Zendel Benjamin Rich, Alexander Emily J
Faculty of Medicine, Memorial University of Newfoundland, St. John's, NL, Canada.
Aging Research Centre - Newfoundland and Labrador, Grenfell Campus, Memorial University, Corner Brook, NL, Canada.
Front Neurosci. 2020 Jul 21;14:752. doi: 10.3389/fnins.2020.00752. eCollection 2020.
Multiple studies have demonstrated that musicians have enhanced auditory processing abilities compared to non-musicians. In these studies, musicians are usually defined as having received some sort of formal music training. One issue with this definition is that there are many musicians who are self-taught. The goal of the current study was to determine if self-taught musicians exhibit different auditory enhancements as their formally trained counterparts. Three groups of participants were recruited: , who received formal music training through the conservatory or private lessons; , who learned to play music through informal methods, such as with books, videos, or by ear; , who had little or no music experience. Auditory processing abilities were assessed using a speech-in-noise task, a passive pitch oddball task done while recording electrical brain activity, and a melodic tonal violation task, done both actively and passively while recording electrical brain activity. For the melodic tonal violation task, formally trained musicians were better at detecting a tonal violation compared to self-taught musicians, who were in turn better than non-musicians. The P600 evoked by a tonal violation was enhanced in formally trained musicians compared to non-musicians. The P600 evoked by an out-of-key note did not differ between formally trained and self-taught musicians, while the P600 evoked by an out-of-tune note was smaller in self-taught musicians compared to formally trained musicians. No differences were observed between the groups for the other tasks. This pattern of results suggests that music training format impacts auditory processing abilities in musical tasks; however, it is possible that these differences arose due to pre-existing factors and not due to the training itself.
多项研究表明，与非音乐家相比，音乐家具有更强的听觉处理能力。在这些研究中，音乐家通常被定义为接受过某种形式音乐训练的人。这一定义存在的一个问题是，有许多音乐家是自学成才的。本研究的目的是确定自学成才的音乐家与接受过正规训练的同行相比，是否表现出不同的听觉增强能力。招募了三组参与者：第一组，通过音乐学院或私人授课接受正规音乐训练；第二组，通过非正式方式学习演奏音乐，如借助书籍、视频或凭听觉学习；第三组，几乎没有或没有音乐经验。使用噪声中言语任务、记录脑电活动时进行的被动音高异常球任务以及记录脑电活动时主动和被动进行的旋律音调违反任务来评估听觉处理能力。对于旋律音调违反任务，接受过正规训练的音乐家比自学成才的音乐家更擅长检测音调违反，而自学成才的音乐家又比非音乐家更擅长。与非音乐家相比，接受过正规训练的音乐家在音调违反时诱发的P600增强。在接受过正规训练的音乐家与自学成才的音乐家之间，由不在调上的音符诱发的P600没有差异，而与接受过正规训练的音乐家相比，自学成才的音乐家在由走调音符诱发的P600上较小。在其他任务中，各组之间未观察到差异。这种结果模式表明，音乐训练形式会影响音乐任务中的听觉处理能力；然而，这些差异有可能是由于先前存在的因素而非训练本身导致的。
