under concepts and relations that are experienced rather than figured out or derived on the basis of crude identification of bare tones. Since many of these concepts and relations are musically meaningful, this rich notion of identification is thus connected to musical understanding and aesthetic appreciation of a musical work. It may also be claimed to be vital in passing between different sense modalities, and can explain various aspects of AP and puzzles connected with it. (shrink)

Two claims that are hard to deny are that slurs can be offensive, and that not all uses of language are communicative. It’s therefore perplexing why no one has considered the possibility that slurs might be offensive not because of what they communicate but rather because of interpretive effects their uses might exact. In what follows, we intend to argue just that, namely, that confrontations with slurs can set in motion a kind of imaginative engagement that rouses objectionable psychological states. (...) We believe this view has precedence in Frege’s account of tone. (shrink)

An association between age-related hearing loss and Alzheimer's Disease has been widely reported. However, the nature of this relationship remains poorly understood. Quantification of hearing loss as it relates to AD is imperative for the creation of reliable, hearing-related biomarkers for earlier diagnosis and development of ARHL treatments that may slow the progression of AD. Previous studies that have measured the association between peripheral hearing function and AD have yielded mixed results. Most of these studies have been small and underpowered (...) to reveal an association. Therefore, in the current report, we sought to estimate the degree to which AD patients have impaired hearing by performing a meta-analysis to increase statistical power. We reviewed 248 published studies that quantified peripheral hearing function using pure-tone audiometry for subjects with AD. Six studies, with a combined total of 171 subjects with AD compared to 222 age-matched controls, met inclusion criteria. We found a statistically significant increase in hearing threshold as measured by pure tone audiometry for subjects with AD compared to controls. For a three-frequency pure tone average calculated for air conduction thresholds at 500–1,000–2,000 Hz, an increase of 2.3 decibel hearing level was found in subjects with AD compared to controls. Likewise, for a four-frequency pure tone average calculated at 500–1,000–2,000–4,000, an increase of 4.5 dB HL was measured, and this increase was significantly greater than that seen for 0.5–2 kHz PTA. There was no difference in the average age of the control and AD subjects. These data confirm the presence of poorer hearing ability in AD subjects, provided a quantitative estimate of the magnitude of hearing loss, and suggest that the magnitude of the effect is greater at higher sound frequencies.Systematic Review Registration:https://www.crd.york.ac.uk/prospero/, identifier: CRD42021288280. (shrink)

Fundamental frequency, perceived as pitch, is the first and arguably most salient auditory component humans are exposed to since the beginning of life. It carries multiple linguistic and paralinguistic functions in speech and communication. The mappings between these functions and ƒ0 features vary within a language and differ cross-linguistically. For instance, a rising pitch can be perceived as a question in English but a lexical tone in Mandarin. Such variations mean that infants must learn the specific mappings based on (...) their respective linguistic and social environments. To date, canonical theoretical frameworks and most empirical studies do not view or consider the multi-functionality of ƒ0, but typically focus on individual functions. More importantly, despite the eventual mastery of ƒ0 in communication, it is unclear how infants learn to decompose and recognize these overlapping functions carried by ƒ0. In this paper, we review the symbioses and synergies of the lexical, intonational, and emotional functions that can be carried by ƒ0 and are being acquired throughout infancy. On the basis of our review, we put forward the Learnability Hypothesis that infants decompose and acquire multiple ƒ0 functions through native/environmental experiences. Under this hypothesis, we propose representative cases such as the synergy scenario, where infants use visual cues to disambiguate and decompose the different ƒ0 functions. Further, viable ways to test the scenarios derived from this hypothesis are suggested across auditory and visual modalities. Discovering how infants learn to master the diverse functions carried by ƒ0 can increase our understanding of linguistic systems, auditory processing and communication functions. (shrink)

Worries about the artistic integrity (for lack of a better term) of twelve-tone music are not new. Critics, philosophers, musicians, even composers them- selves have assailed the idiom with a fervor usually reserved for individual artists or works. Just why it is supposed to be defective is not entirely clear, however. I want to revisit these questions by way of putting some insights from music history and theory together with some insights from the philosophy and psychology of music. (...) To find out whether twelve-tone composition is defective we will need to reflect carefully upon our concepts of music and art in general, so if all goes well our conclusions should have some broader import. Because I will be pulling together considerations from several domains, I will need to lay a fair amount of groundwork at the beginning; but once that is done, we will have a vantage on the present issues that would not otherwise be open to us. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 23-34 [Access article in PDF] Mind Ahead of the Tone:Integration of Technique and Imagination in Vocal Training at Tanglewood Summer Institute Svetlana Nikitina The use of the body and the mind at the same time is one of the most fascinating things and magic things about music. 1The purpose, indeed the sole purpose, of training for the profession of singing is (...) to improve the connection between the imagination and the sounds that eventually issue from the singer's mouth. 2The utmost goal of art is achieving unity between form and content, the subjective idea and the medium, technique and imagination. Success and livelihood of dancers, actors, and musicians depends on their ability to translate mental ideas into bodily actions and, at its height, merge technical bodily and mental wisdom so seamlessly that we would forget the path that led to it.What is this path? How do individual singers mesh, melt, and marry the technical rigor coming from years of musical training and their ability to imagine and express themselves with those tools? How is the unity betweentechnique and imagination achieved and experienced? And, what is the pedagogy that could support the connection? These are the core questions that guided the study.The goal here is not to propose a conclusive theory of connection, biological or psychological. My hope is to open the curtain for discussion of what is generally considered an "undiscussable" topic in art and music education books because it deals with what is thought of as implicit knowledge that no one could or should teach. Through my observation of Phyllis Curtin's classroom and conversations with her students, some general thoughts and principles of building unity between the technical and artistic selves of a singer emerged. I would like to share those insights and strategies.While this essay does not offer simplistic how-to strategies of fostering creative synergy, it also does not suggest that the connection just happens, [End Page 23] regardless of whether we think or teach about it. What it aspires to do is create a space for thinking about the complexity of integrative experienceand ways in which bridge-building could be facilitated. As such, it could offer insights to both beginning vocalists and voice teachers, as well as be of interest to a broader range of educators and public concerned with core issues on the integrative nature of arts education. Method To serve the goal of presenting complex experiences of creative artists, Ichose to combine analytical and descriptive elements in my research method. Building an analytical argument about the ways integration between imagination and technique could be achieved and supported, I tried to stay close to student stories of connection and disconnection, employing a qualitative rather than a quantitative method of inquiry. This takes the form of large amounts of direct interview data and personal vignettes, from which I traced general patterns of meaning. Research Context A very brief and in no way exhaustive survey of literature on voice education points to a large volume of text spent on training vocal technique. Breath control, charts depicting the larynx and the thyro-arytenoid muscle at work far outnumber chapters on interpretation or "The Work of Imagination" in musical education literature. 3There are precious few books, however, that do not keep the technical and the mental concerns separate, and give the work of imagination an explicit and central role in training of performing artists. Two of those books, Thomas Hemsley's Singing and Imagination and Michael Chekhov's On the Technique of Acting, have not fallen in my lap by chance. 4 Curtin referred to them several times in her classes as books of "singular" resonance to her own singing and teaching.Chekhov's book conceptualizes the basic processes that are involved in the actor's work on character development. These processes include extensive work on the text and its interpretation (understanding, living the text, and essentializing it in performance), in parallel with developing the body... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 23-34 [Access article in PDF] Mind Ahead of the Tone:Integration of Technique and Imagination in Vocal Training at Tanglewood Summer Institute Svetlana Nikitina The use of the body and the mind at the same time is one of the most fascinating things and magic things about music. 1The purpose, indeed the sole purpose, of training for the profession of singing is (...) to improve the connection between the imagination and the sounds that eventually issue from the singer's mouth. 2The utmost goal of art is achieving unity between form and content, the subjective idea and the medium, technique and imagination. Success and livelihood of dancers, actors, and musicians depends on their ability to translate mental ideas into bodily actions and, at its height, merge technical bodily and mental wisdom so seamlessly that we would forget the path that led to it.What is this path? How do individual singers mesh, melt, and marry the technical rigor coming from years of musical training and their ability to imagine and express themselves with those tools? How is the unity betweentechnique and imagination achieved and experienced? And, what is the pedagogy that could support the connection? These are the core questions that guided the study.The goal here is not to propose a conclusive theory of connection, biological or psychological. My hope is to open the curtain for discussion of what is generally considered an "undiscussable" topic in art and music education books because it deals with what is thought of as implicit knowledge that no one could or should teach. Through my observation of Phyllis Curtin's classroom and conversations with her students, some general thoughts and principles of building unity between the technical and artistic selves of a singer emerged. I would like to share those insights and strategies.While this essay does not offer simplistic how-to strategies of fostering creative synergy, it also does not suggest that the connection just happens, [End Page 23] regardless of whether we think or teach about it. What it aspires to do is create a space for thinking about the complexity of integrative experienceand ways in which bridge-building could be facilitated. As such, it could offer insights to both beginning vocalists and voice teachers, as well as be of interest to a broader range of educators and public concerned with core issues on the integrative nature of arts education. Method To serve the goal of presenting complex experiences of creative artists, Ichose to combine analytical and descriptive elements in my research method. Building an analytical argument about the ways integration between imagination and technique could be achieved and supported, I tried to stay close to student stories of connection and disconnection, employing a qualitative rather than a quantitative method of inquiry. This takes the form of large amounts of direct interview data and personal vignettes, from which I traced general patterns of meaning. Research Context A very brief and in no way exhaustive survey of literature on voice education points to a large volume of text spent on training vocal technique. Breath control, charts depicting the larynx and the thyro-arytenoid muscle at work far outnumber chapters on interpretation or "The Work of Imagination" in musical education literature. 3There are precious few books, however, that do not keep the technical and the mental concerns separate, and give the work of imagination an explicit and central role in training of performing artists. Two of those books, Thomas Hemsley's Singing and Imagination and Michael Chekhov's On the Technique of Acting, have not fallen in my lap by chance. 4 Curtin referred to them several times in her classes as books of "singular" resonance to her own singing and teaching.Chekhov's book conceptualizes the basic processes that are involved in the actor's work on character development. These processes include extensive work on the text and its interpretation (understanding, living the text, and essentializing it in performance), in parallel with developing the body... (shrink)

Speech variability facilitates non-tonal language speakers’ lexical tone learning. However, it remains unknown whether tonal language speakers can also benefit from speech variability while learning second language (L2) lexical tones. Researchers also reported that the effectiveness of speech variability was only shown on learning new items. Considering that the first language (L1) and L2 probably share similar tonal categories, the present study hypothesizes that speech variability only promotes the tonal language speakers’ acquisition of L2 tones that are different from (...) the tones in their L1. To test this hypothesis, the present study trained native Mandarin (a tonal language) speakers to learn Cantonese tones with either high variability (HV) or low variability (LV) speech materials, and then compared their learning performance. The results partially supported this hypothesis: only Mandarin subjects’ productions of Cantonese low level and mid level tones benefited from the speech variability. They probably relied on the mental representations in L1 to learn the Cantonese tones that had similar Mandarin counterparts. This learning strategy limited the impact of speech variability. Furthermore, the results also revealed a discrepancy between L2 perception and production. The perception improvement may not necessarily lead to an improvement in production. (shrink)

The aim of the study was to verify the hypothesis that positive affective tone of narratives is connected to the experience of posttraumatic growth among transplant patients. Kidney transplant patients and liver transplant patients participated in the study. In the first stage, about 10 weeks after transplant, the participants told two stories about important, freely chosen events from their lives. During the second meeting 10-12 months later we measured posttraumatic growth. Results indicated that the affective tone of narratives (...) about past events was associated with the level of post-traumatic growth measured 10-12 months later. This proves that the affective tone of narratives about life, understood as a relatively constant individual characteristic, promote posttraumatic growth. (shrink)

Ego psychology, more existential than scientific in tone, has made psychoanalytic theory more congenial to historical studies, especially when they deal with creative and conflicted leaders. Erikson's concept of the identity crisis points to the intersection of family-centered conflicts with social and cultural history. It also orients the historian to the reanimation of problems in earlier stages of the life-cycle, the importance of work to identity formation, and the neurotic function of over-identification with a troublesome parent. Phenomenologically descriptive (...) rather than causally explanatory, psycho-biography mediates between Freud's naturalism and Collingwood's idealism by relating conscious and unconscious purposes. It establishes congruences and resonances, helping to explain in narrative form the meaning, timing, and urgency of a leader's characteristic ideas. (shrink)

To construct their first lexicon, infants must determine the relationship between native phonological variation and the meanings of words. This process is arguably more complex for bilingual learners who are often confronted with phonological conflict: phonological variation that is lexically relevant in one language may be lexically irrelevant in the other. In a series of four experiments, the present study investigated English–Mandarin bilingual infants’ abilities to negotiate phonological conflict introduced by learning both a tone and a non-tone language. (...) In a novel word learning task, bilingual children were tested on their sensitivity to tone variation in English and Mandarin contexts. Their abilities to interpret tone variation in a language-dependent manner were compared to those of monolingual Mandarin learning infants. Results demonstrated that at 12–13 months, bilingual infants demonstrated the ability to bind tone to word meanings in Mandarin, but to disregard tone variation when learning new words in English. In contrast, monolingual learners of Mandarin did not show evidence of integrating tones into word meanings in Mandarin at the same age even though they were learning a tone language. However, a tone discrimination paradigm confirmed that monolingual Mandarin learning infants were able to tell these tones apart at 12–13 months under a different set of conditions. Later, at 17–18 months, monolingual Mandarin learners were able to bind tone variation to word meanings when learning new words. Our findings are discussed in terms of cognitive adaptations associated with bilingualism that may ease the negotiation of phonological conflict and facilitate precocious uptake of certain properties of each language. (shrink)

In tone languages, some case studies showed that the word-level tonal representation was closely related to the underlying metrical pattern. Based on different tonal patterns in prosodic units, the metrical structures could generally be divided into the left- and right-dominant types in Chinese dialects. Yet the cross-dialectal phonetic realizations (e.g., duration and pitch) between or within these two metrical structures were still unrevealed. The current study investigated the duration and pitch realizations of disyllabic prosodic words in Changsha and Chengdu (...) dialects (the left-dominant structure), and in Fuzhou and Xiamen dialects (the right-dominant structure). Results showed that not all the duration patterns across four Chinese dialects were sensitive to different metrical structures, indicating that the duration might not be the universal cue for metrical prominence in Chinese dialects. In terms of pitch realization across all the four Chinese dialects, level tones (sometimes falling tones) generally appeared in the metrically weak unit, while underlying pitch forms appeared in the metrically strong unit. Compared with duration, pitch might be more robust for prosodic realizations of metrical structures in Chinese dialects. Furthermore, there was an interaction between duration and pitch patterns in Chinese dialects, which could shed new light on the phenomenon of “metrical tone sandhi”. Meanwhile, this study also provides some references for the judgment of the metrical stress and prosodic realizations in other Chinese dialects. (shrink)

Music impacting on speech processing is vividly evidenced in most reports involving professional musicians, while the question of whether the facilitative effects of music are limited to experts or may extend to amateurs remains to be resolved. Previous research has suggested that analogous to language experience, musicianship also modulates lexical tone perception but the influence of amateur musical experience in adulthood is poorly understood. Furthermore, little is known about how acoustic information and phonological information of lexical tones are processed (...) by amateur musicians. This study aimed to provide neural evidence of cortical plasticity by examining categorical perception of lexical tones in Chinese adults with amateur musical experience relative to the non-musician counterparts. Fifteen adult Chinese amateur musicians and an equal number of non-musicians participated in an event-related potential (ERP) experiment. Their mismatch negativities (MMNs) to lexical tones from Mandarin Tone 2–Tone 4 continuum and non-speech tone analogs were measured. It was hypothesized that amateur musicians would exhibit different MMNs to their non-musician counterparts in processing two aspects of information in lexical tones. Results showed that the MMN mean amplitude evoked by within-category deviants was significantly larger for amateur musicians than non-musicians regardless of speech or non-speech condition. This implies the strengthened processing of acoustic information by adult amateur musicians without the need of focused attention, as the detection of subtle acoustic nuances of pitch was measurably improved. In addition, the MMN peak latency elicited by across-category deviants was significantly shorter than that by within-category deviants for both groups, indicative of the earlier processing of phonological information than acoustic information of lexical tones at the pre-attentive stage. The results mentioned above suggest that cortical plasticity can still be induced in adulthood, hence non-musicians should be defined more strictly than before. Besides, the current study enlarges the population demonstrating the beneficial effects of musical experience on perceptual and cognitive functions, namely, the effects of enhanced speech processing from music are not confined to a small group of experts but extend to a large population of amateurs. (shrink)