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Background\ud Studies investigating recognition of facial expressions of emotions in Williams syndrome (WS) have reported difficulties in recognising negative expressions of emotion and a reliance on atypically developing underlying processes during task performance.\ud \ud Aim\ud The aim of the study was to extend these findings to the recognition of emotions in auditory domains.\ud Method and procedures\ud \ud Children and adolescents with WS, together with chronological (CA) and verbal mental age matched (VMA) typically developing (TD) comparison groups, were asked to judge expressions of happiness, sadness, anger, and fear in vocal and musical conditions.\ud Outcomes and results\ud \ud Total emotion recognition scores did not differ between WS and VMA matched groups but profiles of discrimination across emotion categories were markedly different. For all groups, the accessibility of emotion category cues differed across music and speech domains. The results suggested that emotion discrimination is more strongly linked with cognitive ability in WS than in TD.\ud \ud Conclusions and implications\ud Although WS and TD groups showed a significantly different profile of discrimination across emotion categories, similarities in the pattern of discrimination across domains and in the correlates of auditory emotion processing were observed. The results are discussed in the context of typical and atypical developmental trajectories and compensatory mechanisms in WS.

This study explores outcomes related to musical learning in a child with complex special educational needs. CB is a boy who was eight-years-old at the start of the study, and who was diagnosed with co-morbid Autism Spectrum Disorder, Attention Deficit Hyperactivity Disorder, Sensory Processing Difficulties, Dyslexia and Dyspraxia during the study. He was evaluated on a battery of developmental measures before and after one year of music learning. At pretesting CB obtained a high musical aptitude score and an average IQ score. However, his scores on tests measuring motor abilities, executive function, and social-emotional skills were low. Post-testing revealed improvements in CB’s fluid intelligence and motor skills, and whilst teacher and parent reports suggested a decline in his social-emotional functioning, his musical progress was good. The results are discussed in the context of impairments in developmental disorders, the importance of flexible teaching approaches and family support for music learning during childhood.

Background Difficulties identifying and describing emotions in Autism Spectrum Disorder (ASD) have been linked with an increased prevalence of Type 2 Alexithymia. Alexithymia is associated with difficulties in interpreting and verbally labelling physiological arousal. Children and adults with ASD show typical patterns of physiological arousal to music and can attribute verbal labels to musical emotions. Aim This pilot study aimed to develop a music-based intervention to improve facial and vocal emotion recognition (ER) and Alexithymia in adolescents with ASD. Methods and procedures Adolescents with ASD completed 5 music sessions and pre and post-tests of Alexithymia, ER and language. Each intervention began with a researcher-led group analysis of the emotions expressed in a series of musical excerpts, followed by a group-led discussion of the participants’ experiences of these emotions and the ways they may be communicated. Finally, the likely causes and outward expression of these emotions were discussed. Outcome and results Results showed that at pre-test, chronological age (CA) and receptive vocabulary were significantly associated with recognition of facial and verbal emotions and Not hiding emotions. At post-test, older children showed a greater increase in recognition of voices and in emotional bodily awareness. Correlations suggested a trend towards increased ER in voices and faces in children with lower language scores. Conclusions and implications Music-based interventions may enhance ER in adolescents with ASD and Alexithymia. Limitations and recommendations for future investigations are discussed.

This study investigated the effects of musical instrument learning on the concomitant development of cognitive, behavioural and socio-emotional skills in 38 seven- to nine-year-old children. Pre- and post-test measures of intelligence, memory, socio-emotional behaviour, motor ability and visual-motor integration were compared in children who received either extra-curricular musical training (EMT: n = 19) or statutory school music group lessons (SSM: n = 19). Results showed a significant association between musical aptitude and intelligence overall. The EMT group showed a significant increase in IQ (7 points), in comparison to 4.3 points for the SSM group, suggesting an effect of musical learning on intelligence. No effects were found for memory, or for visual motor integration or socio-emotional behaviour. However, significant improvements in gross motor ability where revealed for the EMT group only, for the aiming and catching composite. With regard to the measure of fluid intelligence, these findings support previous studies. The novel use of the Movement Assessment Battery for Children provides evidence that musical learning may support development in a child’s ability to judge distance, consider velocity, focus and use their proprioceptive, interoceptive and exteroceptive nervous systems.

This paper aims to convey an introduction to the psychology of music. At a very basic level, sound informs our model of the world, aiding survival. Musical sound and practice further offers a merging of exogenous and endogenous temporal states and templates, employing multiple complex neural mechanisms. Here we provide an overview of the literature exploring why music matters to our minds and bodies.

Research has suggested that differences in personality traits among western musicians, in comparison to the general population, may be related to gender. For example, studies suggest male classical musicians are more introverted than popular musicians, though female musicians may be more extroverted than population norms. Contemporary musical learning can be formal and/or informal, and changes in music education may have impacted upon traditional gender-based stereotypes. This study investigated similarities and differences between formal/informal musical learning, gender and musicians’ personalities. The sample included 275 musicians (87 female, mean age 40.2 years, range 19-81, learning duration > 6 years). The participants were either self-taught (n = 74), formally taught (n = 62), or a mixture of the two (n = 139). A comparison of two brief inventories (TIPI and BFI-10) provided reliability and validity. Contrary to previous research, no gender differences were found for the trait of Extraversion. Group differences according to formal/informal learning styles were apparent. Higher levels of Conscientiousness were associated with formal music learning. Overall musicians had higher levels of Openness to Experience than population norms. Further research will be required to understand whether this is an artifact of access and provision to music education, or a systematic personality difference among musicians.

Previous music and emotion research suggests that individual differences in empathy, alexithymia, personality traits, and musical expertise might play a role in music-perceived emotions. In this study, we investigated the relationship between these individual characteristics and the ability of participants to recognize five basic emotions (happiness, sadness, tenderness, fear, and anger) conveyed by validated excerpts of film music. One hundred and twenty participants were recruited through an online platform and completed an emotion recognition task as well as the IRI (Interpersonal Reactivity Index), TAS-20 (Toronto Alexithymia Scale), BFI (Big Five Inventory), and Gold-MSI (Goldsmiths Musical Sophistication Index). While participants recognized the emotions depicted by the music at levels that were better than chance, their performance accuracy was negatively associated with the externally oriented thinking subscale from the TAS-20. Our results suggest that alexithymia, previously linked to a deficit in perception of facial and vocal expressions of emotion, is also associated with difficulties in perception of emotions conveyed by music.

Deficits in auditory short-term memory have been widely reported in children with Specific Language Impairment (SLI), and recent evidence suggests that children with Autism Spectrum Disorder and co-morbid language impairment (ALI) experience similar difficulties. Music, like language relies on auditory memory and the aim of the study was to extend work investigating the impact of auditory short-term memory impairments to musical perception in children with neurodevelopmental disorders. Groups of children with SLI and ALI were matched on chronological age (CA), receptive vocabulary, non-verbal intelligence and digit span, and compared with CA matched typically developing (TD) controls, on tests of pitch and temporal acuity within a voluntary musical imagery paradigm. The SLI participants performed at significantly lower levels than the ALI and TD groups on both conditions of the task and their musical imagery and digit span scores were positively correlated. In contrast ALI participants performed as well as TD controls on the tempo condition and better than TD controls on the pitch condition of the task. Whilst auditory short-term memory and receptive vocabulary impairments were similar across ALI and SLI groups, these were not associated with a deficit in voluntary musical imagery performance in the ALI group.

All creative activity brings about change, since it results in the production of something that did not previously exist. The act of creation is itself influenced by changes that have been previously brought about by others, including previous acts of creation. As with any human behavior, creativity has both biological and cultural aspects and is therefore influenced by biological as well as cultural evolution. However, biological evolution operates slowly and over a much longer timescale than cultural evolution, and change occurring within a human lifetime must be driven by cultural and social, rather than biological processes. In order to examine changes at this timescale, we therefore assume a fixed biological substrate and examine how creativity occurs in a social and cultural context. We argue that a fuller understanding of artistic creativity arises from setting this phenomenon in a wider context that encompasses creativity in both the arts and the sciences. We analyze creativity using the BVSR model developed by Simonton and conclude that creativity is driven by similar mechanisms in both domains. We propose that the arts and the sciences are not qualitatively different intellectual domains but should be conceptualized as activities situated at different regions of a continuum of human endeavor. This suggests that it would be fruitful for both scientists and artists to devote more attention to learning from the achievements of those who generate creative ideas at different points on this continuum.

Although the configurations of psychoacoustic cues signalling emotions in human vocalizations and instrumental music are very similar, cross-domain links in recognition performance have yet to be studied developmentally. Two hundred and twenty 5- to 10-year-old children were asked to identify musical excerpts and vocalizations as happy, sad, or fearful. The results revealed age-related increases in overall recognition performance with significant correlations across vocal and musical conditions at all developmental stages. Recognition scores were greater for musical than vocal stimuli and were superior in females compared with males. These results confirm that recognition of emotions in vocal and musical stimuli is linked by 5 years and that sensitivity to emotions in auditory stimuli is influenced by age and gender.

All creative activity brings about change, since it results in the production of something that did not previously exist. The act of creation is itself influenced by changes that have been previously brought about by others, including previous acts of creation. As with any human behavior, creativity has both biological and cultural aspects and is therefore influenced by biological as well as cultural evolution. However, biological evolution operates slowly and over a much longer timescale than cultural evolution, and change occurring within a human lifetime must be driven by cultural and social, rather than biological processes. In order to examine changes at this timescale, we therefore assume a fixed biological substrate and examine how creativity occurs in a social and cultural context. We argue that a fuller understanding of artistic creativity arises from setting this phenomenon in a wider context that encompasses creativity in both the arts and the sciences. We analyze creativity using the BVSR model developed by Simonton and conclude that creativity is driven by similar mechanisms in both domains. We propose that the arts and the sciences are not qualitatively different intellectual domains but should be conceptualized as activities situated at different regions of a continuum of human endeavor. This suggests that it would be fruitful for both scientists and artists to devote more attention to learning from the achievements of those who generate creative ideas at different points on this continuum.

This study aimed to explore the recognition of emotional and non-emotional biological movements in children with severe and profound deafness. Twenty-four deaf children, together with 24 control children matched on mental age and 24 control children matched on chronological age, were asked to identify a person's actions, subjective states, emotions, and objects conveyed by moving point-light displays. Results showed that when observing point-light displays, deaf children showed impairments across all conditions (emotions, actions, and moving objects) compared with their chronological age-matched controls but showed no differences across subjective states. The results are supportive that deaf children present developmental delays in their biological motion apart from the ones relative to their own mental state, and this may be interpreted in relation to the expertise they have acquired in decoding action toward themselves. The findings are discussed in relation to deaf children viewing motion stimuli very ...

While temporal and perceptual processing abnormalities, identified in a number of electrophysiological and brain imaging studies of individuals with (ASD), are likely to impact on speech perception, surprisingly little is known about the behavioral outcomes of such abnormalities. It has been hypothesized that rapid temporal processing deficits may be linked to impaired language development through interference with acoustic information during speech perception. The present study aimed to investigate the impact of temporal changes on encoding and recall of speech, and the associated cognitive, clinical, and behavioral correlates in adults with ASD. Research carried out with typically developing (TD) adults has shown that word recall diminishes as the speed of speech increases, and it was predicted that the magnitude of this effect would be far greater in those with ASD because of a preexisting rapid temporal processing deficit. Nineteen high-functioning adults with ASD, and age- and intelligence-matched TD controls performed verbatim recall of temporally manipulated sentences. Reduced levels of word recall in response to increases in presentation speed were observed, and this effect was greater in the older participants in the ASD group than in the control group. This is the first study to show that both sensory abnormalities and aging impact on speech encoding in ASD. Auditory processing deficits in ASD may be indicative of an association with the sensory abnormalities and social and communication impairments characterizing the disorder.

Although researchers have investigated absolute pitch and musical memory in individuals with cooccurring autism, congenital blindness, and exceptional musical ability, relatively little is known about other aspects of their musical talent. While anecdotal evidence suggests that these individuals possess an enhanced ability to reproduce heard melodies in different keys, transposition ability has yet to be tested experimentally. We compared the transposition skills of a 17-year-old autistic and congenitally blind pianist (GN) with those of a group of typically developing sighted controls with similar level of musical expertise. Participants were presented with a simple piece of piano music for learning and 1 week later were asked to perform the piece in its original key (C major) and in transposition. All transpositions were recorded and scored for accuracy and fluency. In contrast to the control group, who showed highly constrained transposition skill, GN was able to transpose across a wide range of keys with a constant level of fluency. Our study is the first to our knowledge to systematically investigate and demonstrate enhanced transposition in a musician with autism and congenital blindness. Our results are discussed in the context of enhanced perceptual functioning (Mottron et al., 2006) and hyper systemizing (Baron- Cohen et al., 2009) accounts of exceptional skills in autism.

Attention to social stimuli is associated with language development, and arousal is associated with the increased viewing of stimuli. We investigated whether skin conductance responses (SCRs) are associated with language development in autism spectrum disorder (ASD): a population that shows abnormalities in both attention to others and language development. A sample of 32 children with ASD (7-15 year; M = 9 year) was divided into two groups, based on language onset histories. A typically developing comparison group consisted of 18 age and IQ matched children. SCRs were taken as the participants viewed faces. SCRs differentiated the ASD group based on language onset and were associated with abnormal attention to gaze in infancy and subsequent language development.

Superior perception, peaks of ability, and savant skills are often observed in the autistic phenotype. The enhanced perceptual functioning model (Mottron et al., 2006a) emphasizes the increased role and autonomy of perceptual information processing in autistic cognition. Autistic abilities also involve enhanced pattern detection, which may develop through veridical mapping across isomorphic perceptual and non-perceptual structures (Mottron et al., 2009). In this paper, we elaborate veridical mapping as a specific mechanism which can explain the higher incidence of savant abilities, as well as other related phenomena, in autism. We contend that savant abilities such as hyperlexia, but also absolute pitch and synaesthesia, involve similar neurocognitive components, share the same structure and developmental course, and represent related ways by which the perceptual brain deals with objective structures under different conditions. Plausibly, these apparently different phenomena develop through a veridical mapping mechanism whereby perceptual information is coupled with homological data drawn from within or across isomorphic structures. The atypical neural connectivity characteristic of autism is consistent with a developmental predisposition to veridical mapping and the resulting high prevalence of savant abilities, absolute pitch, and synaesthesia in autism.

A high incidence of absolute pitch has been reported among individuals with visual impairment (VI), while recent behavioral and imaging evidence has indicated that enhanced abilities in the auditory domain result from the cross-modal takeover of the visually deafferented occipital areas. In this study, we tested the identification of musical pitch associated with verbal labels in children with congenital VI, together with a group of fully sighted children who acted as a comparison group, using a novel online assessment tool. The results indicated superior naming of musical pitch in the group with VI compared with the control group. Moreover, a bimodal distribution was found in the VI group in terms of the number of accurate pitch identifications. These preliminary findings suggest that enhanced pitch-naming ability in individuals with severe VI may be due to early differences in neural development brought about by loss of sight.

Parents of 125 children, adolescents and young adults with autism spectrum disorders completed a newly developed questionnaire aimed at identifying cognitive and behavioural characteristics associated with savant skills in this group. Factors distinguishing skilled individuals were then further investigated in case studies of three individuals with exceptional skills for music, art and mathematics. The findings from the case studies largely confirmed the results from the questionnaire study in showing that special skills are associated with superior working memory and highly focused attention that is not associated with increased obsessesionality. Although intellectual impairment and a local bias have been widely associated with special skills in the savant literature, neither the screening nor case studies provided strong evidence for such associations.

BackgroundThe results from recent studies suggest that alexithymia, a disorder characterized by impairments in understanding personal experiences of emotion, is frequently co-morbid with autism spectrum disorder (ASD). However, the extent that alexithymia is associated with primary deficits in recognizing external emotional cues, characteristic in ASD, has yet to be determined.MethodTwenty high-functioning adults with ASD and 20 age- and intelligence-matched typical controls categorized vocal and verbal expressions of emotion and completed an alexithymia assessment.ResultsEmotion recognition scores in the ASD group were significantly poorer than in the control group and performance was influenced by the severity of alexithymia and the psycho-acoustic complexity of the presented stimuli. For controls, the effect of complexity was significantly smaller than for the ASD group, although the association between total emotion recognition scores and alexithymia was still strong.ConclusionsHigher levels of alexithymia in the ASD group accounted for some, but not all, of the group difference in emotion recognition ability. However, alexithymia was insufficient to explain the different sensitivities of the two groups to the effects of psycho-acoustic complexity on performance. The results showing strong associations between emotion recognition and alexithymia scores in controls suggest a potential explanation for variability in emotion recognition in non-clinical populations.

Understanding emotions is fundamental to our ability to navigate the complex world of human social interaction. Individuals with autism spectrum disorders (ASD) experience difficulties with the communication and understanding of emotions within the social domain. Their ability to interpret other people's nonverbal, facial, and bodily expressions of emotion is strongly curtailed. However, there is evidence to suggest that many individuals with ASD show a strong and early preference for music and are able to understand simple and complex musical emotions in childhood and adulthood. The dissociation between emotion recognition abilities in musical and social domains in individuals with ASD provides us with the opportunity to consider the nature of emotion processing difficulties characterizing this disorder. There has recently been a surge of interest in musical abilities in individuals with ASD, and this has motivated new behavioral and neuroimaging studies. Here, we review this new work. We conclude by providing some questions for future directions.

IT HAS BEEN ARGUED, IN VIEW OF THE SOCIAL evolutionary origins of music and the social deficits found in autism, that individuals with autism will be emotionally unresponsive to music. However, a recent study of high-functioning adults with autism has shown that they appear to have a range of responses to music similar to typically developing people, including the deliberate use of music for mood management. In examining why these responses appear unaffected in autism, we explore possible mechanisms for musical mood induction in listeners, hypothesizing that the simulation theory of empathy may illuminate current controversies over the nature of emotion in music. Drawing on these ideas, we put forward suggestions for using a simple associative learning process between musically induced emotions and their cognitive correlates for the clinical treatment of alexithymia, a disorder that is common in autism and characterized by an absence of cognitive insight into one's emotions.

Findings from several studies have suggested that deaf children have difficulties with emotion identification and that these may impact upon social skills. The authors of these studies have typically attributed such problems to delayed language acquisition and/or opportunity to converse about personal experiences with other people (Peterson & Siegal, 1995, 1998). The current study aimed to investigate emotion identification in children with varying levels of deafness by specifically testing their ability to recognize perceptual aspects of emotions depicted in upright or inverted human and cartoon faces. The findings from the study showed that, in comparison with both chronological- and mental-age-matched controls, the deaf children were significantly worse at identifying emotions. However, like controls, their performance decreased when emotions were presented on the inverted faces, thus indexing a typical configural processing style. No differences were found across individuals with different levels of deafness or in those with and without signing family members. The results are supportive of poor emotional identification in hearing-impaired children and are discussed in relation to delays in language acquisition and intergroup differences in perceptual processing.

Questions about music's evolution and functions have long excited interest among scholars. More recent theoretical accounts have stressed the importance of music's social origins and functions. Autism and Williams syndrome, neurodevelopmental disorders supposedly characterized by contrasting social and musical phenotypes, have been invoked as evidence for these. However, empirical data on social skills and deficits in autism and Williams syndrome do not support the notion of contrasting social phenotypes: research findings suggest that the social deficits characteristic of both disorders may increase rather than reduce the importance of music. Current data do not allow for a direct comparison of musical phenotypes in autism and Williams syndrome, although it is noted that deficits in music cognition have been observed in Williams syndrome, but not in autism. In considering broader questions about musical understanding in neurodevelopmental disorders, we conclude that intellectual impairment is likely to result in qualitative differences between handicapped and typical listeners, but this does not appear to limit the extent to which individuals can derive benefits from the experience of listening to music.

Semi-structured interviews were conducted with 12 high-functioning adults on the autism spectrum in order to examine the nature of their personal experiences of music. The analysis showed that most participants exploit music for a wide range of purposes in the cognitive, emotional and social domains, but the autism spectrum disorder (ASD) group's descriptions of mood states reflected a greater reliance on internally focused (arousal) rather than externally focused (emotive) language, when compared with studies of typically developing individuals.

High-functioning adolescents with ASD and matched controls were presented with animations that depicted varying levels of social interaction and were either accompanied by music or silent. Participants described the events of the animation, and we scored responses for intentionality, appropriateness, and length of description. Adolescents with ASD were less likely to make social attributions, especially for those animations with the most complex social interactions. When stimuli were accompanied by music, both groups were equally impaired in appropriateness and intentionality. We conclude that adolescents with ASD perceive and integrate musical soundtracks with visual displays equivalent to typically developing individuals.

Descriptions of autistic musical savants suggest that they possess extraordinary skills within the domain. However, until recently little was known about the musical skills and potential of individuals with autism who are not savants. The results from these more recent studies investigating music perception, cognition and learning in musically untrained children with autism have revealed a pattern of abilities that are either enhanced or spared. For example, increased sensitivity to musical pitch and timbre is frequently observed, and studies investigating perception of musical structure and emotions have consistently failed to reveal deficits in autism. While the phenomenon of the savant syndrome is of considerable theoretical interest, it may have led to an under-consideration of the potential talents and skills of that vast majority of autistic individuals, who do not meet savant criteria. Data from empirical studies show that many autistic children possess musical potential that can and should be developed.

In this article, we examine the extent to which children with autism and children with learning difficulties can be discriminated from their responses to different patterns of sensory stimuli. Using an adapted version of the Short Sensory Profile (SSP), sensory processing was compared in 34 children with autism to 33 children with typical development and 22 children with learning difficulties without autism. Both clinical groups showed high symptoms of sensory impairment compared to controls. However, the autism group displayed higher levels of impairment in auditory hyper‐sensitivity and visual stimulus‐seeking factors compared to controls and the learning‐disabled group. Using a discriminant analysis we found a combination of four factors which correctly classified 80.9% of the children. Implications for the diagnostic value of sensory processing in autism are discussed.

Whilst hypersensitivity to pitch information appears to be characteristic of many individuals with autism spectrum disorders little is known about the implications of such a tendency for language acquisition and development. Discrimination of systematically varied pitch differences between pairs of words, nonwords, and nonspeech pitch contour analogues was assessed in children with autism spectrum disorders (ASD) and matched controls. The findings revealed superior performance in ASD, although, like controls, discrimination of pitch in speech stimuli was poorer in this group than for nonspeech stimuli. Whilst it was hypothesized that enhanced processing of speech pitch would correlate negatively with receptive language skills in ASD, the findings did not fully support this, and enhanced discrimination skills were observed in individuals without significant language impairment. The implications of these findings for understanding heterogeneity of language ability in ASD are discussed.

Children with autism spectrum disorders (ASD), together with controls matched for age and ability participated in three experiments that assessed the therapeutic benefit of colored overlays. The findings from the first experiment showed that a significantly greater proportion of children with ASD, than controls, increased reading speed when using a colored overlay. This finding was replicated in the second experiment which also showed that therapeutic benefits were only observed when participants were instructed to select colors that improved textual clarity and not when colors were selected on the basis simply of preference. In the final experiment, children were required to discriminate between pictorially presented objects with and without overlays self-selected for improvements in clarity. Participants with ASD, both with and without concurrent intellectual impairment, showed significant gains in performance when using an overlay. The beneficial effects of color overlays and the implications of these results for current neuropsychological models of ASD are discussed.

Children with autism experience difficulties in understanding social affective cues, and it has been suggested that such deficits will generalize to music. In order to investigate this proposal, typically developing individuals and children with autism and Down syndrome were compared on tasks measuring perception of affective and movement states in music. The results showed that discrimination performance on both experimental conditions depended on chronological or verbal mental age rather than diagnosis. The findings suggest that emotion-processing deficits in the social domain do not generalize to music, and that musical understanding is closely related to the level of language development.

Autism is characterized by an uneven profile of cognitive abilities and population studies show that approximately 10 percent of diagnosed individuals possess a skill that is significantly better than would be predicted by global IQ. Recent evidence suggests that individuals with autism who possess special skills may represent a distinct genetic group within the autism spectrum. Intellectually high- and low-functioning children and adolescents with autism, together with age- and intelligence-matched comparison participants, completed two experiments that tested pitch discrimination and pitch memory within a visuo-spatial format. The analysis of the data from the studies showed that a subgroup of individuals with autism achieved performance scores that were between four and five standard deviations above the mean for the groups. Unlike comparison participants, their performance appeared to be independent of intelligence, musical training and experience. The findings were interpreted within the context of neuroconstructivist models of typical development and delayed language acquisition characteristic of autism and other neurodevelopmental disorders.

Prosody can be conceived as having form (auditory-perceptual characteristics) and function (pragmatic/linguistic meaning). No known studies have examined the relationship between form- and function-level prosodic skills in relation to the effects of stimulus length and/or complexity upon such abilities in autism. Research in this area is both insubstantial and inconclusive. Children with autism and controls completed the receptive tasks of the Profiling Elements of Prosodic Systems in Children (PEPS-C) test, which examines both form- and function-level skills, and a sentence-level task assessing the understanding of intonation. While children with autism were unimpaired in both form and function tasks at the single-word level, they showed significantly poorer performance in the corresponding sentence-level tasks than controls. Implications for future research are discussed.

In two experiments children with autism and two groups of controls matched for either chronological or non-verbal mental age were tested on tasks of colour discrimination and memory. The results from experiment 1 showed significantly poorer colour discrimination in children with autism in comparison to typically developing chronological age matched controls. However, in experiment 2, children with autism, retained unlabelled perceptual colour information to a significantly higher level than either group of controls. The findings suggest that enhanced performance on perceptual tasks relate to a reduced tendency to encode verbal information in memory.

Open-ended tasks are rarely used to investigate cognition in autism. No known studies have directly examined whether increased attention to the perceptual level of speech in autism might contribute to a reduced tendency to process language meaningfully. The present study investigated linguistic versus perceptual speech processing preferences. Children with autism and controls were tested on a quasi-open-format paradigm, in which speech stimuli contained competing linguistic and perceptual information, and could be processed at either level. Relative to controls, children with autism exhibited superior perceptual processing of speech. However, whilst their tendency to preferentially process linguistic rather than perceptual information was weaker than that of controls, it was nevertheless their primary processing mode. Implications for language acquisition in autism are discussed.

Whilst findings from experimental studies suggest that perceptual mechanisms underpinning musical cognition are preserved or enhanced in autism, little is known about how higher-level, structural aspects of music are processed. Twenty participants with autism, together with age and intelligence matched controls, completed a musical priming task in which global and local musical contexts were manipulated. The results from the study revealed no between-group differences and showed that both global and local musical contexts influenced participants' congruity judgements. The findings were interpreted within the context of studies showing weakened sensitivity to verbal/semantic information in autism.

High functioning children with autism and age and intelligence matched controls participated in experiments testing perception of pitch intervals and musical contours. The finding from the interval study showed superior detection of pitch direction over small pitch distances in the autism group. On the test of contour discrimination no group differences emerged. These findings confirm earlier studies showing facilitated pitch processing and a preserved ability to represent small-scale musical structures in autism.

Background: Whilst interest has focused on the origin and nature of the savant syndrome for over a century, it is only within the past two decades that empirical group studies have been carried out. Methods: The following annotation briefly reviews relevant research and also attempts to address outstanding issues in this research area. Traditionally, savants have been defined as intellectually impaired individuals who nevertheless display exceptional skills within specific domains. However, within the extant literature, cases of savants with developmental and other clinical disorders, but with average intellectual functioning, are increasingly reported. Results: We thus propose that focus should diverge away from IQ scores to encompass discrepancies between functional impairments and unexpected skills. It has long been observed that savant skills are more prevalent in individuals with autism than in those with other disorders. Therefore, in this annotation we seek to explore the parameters of the savant syndrome by considering these skills within the context of neuropsychological accounts of autism. A striking finding amongst those with savant skills, but without the diagnosis of autism, is the presence of cognitive features and behavioural traits associated with the disorder. Conclusions: We thus conclude that autism (or autistic traits) and savant skills are inextricably linked and we should therefore look to autism in our quest to solve the puzzle of the savant syndrome. Keywords: Savant, autism, talent, intelligence. History Fifteen years have passed since Neil O’Connor and Beate Hermelin published their annotation ‘low intelligence and special abilities’ in the Journal of Child Psychology and Psychiatry. This paper described research findings by the authors as well as other researchers in the savant field and raised important questions about the co-occurrence of low levels of intelligence and high-level skills in savants. These studies marked a sea change in approach to the study of the savant, bringing a scientific rigour to an area of psychology that had historically been dominated by anecdotal reports. Since the publication of this article (O’Connor & Hermelin, 1988), interest in this phenomenon has continued unabated and has culminated in the publication of well over 100 journal articles and book chapters as well as six books (Hermelin, 2001; Howe, 1989; Obler & Fein, 1988; Sacks, 1995; Smith & Tsimpli, 1995; Treffert, 1989) in the English language alone. A comprehensive review of this literature is beyond the scope of our annotation so readers are referred to Miller’s (1999) recent paper on this topic. Instead, we will here focus primarily upon research and theoretical issues arising since the publication of the seminal paper of O’Connor and Hermelin (1988).

Background: Autistic musical savants invariably possess absolute pitch ability and are able to disembed individual musical tones from chords. Enhanced pitch discrimination and memory has been found in non-savant individuals with autism who also show superior performance on visual disembedding tasks. These experiments investigate the extent that enhanced disembedding ability will be found within the musical domain in autism. Method: High-functioning children with autism, together with age- and intelligence-matched controls, participated in three experiments testing pitch memory, labelling and chord disembedding. Results: The findings from experiment 1 showed enhanced pitch memory and labelling in the autism group. In experiment 2, when subjects were pre-exposed to labelled individual tones, superior chord segmentation was also found. However, in experiment 3, when disembedding performance was less reliant on pitch memory, no group differences emerged and the children with autism, like controls, perceived musical chords holistically. Conclusion: These findings indicate that pitch memory and labelling is superior in autism and can facilitate performance on musical disembedding tasks. However, when task performance does not rely on long-term pitch memory, autistic children, like controls, succumb to the Gestalt qualities of chords.

Whilst enhanced perception has been widely reported in individuals with Autism Spectrum Disorders (ASDs), relatively little is known about the developmental trajectory and impact of atypical auditory processing on speech perception in intellectually high-functioning adults with ASD. This paper presents data on perception of complex tones and speech pitch in adult participants with high-functioning ASD and typical development, and compares these with pre-existing data using the same paradigm with groups of children and adolescents with and without ASD. As perceptual processing abnormalities are likely to influence behavioural performance, regression analyses were carried out on the adult data set. The findings revealed markedly different pitch discrimination trajectories and language correlates across diagnostic groups. While pitch discrimination increased with age and correlated with receptive vocabulary in groups without ASD, it was enhanced in childhood and stable across development in ASD. Pitch discrimination scores did not correlate with receptive vocabulary scores in the ASD group and for adults with ASD superior pitch perception was associated with sensory atypicalities and diagnostic measures of symptom severity. We conclude that the development of pitch discrimination, and its associated mechanisms markedly distinguish those with and without ASD.

Although all intellectually high-functioning children with autism spectrum disorder (ASD) display core social and communication deficits, some develop language within a normative timescale and others experience significant delays and subsequent language impairment. Early attention to social stimuli plays an important role in the emergence of language, and reduced attention to faces has been documented in infants later diagnosed with ASD. We investigated the extent to which patterns of attention to social stimuli would differentiate early and late language onset groups. Children with ASD (mean age = 10 years) differing on language onset timing (late/normal) and a typically developing comparison group completed a task in which visual attention to interacting and noninteracting human figures was mapped using eye tracking. Correlations on visual attention data and results from tests measuring current social and language ability were conducted. Patterns of visual attention did not distinguish typically developing children and ASD children with normal language onset. Children with ASD and late language onset showed significantly reduced attention to salient social stimuli. Associations between current language ability and social attention were observed. Delay in language onset is associated with current language skills as well as with specific eye-tracking patterns.

As Einstein is often misquoted as saying, explanations in science should be made as simple as possible but no simpler. Aniruddh Patel's book, Music, Language and the Brain , manages to be both admirably readable and also scholarly. Whilst there are other books dealing rigorously with the perceptual and cognitive aspects of language and music as separate topics, few, if any, authors have successfully tackled the task of exploring the overlap between the cognitive and neural mechanisms of these two uniquely human domains. Patel takes on the challenge of providing not only accurate coverage of existing research in the fields of language and music, but also a much needed synthesis that throws new light on the links between the two. In most areas of science, there is some consensus on the outstanding problems, and a range of rival explanations or solutions corresponding to them. This consensus provides a framework within which the exploration of rival theories can take place, and from which advances can be made. The difficulty in tackling the interdisciplinary aspects of music treated in the present book is that no such consensus exists, because few, if any, experts are equipped to take a fully synoptic view of the subject matter. Musicologists, linguists and psychologists have tended to speak in different languages, and to examine different problems. So whilst much has been learned about language and music, it has been inaccessible to most people. However, during the last two decades, the pioneering efforts of researchers such as John Sloboda, Robert Zatorre, Isabel Peretz and Steven Mithen have caused a sea change in the way that psychologists think about music and language, and a body of scientifically rigorous, cross-domain work has emerged. As a result, it is now possible to stand back and take a broad perspective of the …