![]() Similarly, language is not a phenomenon that is significant only to linguists or those who study in special language schools. However, an important aspect of music is that it serves a variety of functions in the daily lives of people from all cultures, and is not exclusively a privilege of those who happen to receive formal training. The term “musician” is often used to refer to an individual who has engaged in such lengthy, explicit, and formal training. Formal musical training is typically (though not exclusively) conceived as extensive specialized training in a particular musical instrument, played in the style of a particular cultural tradition, such as training as a pianist in a conservatory. The impact of formal musical training on brain anatomy 1, 2 and physiology 3 has sparked much interest in scientific communities and the general public. ![]() Music is a significant part of human culture, occurring not only in concert halls and opera houses, but also throughout the daily environment on street corners, in shops, and on radios, iPods, televisions, and computers. Such a model has the potential to aid in the development of rehabilitation programs for the efficacious treatment of neurologic impairments. An understanding of these cultural asymmetries is useful in formulating a more comprehensive model of auditory perceptual expertise that considers how experiences shape auditory skill levels. We will discuss experiments examining how musical experience may facilitate the learning of a tone language, how musicians develop neural circuitries that are sensitive to musical melodies played on their instrument of expertise, and how even everyday listeners who have little formal training are particularly sensitive to music of their own culture(s). ![]() In this paper, we will discuss recent findings from our laboratories that reveal the impact of short- and long-term asymmetric musical experiences on how the nervous system responds to complex sounds. In most circumstances, these cultural experiences are asymmetric, meaning one type of experience occurs more frequently than other types (e.g., a person raised in India will likely encounter the Indian todi scale more so than a Westerner). ![]() Cultural experiences come in many different forms, such as immersion in a particular linguistic community, exposure to faces of people with different racial backgrounds, or repeated encounters with music of a particular tradition. ![]()
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