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      Music and Early Language Acquisition

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          Abstract

          Language is typically viewed as fundamental to human intelligence. Music, while recognized as a human universal, is often treated as an ancillary ability – one dependent on or derivative of language. In contrast, we argue that it is more productive from a developmental perspective to describe spoken language as a special type of music. A review of existing studies presents a compelling case that musical hearing and ability is essential to language acquisition. In addition, we challenge the prevailing view that music cognition matures more slowly than language and is more difficult; instead, we argue that music learning matches the speed and effort of language acquisition. We conclude that music merits a central place in our understanding of human development.

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          Most cited references159

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          Statistical learning by 8-month-old infants.

          Learners rely on a combination of experience-independent and experience-dependent mechanisms to extract information from the environment. Language acquisition involves both types of mechanisms, but most theorists emphasize the relative importance of experience-independent mechanisms. The present study shows that a fundamental task of language acquisition, segmentation of words from fluent speech, can be accomplished by 8-month-old infants based solely on the statistical relationships between neighboring speech sounds. Moreover, this word segmentation was based on statistical learning from only 2 minutes of exposure, suggesting that infants have access to a powerful mechanism for the computation of statistical properties of the language input.
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            Communication of emotions in vocal expression and music performance: different channels, same code?

            Many authors have speculated about a close relationship between vocal expression of emotions and musical expression of emotions. but evidence bearing on this relationship has unfortunately been lacking. This review of 104 studies of vocal expression and 41 studies of music performance reveals similarities between the 2 channels concerning (a) the accuracy with which discrete emotions were communicated to listeners and (b) the emotion-specific patterns of acoustic cues used to communicate each emotion. The patterns are generally consistent with K. R. Scherer's (1986) theoretical predictions. The results can explain why music is perceived as expressive of emotion, and they are consistent with an evolutionary perspective on vocal expression of emotions. Discussion focuses on theoretical accounts and directions for future research.
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              Speech recognition with primarily temporal cues.

              Nearly perfect speech recognition was observed under conditions of greatly reduced spectral information. Temporal envelopes of speech were extracted from broad frequency bands and were used to modulate noises of the same bandwidths. This manipulation preserved temporal envelope cues in each band but restricted the listener to severely degraded information on the distribution of spectral energy. The identification of consonants, vowels, and words in simple sentences improved markedly as the number of bands increased; high speech recognition performance was obtained with only three bands of modulated noise. Thus, the presentation of a dynamic temporal pattern in only a few broad spectral regions is sufficient for the recognition of speech.
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                Author and article information

                Journal
                Front Psychol
                Front Psychol
                Front. Psychology
                Frontiers in Psychology
                Frontiers Research Foundation
                1664-1078
                11 September 2012
                2012
                : 3
                : 327
                Affiliations
                [1] 1simpleShepherd School of Music, Rice University Houston, TX, USA
                [2] 2simplePsychology, Language and Music Cognition Lab, University of Maryland College Park, MD, USA
                Author notes

                Edited by: Pascal Belin, University of Glasgow, UK

                Reviewed by: Sascha Frühholz, University of Geneva, Switzerland; Daniela Sammler, Max Planck Institute for Human Cognitive and Brain Sciences, Germany

                *Correspondence: Anthony Brandt, Shepherd School of Music, Rice University, P.O. Box 1892, Houston, TX 77251, USA. e-mail: abrandt@ 123456rice.edu

                This article was submitted to Frontiers in Auditory Cognitive Neuroscience, a specialty of Frontiers in Psychology.

                Article
                10.3389/fpsyg.2012.00327
                3439120
                22973254
                5a10f1f5-4818-4911-81eb-a9ae323eef0a
                Copyright © 2012 Brandt, Gebrian and Slevc.

                This is an open-access article distributed under the terms of the Creative Commons Attribution License, which permits use, distribution and reproduction in other forums, provided the original authors and source are credited and subject to any copyright notices concerning any third-party graphics etc.

                History
                : 15 June 2012
                : 15 August 2012
                Page count
                Figures: 2, Tables: 0, Equations: 0, References: 251, Pages: 17, Words: 18123
                Categories
                Psychology
                Hypothesis and Theory

                Clinical Psychology & Psychiatry
                emergent modularity,childhood development,language,music cognition,definition of music,music,language acquisition,musical development

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