How to Cite
Pisharody, I. C., Magudilu Srishyla Kumar Lakshmi, & Supritha Aithal. (1). Auditory Temporal Processing Skills in Dancers and Non Dancers. Journal of All India Institute of Speech and Hearing, 35(1), 37-43. Retrieved from http://203.129.241.91/jaiish/index.php/aiish/article/view/923
Abstract
Perception of temporal aspects of sound is crucial for discrimination, identication, and comprehension of speech, particularly in noisy backgrounds. Studies have shown superior temporal processing abilities
in musicians compared to non-musicians attributable to their musical training. Dance is another form of art where body movements are chore- ographed to music necessitating active listening to the temporal aspects of music (tala and laya) in order to express them through movements. Considering that it involves similar task as in musicians the study explored trained dancers' auditory temporal processing abilities. Ten professional dancers and 10 non-dancers with mean age 24 and 22 years respectively, participated in the study. Gap detection threshold (GDT) and Temporal modulation transfer function (TMTF) were obtained toassess their temporal processing abilities. Comparison of mean scores of GDT and TMTF between the two groups revealed lower mean thresholds in GDT (2.42 vs. 2.66), and TMTF (at 16, 32, 64, 128 Hz) thresholds in dancers. MANOVA revealed signicant dierence in scores of TMTF (at 16, 32, 64 & 128 Hz). Based on these ndings, it was concluded that dancers have better temporal processing compared to non-dancers owing to the training they undergo.
References
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movement in
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body feels: Auditory encoding of rhythmic movement.
Cognition, 105(3), 533-546.
Picton, T. (2013). Hearing in time: evoked potential studies
of temporal processing. Ear and hearing, 34(4), 385-
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Poikonen, H., Toiviainen, P., & Tervaniemi, M. (2016).
Early auditory processing in musicians and dancers during
a contemporary dance piece. Scienti c Reports, 6.
33056.
Ramaswamy, A., & Deslauriers, D. (2014). Dancer-
Dance-Spirituality: A phenomenological exploration of
Bharatha Natyam and Contact Improvisation. Dance,
Movement & Spiritualities, 1(1), 105-122.
Rammsayer, T., & Altenmuller, E. (2006). Temporal information
processing in musicians and nonmusicians. Music
Perception: An Interdisciplinary Journal, 24(1), 37-
48.
Sangamanatha, A. V., Fernandes, J., Bhat, J., Srivastava,
M., & Prakrithi, S. U. (2012). Temporal resolution in
individuals with and without musical training. Journal
of Indian Speech and Hearing Association, 26, 27-
35.
Sanju, H. K., Nikhil, J., & Kumar, P. (2016). E ect of
carnatic vocal music training and experience on cortical
auditory evoked potentials. Journal of Hearing Science,
6(1).
Silva, M. R. D., Dias, K. Z., & Pereira, L. D. (2015). Study
of the auditory processes of temporal resolution and auditory
gure-ground in dancers.Revista CEFAC, 17(4),
1033-1041.
Soranzo, A., & Grassi, M. (2014). PSYCHOACOUSTICS:
a comprehensive MATLAB toolbox for auditory testing.
Frontiers in psychology, 5, 712.
Vasuki, P. R. M., Sharma, M., Demuth, K., & Arciuli, J.
(2016). Musicians' edge: A comparison of auditory processing,
cognitive abilities and statistical learning. Hearing
Research, 342, 112-123.
Viemeister, N. F. (1976). Modulation thresholds and
temporal modulation transfer functions. The Journal
of the Acoustical Society of America, 60(S1), S117-
S117.
Chelsea House.
American National Standards Institute (1999). Maximum
permissible ambient noise levels for audiometric test
rooms: ANSI S3. 1-1999 (Revision of S3.3-1991).
(1999). New York: Published by Acoustical Society
of America through the American Institute of Physics,
c1999.
Brown, S., Merker, B., & Wallin, N. L. (2000). An introduction
to evolutionary musicology. In N. Wallin, B.
Merker, & S. Brown (Eds.), The origins of music. Cambridge,
MA: MIT Press.MIT Press.
Buonomano, D. V., & Karmarkar, U. R. (2002). How DoWe
Tell Time?. The Neuroscientist, 8(1), 42-51.
Donai, J. J., & Jennings, M. B. (2016). Gaps-in-noise detection
and gender identi cation from noise-vocoded vowel
segments: Comparing performance of active musicians
to non-musicians. The Journal of the Acoustical Society
of America, 139(5), EL128-EL134.
Drake, C., & Bertrand, D. (2001). The quest for universals
in temporal processing in music. Annals of the New
York Academy of Sciences, 930(1), 17-27.
Eggermont, J. J. (2015). Auditory temporal processing and
its disorders. Oxford University Press: United Kingdom.
Grassi, M., & Soranzo, A. (2009). MLP: A MATLAB toolbox
for rapid and reliable auditory threshold estimation.
Behavior research methods, 41(1), 20-28.
Hoover, J. E., & Strick, P. L. (1993). Multiple output
channels in the basal ganglia. Science, 259(5096), 819-
21.
Iordanescu, L., Grabowecky, M., & Suzuki, S. (2013). Action
enhances auditory but not visual temporal sensitivity.
Psychonomic bulletin & review, 20(1), 108-114.
Ishii, C., Arashiro, P. M., & Pereira, L. D. (2006). Ordering
and temporal resolution in professional singers
and in well tuned and out of tune amateur singers.
Pro-Fono Revista de Atualizac~ao Cient ca, 18(3), 285-
292.
Jain, C., Mohamed, H., & Kumar, A. U. (2014). Short-term
musical training and pyschoacoustical abilities. Audiology
research, 4(1).
Jeon, J. Y., & Fricke, F. R. (1997). Duration of perceived
and performed sounds. Psychology of Music, 25(1), 70-
83.
Kraus, N. (2012). Biological impact of music and softwarebased
auditory training. Journal of Communication
Disorders, 45(6), 403-410.
Kumar, P. V., Rana, B., & Krishna, R. (2014). Temporal
processing in musicians and non-musicians. Journal of
Hearing Science, 4(3).
Li, G., He, H., Huang, M., Zhang, X., Lu, J., Lai, Y. et al.
(2015). Identifying enhanced cortico-basal ganglia loops
associated with prolonged dance training. Scienti c reports,
5, 10271. doi:10.1038/srep10271
Mauk, M. D., & Buonomano, D. V. (2004). The neural basis
of temporal processing. Annual Review of Neuroscience,
27, 307-340.
Meegan, D. V., Aslin, R. N., & Jacobs, R. A. (2000). Motor
timing learned without motor training. Nature Neuroscience,
3(9), 860-862.
Micheyl, C., Carbonnel, O., & Collet, L. (1995). Medial
olivocochlear system and loudness adaptation- Di erences
between musicians and non-musicians. Brain and
Cognition, 29(2), 127-136.
Middleton, F. A., & Strick, P. L. (2000). Basal ganglia output
and cognition: evidence from anatomical, behavioral,
and clinical studies. Brain and cognition, 42(2),
183-200.
Mishra, S. K., & Panda, M. R. (2014). Experiencedependent
learning of auditory temporal resolution: Evidence
from Carnatic-trained musicians. Neuroreport,
25(2), 134-137.
Monteiro, R. A. M., Nascimento, F. M., Soares, C. D., &
da Costa Ferreira, M. I. D. (2010). Temporal resolution
abilities in musicians and no musicians violinists.
Arquivos Internacionais de Otorrinolaringologia, 14(3),
302-308.
Moore, B. C. (2007). Cochlear hearing loss: physiological,
psychological and technical issues. John Wiley &
Sons.
Musacchia, G., Sams, M., Skoe, E., & Kraus, N. (2007).
Musicians have enhanced subcortical auditory and audiovisual
processing of speech and music. Proceedings
of the National Academy of Sciences, 104(40), 15894-
15898.
Nikjeh, D. A., Lister, J. J., & Frisch, S. A. (2008). Hearing
of note: an electrophysiologic and psychoacoustic
comparison of pitch discrimination between vocal and
instrumental musicians. Psychophysiology, 45(6), 994-
1007.
Nor, M. A. M., & Stepputat, K. (Eds.). (2016). Sounding
the Dance, Moving the Music: Choreomusicological
Perspectives on Maritime Southeast Asian Performing
Arts. Routledge: Milton Park and New York.
Oxenham, A. J., Fligor, B. J., Mason, C. R., & Kidd Jr,
G. (2003). Informational masking and musical training.
The Journal of the Acoustical Society of America,
114(3), 1543-1549.
Parbery-Clark, A., Skoe, E., Lam, C., & Kraus, N. (2009).
Musician enhancement for speech-in-noise. Ear and
hearing, 30(6), 653-661.
Phillips-Silver, J., & Trainor, L. J. (2005). Feeling the beat:
movement in
uences infant rhythm perception. Science,
308(5727), 1430-1430.
Phillips-Silver, J., & Trainor, L. J. (2007). Hearing what the
body feels: Auditory encoding of rhythmic movement.
Cognition, 105(3), 533-546.
Picton, T. (2013). Hearing in time: evoked potential studies
of temporal processing. Ear and hearing, 34(4), 385-
401.
Poikonen, H., Toiviainen, P., & Tervaniemi, M. (2016).
Early auditory processing in musicians and dancers during
a contemporary dance piece. Scienti c Reports, 6.
33056.
Ramaswamy, A., & Deslauriers, D. (2014). Dancer-
Dance-Spirituality: A phenomenological exploration of
Bharatha Natyam and Contact Improvisation. Dance,
Movement & Spiritualities, 1(1), 105-122.
Rammsayer, T., & Altenmuller, E. (2006). Temporal information
processing in musicians and nonmusicians. Music
Perception: An Interdisciplinary Journal, 24(1), 37-
48.
Sangamanatha, A. V., Fernandes, J., Bhat, J., Srivastava,
M., & Prakrithi, S. U. (2012). Temporal resolution in
individuals with and without musical training. Journal
of Indian Speech and Hearing Association, 26, 27-
35.
Sanju, H. K., Nikhil, J., & Kumar, P. (2016). E ect of
carnatic vocal music training and experience on cortical
auditory evoked potentials. Journal of Hearing Science,
6(1).
Silva, M. R. D., Dias, K. Z., & Pereira, L. D. (2015). Study
of the auditory processes of temporal resolution and auditory
gure-ground in dancers.Revista CEFAC, 17(4),
1033-1041.
Soranzo, A., & Grassi, M. (2014). PSYCHOACOUSTICS:
a comprehensive MATLAB toolbox for auditory testing.
Frontiers in psychology, 5, 712.
Vasuki, P. R. M., Sharma, M., Demuth, K., & Arciuli, J.
(2016). Musicians' edge: A comparison of auditory processing,
cognitive abilities and statistical learning. Hearing
Research, 342, 112-123.
Viemeister, N. F. (1976). Modulation thresholds and
temporal modulation transfer functions. The Journal
of the Acoustical Society of America, 60(S1), S117-
S117.