When children learn to play a musical instrument, they strengthen a range of auditory skills. Recent studies suggest that these benefits extend all through life, at least for those who continue to be engaged with music.
But a study published last month is the first to show that music lessons in childhood may lead to changes in the brain that persist years after the lessons stop.
See complete article at: http://well.blogs.nytimes.com/2012/09/10/early-music-lessons-have-longtime-benefits/
Researchers at the University of California, San Francisco, are approaching the soundscape from a different point of view, studying the genetics of absolute, or perfect, pitch, that ability to identify any tone. Dr. Jane Gitschier, a professor of medicine and pediatrics who directs the study there, and her colleagues are trying to tease out both the genetics and the effects of early training.
Indeed, almost everyone who qualifies as having truly absolute pitch turns out to have had musical training in childhood (you can take the test and volunteer for the study at http://perfectpitch.ucsf.edu/study/).
Alexandra Parbery-Clark, a doctoral candidate in Dr. Kraus’s lab and one of the authors of a paper published this year on auditory working memory and music, was originally trained as a concert pianist. Her desire to go back to graduate school and study the brain, she told me, grew out of teaching at a French school for musically talented children, and observing the ways that musical training affected other kinds of learning.
“If you get a kid who is maybe 3 or 4 years old and you’re teaching them to attend, they’re not only working on their auditory skills but also working on their attention skills and their memory skills — which can translate into scholastic learning,” she said.
There’s a fascination — and even a certain heady delight — in learning what the brain can do, and in drawing out the many effects of the combination of stimulation, application, practice and auditory exercise that musical education provides. But the researchers all caution that there is no one best way to apply these findings.
Different instruments, different teaching methods, different regimens — families need to find what appeals to the individual child and what works for the family, since a big piece of this should be about pleasure and mastery. Children should enjoy themselves, and their lessons. Parents need to care about music, not slot it in as a therapeutic tool.
“We want music to be recognized for what it can be in a person’s life, not necessarily, ‘Oh, we want you to have better cognitive skills, so we’re going to put you in music,’ ” Ms. Parbery-Clark said. “Music is great, music is fantastic, music is social — let them enjoy it for what it really is.”