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Perceptual Development: Infant Music Perception

The world of infants is filled with music. Around the world caregivers sing to infants, rousing them with play songs and lulling them to sleep with lullabies. In Western culture, toys and programming aimed at infants often include music. Even when people talk to preverbal infants they add musical features to their speech, such as higher pitch, wider pitch contours, highly rhythmic patterning, and abundant repetition. Some questions discussed in this entry are: Why is music for infants so prevalent? What do infants perceive when they hear music? How does musical acquisition compare to linguistic acquisition? And how does musical development interact with other aspects of perceptual and cognitive development?

As with languages, there are many different musical systems, such as Western tonal structure and Indian raga structure. As with languages, there appear to be a number of near universal features of musical systems. These include hierarchical metrical organization (the perceived underlying beat and its sub- and superdivisions), the functional equivalence of tones an octave apart (doubling of fundamental frequency or pitch), the use of scales consisting of a small number (usually between five and nine) of notes per octave (although the particular intervals between scale notes differ across systems), and the central role of the consonance/dissonance dimension in the ebb and flow of musical tension and relaxation. Musical systems also differ from each other in features such as the complexity of the metrical structure, the particular scales that are used to form melodies, and whether or not harmony or a drone or a monophonic texture is used. Infants acquire culture-specific implicit knowledge about the music system(s) to which they are exposed, just as they acquire the language(s) to which they are exposed.

Infant Preferences

Infants appear to enjoy listening to music. Unlike monkeys, who prefer silence to music, infants prefer music to language and prefer music to silence. The origin of this affinity for music remains unknown. However, some evolutionary psychologists have argued that music evolved in order to enhance the emotional bond between infants and their caregivers. Evidence consistent with a central role for emotion in infants' perception of music comes from studies of infant preferences. Typically these are tested in a preferential looking paradigm. A light on one side of the infant flashes until the infant looks to that side, at which time the light stays on, illuminating a toy, and one sound stimulus begins to play. As long as the infant looks at the toy, the sound stimulus continues to play. Once the infant looks away, the light extinguishes, the toy disappears and the sound stimulus stops. The second trial begins with a light flashing on the other side. When the infant looks to this side, again the light stays on, illuminating the toy, and a second sound stimulus begins to play. Again it plays until the infant looks away. A number of both types of trials are presented, with the infant controlling how long he or she listens to each trial. If infants listen significantly longer to one stimulus over another, it can be inferred that they prefer this stimulus. Studies of infant preferences reveal that they prefer to listen to infant-directed renditions of a song compared to adult-directed renditions. Across cultures, infant-directed renditions are typically higher in pitch, slower in tempo, and rendered in a more loving tone of voice. The latter quality appears to be particularly important to infants—the degree to which they prefer the infant-directed over the non-infant-directed version is correlated with the degree to which the infant-directed version is rated as more loving in tone by adults.

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