Search

Research has shown that the development of cognitive and social skills in preschool predicts school readiness in kindergarten. However, most longitudinal studies are short-term, tracking children's development only through the early elementary school years. This study aims to investigate the long-term impact of preschool predictors, intelligence, and mothers' education on grade six school performance. This study presents the results of an eight-year-long longitudinal study. The sample includes 202 Hungarian children (89 boys) from a disadvantaged region of southeastern Hungary. The independent variables were the preschool measures: DIFER (Diagnostic System for Assessing Development), a widely used, standardized school readiness test that measures cognitive and social skills; the Raven intelligence test; and socioeconomic status. The dependent variables in grade six were: National Standardized tests in math and reading (NABC, National Assessment of Basic Competencies) and school grades (GPA). Cronbach's alpha reliability of each test is above 0.76. Correlations and a series of multiple regressions were used for analysis. All three independent variables have significant predictive power for school performance in sixth grade. DIFER skills were the best predictors for reading achievement, intelligence for math achievement, and GPA was best predicted by mothers' education. The results show that developing preschool skills, mothers' education and IQ in preschool are essential to long-term learning success.

Attentional limits make it difficult to comprehend concurrent speech streams. However, multiple musical streams are processed comparatively easily. Coherence may be a key difference between music and stimuli like speech, which does not rely on the integration of multiple streams for comprehension. The musical organization between melodies in a composition may provide a cognitive scaffold to overcome attentional limitations when perceiving multiple lines of music concurrently. We investigated how listeners attend to multi-voiced music, examining biological indices associated with processing structured versus unstructured music. We predicted that musical structure provides coherence across distinct musical lines, allowing listeners to attend to simultaneous melodies, and that a lack of organization causes simultaneous melodies to be heard as separate streams. Musician participants attended to melodies in a Coherent music condition featuring flute duets and a Jumbled condition where those duets were manipulated to eliminate coherence between the parts. Auditory-evoked cortical potentials were collected to a tone probe. Analysis focused on the N100 response which is primarily generated within the auditory cortex and is larger for attended versus ignored stimuli. Results suggest that participants did not attend to one line over the other when listening to Coherent music, instead perceptually integrating the streams. Yet, for the Jumbled music, effects indicate that participants attended to one line while ignoring the other, abandoning their integration. Our findings lend support for the theory that musical organization aids attention when perceiving multi-voiced music., Competing Interests: The authors declare that the research was conducted in the absence of any commercial or financial relationships that could be construed as a potential conflict of interest., (Copyright © 2021 Barrett, Ashley, Strait, Skoe, Limb and Kraus.)

Improvisation is sometimes described as instant composition and offers a glimpse into real-time musical creativity. Over the last decade, researchers have built up our understanding of the core neural activity patterns associated with musical improvisation by investigating cohorts of professional musicians. However, since creative behavior calls on the unique individuality of an artist, averaging data across musicians may dilute important aspects of the creative process. By performing case study investigations of world-class artists, we may gain insight into their unique creative abilities and achieve a deeper understanding of the biological basis of musical creativity. In this experiment, functional magnetic resonance imaging and functional connectivity were used to study the neural correlates of improvisation in famed Classical music performer and improviser, Gabriela Montero. GM completed two control tasks of varying musical complexity; for the Scale condition she repeatedly played a chromatic scale and for the Memory condition she performed a given composition by memory. For the experimental improvisation condition, she performed improvisations. Thus, we were able to compare the neural activity that underlies a generative musical task like improvisation to 'rote' musical tasks of playing pre-learned and pre-memorized music. In GM, improvisation was largely associated with activation of auditory, frontal/cognitive, motor, parietal, occipital, and limbic areas, suggesting that improvisation is a multimodal activity for her. Functional connectivity analysis suggests that the visual network, default mode network, and subcortical networks are involved in improvisation as well. While these findings should not be generalized to other samples or populations, results here shed insight into the brain activity that underlies GM's unique abilities to perform Classical-style musical improvisations., (Copyright © 2020 The Authors. Published by Elsevier Inc. All rights reserved.)

In tonal languages, voice pitch inflections change the meaning of words, such that the brain processes pitch not merely as an acoustic characterization of sound but as semantic information. In normally-hearing (NH) adults, this linguistic pressure on pitch appears to sharpen its neural encoding and can lead to perceptual benefits, depending on the task relevance, potentially generalizing outside of the speech domain. In children, however, linguistic systems are still malleable, meaning that their encoding of voice pitch information might not receive as much neural specialization but might generalize more easily to ecologically irrelevant pitch contours. This would seem particularly true for early-deafened children wearing a cochlear implant (CI), who must exhibit great adaptability to unfamiliar sounds as their sense of pitch is severely degraded. Here, we provide the first demonstration of a tonal language benefit in dynamic pitch sensitivity among NH children (using both a sweep discrimination and labelling task) which extends partially to children with CI (i.e., in the labelling task only). Strong age effects suggest that sensitivity to pitch contours reaches adult-like levels early in tonal language speakers (possibly before 6 years of age) but continues to develop in non-tonal language speakers well into the teenage years. Overall, we conclude that language-dependent neuroplasticity can enhance behavioral sensitivity to dynamic pitch, even in extreme cases of auditory degradation, but it is most easily observable early in life.

Dance and music often co-occur as evidenced when viewing choreographed dances or singers moving while performing. This study investigated how the viewing of dance motions shapes sound perception. Previous research has shown that dance reflects the temporal structure of its accompanying music, communicating musical meter (i.e. a hierarchical organization of beats) via coordinated movement patterns that indicate where strong and weak beats occur. Experiments here investigated the effects of dance cues on meter perception, hypothesizing that dance could embody the musical meter, thereby shaping participant reaction times (RTs) to sound targets occurring at different metrical positions.In experiment 1, participants viewed a video with dance choreography indicating 4/4 meter (dance condition) or a series of color changes repeated in sequences of four to indicate 4/4 meter (picture condition). A sound track accompanied these videos and participants reacted to timbre targets at different metrical positions. Participants had the slowest RT's at the strongest beats in the dance condition only. In experiment 2, participants viewed the choreography of the horse-riding dance from Psy's "Gangnam Style" in order to examine how a familiar dance might affect meter perception. Moreover, participants in this experiment were divided into a group with experience dancing this choreography and a group without experience. Results again showed slower RTs to stronger metrical positions and the group with experience demonstrated a more refined perception of metrical hierarchy. Results likely stem from the temporally selective division of attention between auditory and visual domains. This study has implications for understanding: 1) the impact of splitting attention among different sensory modalities, and 2) the impact of embodiment, on perception of musical meter. Viewing dance may interfere with sound processing, particularly at critical metrical positions, but embodied familiarity with dance choreography may facilitate meter awareness. Results shed light on the processing of multimedia environments.

What makes a musician? In this review, we discuss innate and experience-dependent factors that mold the musician brain in addition to presenting new data in children that indicate that some neural enhancements in musicians unfold with continued training over development. We begin by addressing effects of training on musical expertise, presenting neural, perceptual, and cognitive evidence to support the claim that musicians are shaped by their musical training regimes. For example, many musician-advantages in the neural encoding of sound, auditory perception, and auditory-cognitive skills correlate with their extent of musical training, are not observed in young children just initiating musical training, and differ based on the type of training pursued. Even amidst innate characteristics that contribute to the biological building blocks that make up the musician, musicians demonstrate further training-related enhancements through extensive education and practice. We conclude by reviewing evidence from neurobiological and epigenetic approaches to frame biological markers of musicianship in the context of interactions between genetic and experience-related factors.

Although it has been shown that toddlers express distress when personal or physical events violate their expectations, there has been little detailed examination of their emotional reactions to such events. In this study, 45 2-year-olds were observed during 2 mishaps: a doll breaking and juice spilling. Their emotional reactions and their attempts to fix the mishap were coded. 2 components to their reactions to mishaps were found: one of tension and frustration, and another of concerned reparation. Mishaps elicited more negative emotions in toddlers than free play, and most toddlers attempted to correct the mishap. Children's styles of emotional response to mishaps may be related to maternal mental health. Symptoms of depression and anxiety in mothers were related to a suppression of tension and frustration in their offspring. Maternal acting out symptoms were not related to toddlers' reactions to mishaps. The findings are discussed in terms of the role of emotion in the formation of individual differences in sociomoral functioning and factors contributing to early differences.