![]() ![]() In our presentation of existing evidence concerning the auditory subsystem of WM, we focus on auditory WM tasks in a broader sense that is, on tasks involving the processing of auditory material which includes music as well as spoken words or digits. The present study, however, did not aim to examine the architecture of WM per se, but to analyze the relationship between musical expertise and WM. While we chose the well-established Baddeley and Hitch (1974) WM model as the basis for our study, we acknowledge that the question of where music is processed in WM has not been finally resolved (see, for example, the hypothesis of a tonal loop, e.g., Berz, 1995). It comes into play when, for example, a melody is compared to another melody stored in long-term memory. ![]() The central executive is significant for music processing because of its function as an interface between WM and long-term memory. WM involves the temporary storage and targeted processing of information (e.g., chunking), and the ability to adjust incoming information with information in memory stores (cf. Working memory processes enable the listener to relate presently perceived sounds to those perceived before and thus, to perceive musical structures such as the key tone of a song or repetitions of musical phrases. WM plays a crucial role in the processing of music because music unfolds in time. The most important findings as well as conflicting evidence on this question are summarized in the following sections. The present study focused on connections between musical expertise, WM (both phonological and visuospatial), and intelligence (crystallized and fluid). Beyond this, there is an extensive discussion in the literature about whether musical expertise is also related to more general cognitive abilities such as WM, or even intelligence. If we understand musicians as experts in music performance as well as music perception and memory, as explained above, it is not surprising that musicians solve music-related tasks (e.g., pitch discrimination or detection of changes in auditory patterns) better and faster than nonmusicians (e.g., Kraus & Chandrasekaran, 2010 Tervaniemi et al., 2005). Acquired domain knowledge-that is, explicit and implicit memory-has been the most prominent explanation for the superiority of expert performance (e.g., Jäncke, 2009 Lehmann & Gruber, 2006): musicians’ musical knowledge (theoretical and practical) “is represented in an elaborated format that allows quick access to relevant information and supports flexible reactions to domain-specific tasks” ( Lehmann & Gruber, 2006, p. Moreover, experts undergo long and intensive training (e.g., Talamini et al., 2022). According to Posner (1988), an expert is a person who consistently demonstrates outstanding achievement in an activity. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |