Listening to music activates representations of movement and social agents. Why? We test whether causal reasoning plays a role, and find that from childhood, people can intuitively reason about how musical sounds were generated, inferring the events and agents that caused the sounds. In Experiment 1 (N = 120, pre-registered), 6-year-old children…

Recent advances in understanding visual working memory, the limited information held in mind for use in ongoing processing, are extended here to examine auditory working memory development. Research with arrays of visual objects has shown how to distinguish the capacity, in terms of the "number" of objects retained, from the…

The music industry is built on a system of expert evaluation focused on sound, but the foundations are challenged by recent research, which suggests that sight trumps sound. This presents a challenge to music educators, who train the next generation of expert performers and listeners. The aim of this study is to investigate students' perceptions…

This paper presents new data extracted from the National Survey of Jazz Instrumentalists and Vocalists. The survey was administered to 209 professional jazz musicians who resided and performed in Australia during 2009-2010. Presented here are five statistically significant characteristics which differentiate vocalists' experiences from other jazz…

This article, based on my PhD empirical study, was conducted in a qualitative and holistic approach. It had examined how students had used formal and informal strategies, styles and situations while improvising and composing for the research task. Eighteen research groups made up of a total of 40 males and nine females had participated in…

The principles of Hungarian music educator Zoltan Kodaly can be particularly useful not only in teaching children how to read music notation but also in creating curiosity and enjoyment for reading music. Many of Kodaly's ideas pertaining to music literacy have been echoed by educators such as Jerome Bruner and Edwin Gordon, as well as current…

The experiment reported in this article investigated the assumption that visual movement plays a role in musician-to-audience communication in marimba performance. Body movement is of particular relevance here as the expressive capabilities of the marimba are relatively restricted, and the movements required to play it are visible. Twenty-four…

This experiment was conducted to investigate cross-modal interactions in the emotional experience of music listeners. Previous research showed that visual information present in a musical performance is rich in expressive content, and moderates the subjective emotional experience of a participant listening and/or observing musical stimuli [Vines,…

The study investigated perceptual preferences of five autistic children (mean age 10.6 years). Results indicated a weak (not statistically significant) preference for auditory musical stimuli over visual stimuli. Autistic children spent significantly more time than did normals with the musical stimulus. (Author/DB)

Tests of intelligence, music audiation, auditory conservation, and visual conservation were administered to two first-grade classes. Data revealed that auditory conservation isn't significantly related to visual conservation but is significantly related to music aptitude, to IQ, and to the interaction of music aptitude and IQ. Instructional…

Compared on subtests of the Parramatta Test of Developmental Levels for Infant Grades were scores of 150 grade 1 children who had a maximum of five school terms with the Z. Kodaly music program (group K) and scores of 541 previously tested grade 1 children (sample group). (MC)

Three studies investigated infants' and young children's perception of the unity of musical events. Results indicated that properties specific to musical instrument families are relevant for young children's perception of musical events. Specific experience with a variety of instruments is evidently not necessary for detecting correspondences of…

Examines effects of aural, visual, and combined aural/visual conditions on the emotional response to music and dance of musicians and nonmusicians. Indicates no significant differences in perceived artistic tension based on musical background or on experimental conditions. Responses were similar regardless of prior consideration of the existence…

This study is designed to evaluate the musical listening ability that children have acquired through present instructional practices. To obtain an estimate of what children learn, over 3,000 students in grades 4-7 were administered a Melodic Listening Survey (structured into nine subtests) by tape recording under the direction of their own…