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      Layman versus Professional Musician: Who Makes the Better Judge?

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          Abstract

          The increasing number of casting shows and talent contests in the media over the past years suggests a public interest in rating the quality of vocal performances. In many of these formats, laymen alongside music experts act as judges. Whereas experts' judgments are considered objective and reliable when it comes to evaluating singing voice, little is known about laymen’s ability to evaluate peers. On the one hand, layman listeners–who by definition did not have any formal training or regular musical practice–are known to have internalized the musical rules on which singing accuracy is based. On the other hand, layman listeners’ judgment of their own vocal skills is highly inaccurate. Also, when compared with that of music experts, their level of competence in pitch perception has proven limited. The present study investigates laypersons' ability to objectively evaluate melodies performed by untrained singers. For this purpose, laymen listeners were asked to judge sung melodies. The results were compared with those of music experts who had performed the same task in a previous study. Interestingly, the findings show a high objectivity and reliability in layman listeners. Whereas both the laymen's and experts' definition of pitch accuracy overlap, differences regarding the musical criteria employed in the rating task were evident. The findings suggest that the effect of expertise is circumscribed and limited and supports the view that laypersons make trustworthy judges when evaluating the pitch accuracy of untrained singers.

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          Most cited references38

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          Action representation of sound: audiomotor recognition network while listening to newly acquired actions.

          The discovery of audiovisual mirror neurons in monkeys gave rise to the hypothesis that premotor areas are inherently involved not only when observing actions but also when listening to action-related sound. However, the whole-brain functional formation underlying such "action-listening" is not fully understood. In addition, previous studies in humans have focused mostly on relatively simple and overexperienced everyday actions, such as hand clapping or door knocking. Here we used functional magnetic resonance imaging to ask whether the human action-recognition system responds to sounds found in a more complex sequence of newly acquired actions. To address this, we chose a piece of music as a model set of acoustically presentable actions and trained non-musicians to play it by ear. We then monitored brain activity in subjects while they listened to the newly acquired piece. Although subjects listened to the music without performing any movements, activation was found bilaterally in the frontoparietal motor-related network (including Broca's area, the premotor region, the intraparietal sulcus, and the inferior parietal region), consistent with neural circuits that have been associated with action observations, and may constitute the human mirror neuron system. Presentation of the practiced notes in a different order activated the network to a much lesser degree, whereas listening to an equally familiar but motorically unknown music did not activate this network. These findings support the hypothesis of a "hearing-doing" system that is highly dependent on the individual's motor repertoire, gets established rapidly, and consists of Broca's area as its hub.
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            The music of speech: music training facilitates pitch processing in both music and language.

            The main aim of the present experiment was to determine whether extensive musical training facilitates pitch contour processing not only in music but also in language. We used a parametric manipulation of final notes' or words' fundamental frequency (F0), and we recorded behavioral and electrophysiological data to examine the precise time course of pitch processing. We compared professional musicians and nonmusicians. Results revealed that within both domains, musicians detected weak F0 manipulations better than nonmusicians. Moreover, F0 manipulations within both music and language elicited similar variations in brain electrical potentials, with overall shorter onset latency for musicians than for nonmusicians. Finally, the scalp distribution of an early negativity in the linguistic task varied with musical expertise, being largest over temporal sites bilaterally for musicians and largest centrally and over left temporal sites for nonmusicians. These results are taken as evidence that extensive musical training influences the perception of pitch contour in spoken language.
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              Are we "experienced listeners"? A review of the musical capacities that do not depend on formal musical training.

              The present paper reviews a set of studies designed to investigate different aspects of the capacity for processing Western music. This includes perceiving the relationships between a theme and its variations, perceiving musical tensions and relaxations, generating musical expectancies, integrating local structures in large-scale structures, learning new compositional systems and responding to music in an emotional (affective) way. The main focus of these studies was to evaluate the influence of intensive musical training on these capacities. The overall set of data highlights that some musical capacities are acquired through exposure to music without the help of explicit training. These capacities reach such a degree of sophistication that they enable untrained listeners to respond to music as "musically experienced listeners" do.
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                Author and article information

                Contributors
                Role: Editor
                Journal
                PLoS One
                PLoS ONE
                plos
                plosone
                PLoS ONE
                Public Library of Science (San Francisco, CA USA )
                1932-6203
                26 August 2015
                2015
                : 10
                : 8
                : e0135394
                Affiliations
                [1 ]Neuroscience Department, Max-Planck-Institute for Empirical Aesthetics, Frankfurt, Germany
                [2 ]Fonds de la Recherche Scientifique-FNRS, Brussels, Belgium
                [3 ]Psychology Department, University of Liège, Liège, Belgium
                Max Planck Institute for Human Cognitive and Brain Sciences, GERMANY
                Author notes

                Competing Interests: The authors have declared that no competing interests exist.

                Conceived and designed the experiments: PLM. Performed the experiments: PLM D. Morsomme. Analyzed the data: PLM D. Magis MG. Contributed reagents/materials/analysis tools: PLM. Wrote the paper: PLM MG D. Magis D. Morsomme.

                Article
                PONE-D-15-18076
                10.1371/journal.pone.0135394
                4550346
                26308213
                b5656d8f-7113-43aa-8059-c942d4aecb25
                Copyright @ 2015

                This is an open access article distributed under the terms of the Creative Commons Attribution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited

                History
                : 26 April 2015
                : 21 July 2015
                Page count
                Figures: 1, Tables: 2, Pages: 13
                Funding
                The authors have no support or funding to report.
                Categories
                Research Article
                Custom metadata
                All data are available under the Creative Commons license CC BY. All 166 files are available from the database: http://sldr.org/sldr000774/en.

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