Musical aptitude
Encyclopedia
Musical aptitude is the ability to intuitively learn or appreciate music, and especially to distinguish off-key and off-pitch music.
Music is ancient and one of the most special characteristics of humans. Some observations suggest that the ability to appreciate and to understand music does not require any musical training. Since we can see octave-based scales or preference of consonance over dissonance in every single type of music in every human culture
, this could be considered to be evidence of innateness of music.
The rules of music have arisen independently in every human culture, and some of them also apply to the music perception of non-human species. This tells us that the rules have their basis in brain rather than in culture. Embryology researches have showed that basic auditory abilities, such as pitch discrimination and more complex capabilities like melody recognition, are already present in the early stages of development
.
In music, tonal memory
is the ability to recall or produce a previously sounded tone with voice or an instrument. Tonal memory assists with staying in tune and may be developed through ear training
. Extensive tonal memory may be recognized as an indication of potential compositional ability.
Most of the music aptitude or talent described today is tonal memory, time discrimination and pitch discrimination.
The researches about musical aptitude have been focused on the two opposite edges of the musical abilities which are 'Absolute pitch
(AP)' and Tone deafness
(Amusia
).
In 1988 Profita and Bidder studied 35 persons with perfect pitch, from 19 families, with a questionnaire that is about note-recognition capacity and musical exposure and training. Profita and Bidder (1991) concluded that there was a strong correlation between the occurrence of perfect pitch and learning disabilities
.
By surveying more than 600 musicians in music conservatories, training programs, and orchestras, Baharloo et al. (1998) attempted to understand the contributions of genetic and early music training in development of absolute pitch. Early musical training seemed to be important but not sufficient for the development of absolute pitch. Forty percent of musicians who had begun training at 4 years of age or younger reported absolute pitch, whereas only 3% of who had begun training at or after 9 years of age did so. Self-reported AP possessors reported 4 times more AP possessors in their families than non-AP possessors. These data suggested that early musical training and genetic basis is needed for the development of AP.
Gregersen et al. (1999) made a survey of 2,707 music students at music conservatories and at the university and college music programs in the U.S. They also showed there is a strong correlation between the AP and the students in these schools whose ethnic backgrounds are Asian. This increased the possibility that AP is more common in Asian students in general. In another study, they found that Asian students had 32.1% prevalence compared to all other ethnic group
s combined 7%.
For the AP group as a whole, the mean age of starting musical activities was 5.4 +/- 2.8 years, whereas for the non-AP group the mean age was 7.9 +/- 13.2 years (P less than 0.0001). This was observed for both Asian and non-Asian students.
, or the inability to differentiate between notes or inability to produce a note with/without a reference note. Being tone deaf is having difficulty or being unable to correctly hear relative differences between notes. People with amusia
usually cannot produce a note when they hear even with a reference note.
Kalmus (1949) studied tune deafness in a group of students at University College in London. He found two kind of distribution in investigations, with frequent segregation in families and siblings. He suggested this might be caused by a unit gene substitution, possibly a dominant. Kalmus and Fry (1980) used the distorted tunes test in family studies. Segregation suggesting an autosomal dominant trait with imperfect penetrance' was found
Music is ancient and one of the most special characteristics of humans. Some observations suggest that the ability to appreciate and to understand music does not require any musical training. Since we can see octave-based scales or preference of consonance over dissonance in every single type of music in every human culture
Culture
Culture is a term that has many different inter-related meanings. For example, in 1952, Alfred Kroeber and Clyde Kluckhohn compiled a list of 164 definitions of "culture" in Culture: A Critical Review of Concepts and Definitions...
, this could be considered to be evidence of innateness of music.
The rules of music have arisen independently in every human culture, and some of them also apply to the music perception of non-human species. This tells us that the rules have their basis in brain rather than in culture. Embryology researches have showed that basic auditory abilities, such as pitch discrimination and more complex capabilities like melody recognition, are already present in the early stages of development
Developmental stage
One of the major controversies in developmental psychology centres around whether development is continuous or discontinuous. Stage theories of development rest on the assumption that development is a discontinuous process involving distinct stages which are characterised by qualitative differences...
.
In music, tonal memory
Tonal memory
In music, tonal memory is the ability to recall a previously sounded tone. Tonal memory assists with staying in tune and may be developed through ear training. Extensive tonal memory may be recognized as an indication of potential compositional ability....
is the ability to recall or produce a previously sounded tone with voice or an instrument. Tonal memory assists with staying in tune and may be developed through ear training
Ear training
Ear training or aural skills is a skill by which musicians learn to identify, solely by hearing, pitches, intervals, melody, chords, rhythms, and other basic elements of music. The application of this skill is analogous to taking dictation in written/spoken language. Ear training may be...
. Extensive tonal memory may be recognized as an indication of potential compositional ability.
Most of the music aptitude or talent described today is tonal memory, time discrimination and pitch discrimination.
History of musical aptitude researches and findings
There is a long debate on whether one is born with a fine ear for music or whether one develops it over time by practice and training.. Studies have shown that people with musical talent have certain regions of the brain more developed than those of other people. Recent scientific studies suggest that experience, and not genetics, affects musicians' brain responses and development.The researches about musical aptitude have been focused on the two opposite edges of the musical abilities which are 'Absolute pitch
Absolute pitch
Absolute pitch , widely referred to as perfect pitch, is the ability of a person to identify or re-create a given musical note without the benefit of an external reference.-Definition:...
(AP)' and Tone deafness
Tone deafness
Tone deafness is the lack of relative pitch, or the inability to distinguish between musical notes that is not due to the lack of musical training or education...
(Amusia
Amusia
Amusia is a musical disorder that appears mainly as a defect in processing pitch, but it also encompasses musical memory and recognition. Two main classifications of amusia exist: acquired amusia, which occurs as a result of brain damage, and congenital amusia, which results from a music processing...
).
Absolute pitch
Absolute pitch (or AP) is defined as an ability to effortlessly name a note or a group of notes without comparing it with any external reference tone when the notes are sounded. People with perfect pitch can produce the note in instrument or via voice when it is told.In 1988 Profita and Bidder studied 35 persons with perfect pitch, from 19 families, with a questionnaire that is about note-recognition capacity and musical exposure and training. Profita and Bidder (1991) concluded that there was a strong correlation between the occurrence of perfect pitch and learning disabilities
Learning disability
Learning disability is a classification including several disorders in which a person has difficulty learning in a typical manner, usually caused by an unknown factor or factors...
.
By surveying more than 600 musicians in music conservatories, training programs, and orchestras, Baharloo et al. (1998) attempted to understand the contributions of genetic and early music training in development of absolute pitch. Early musical training seemed to be important but not sufficient for the development of absolute pitch. Forty percent of musicians who had begun training at 4 years of age or younger reported absolute pitch, whereas only 3% of who had begun training at or after 9 years of age did so. Self-reported AP possessors reported 4 times more AP possessors in their families than non-AP possessors. These data suggested that early musical training and genetic basis is needed for the development of AP.
Gregersen et al. (1999) made a survey of 2,707 music students at music conservatories and at the university and college music programs in the U.S. They also showed there is a strong correlation between the AP and the students in these schools whose ethnic backgrounds are Asian. This increased the possibility that AP is more common in Asian students in general. In another study, they found that Asian students had 32.1% prevalence compared to all other ethnic group
Ethnic group
An ethnic group is a group of people whose members identify with each other, through a common heritage, often consisting of a common language, a common culture and/or an ideology that stresses common ancestry or endogamy...
s combined 7%.
For the AP group as a whole, the mean age of starting musical activities was 5.4 +/- 2.8 years, whereas for the non-AP group the mean age was 7.9 +/- 13.2 years (P less than 0.0001). This was observed for both Asian and non-Asian students.
Tone deafness
Tone deafness is defined as lack of relative pitchRelative pitch
The term relative pitch may denote:* the distance of a musical note from a set point of reference, e.g. "three octaves above middle C"* a musician's ability to identify the intervals between given tones, regardless of their relation to concert pitch * the skill used by singers to correctly sing a...
, or the inability to differentiate between notes or inability to produce a note with/without a reference note. Being tone deaf is having difficulty or being unable to correctly hear relative differences between notes. People with amusia
Amusia
Amusia is a musical disorder that appears mainly as a defect in processing pitch, but it also encompasses musical memory and recognition. Two main classifications of amusia exist: acquired amusia, which occurs as a result of brain damage, and congenital amusia, which results from a music processing...
usually cannot produce a note when they hear even with a reference note.
Kalmus (1949) studied tune deafness in a group of students at University College in London. He found two kind of distribution in investigations, with frequent segregation in families and siblings. He suggested this might be caused by a unit gene substitution, possibly a dominant. Kalmus and Fry (1980) used the distorted tunes test in family studies. Segregation suggesting an autosomal dominant trait with imperfect penetrance' was found
See also
- Tonal memoryTonal memoryIn music, tonal memory is the ability to recall a previously sounded tone. Tonal memory assists with staying in tune and may be developed through ear training. Extensive tonal memory may be recognized as an indication of potential compositional ability....
- Music-related memoryMusic-related memoryMusical memory refers to the ability to remember music-related information, such as melodic content and other progressions of tones or pitches. The differences found between linguistic memory and musical memory have led researchers to theorize that musical memory is encoded differently from...
- Ear trainingEar trainingEar training or aural skills is a skill by which musicians learn to identify, solely by hearing, pitches, intervals, melody, chords, rhythms, and other basic elements of music. The application of this skill is analogous to taking dictation in written/spoken language. Ear training may be...
- Jam sessionJam sessionJam sessions are often used by musicians to develop new material, find suitable arrangements, or simply as a social gathering and communal practice session. Jam sessions may be based upon existing songs or forms, may be loosely based on an agreed chord progression or chart suggested by one...
- Learning music by earLearning music by earLearning music by ear is done by repeatedly listening to other musicians and then attempting to recreate what one hears. This is how people learn music in any musical tradition in which there is no complete musical notation...
- Tone deafnessTone deafnessTone deafness is the lack of relative pitch, or the inability to distinguish between musical notes that is not due to the lack of musical training or education...
- Beat deafnessBeat deafnessBeat deafness is a form of congential amusia characterized by a person's inability to feel musical rhythm or move in time to it.-Characteristics:...
- Music education for young childrenMusic education for young childrenMusic education for young children is an educational program introducing children in a playful manner to singing, speech, music, motion and organology. It is a subarea of music education.- Forms and activities :...