Fig 1.
Examples of stimuli from the c-MDT Simple Melodies (L) and Transposed Melodies (R).
Children listen to two melodies and decide whether the second was the same or different. Arrows represent the ‘different’ note. Figure adapted from [21].
Fig 2.
Graphical display of response probe for the c-MDT.
Small elephant and monkey represent ‘same’ and ‘different’ response choices, respectively. Image is presented in full colour within the actual task.
Fig 3.
Examples of stimuli used in the c-RST.
From top to bottom: low, medium, and high complexity rhythms. Low complexity rhythms (top) have the highest number of notes falling on the implied beat. Figure adapted from [19].
Fig 4.
Graphical display for the c-RST.
Giraffe’s headphones are highlighted during ‘listen’ phase, and hoof is highlighted during ‘listen + tap’ phase. Image is presented in full colour within the actual task.
Table 1.
Matched demographic, practice-related and cognitive variables in early-trained (ET) and late-trained (LT) musicians; ET < 5 ≤ LT (n = 110).
Table 2.
Matched demographic, practice-related and cognitive variables in early-trained (ET) and late-trained (LT) musicians; ET < 6 ≤ LT (n = 96).
Table 3.
Matched demographic, practice-related and cognitive variables in early-trained (ET) and late-trained (LT) musicians; ET < 7 ≤ LT (n = 52).
Fig 5.
Results of one-way ANOVA for children’s Melody Discrimination Task (c-MDT).
Bars represent early-trained (ET) and late-trained (LT) musicians at three age of start cut-offs. Performance is measured as age-based z-scores for Simple Melodies (L) and Transposed Melodies (R).
Fig 6.
Results of one-way ANOVA for children’s Rhythm Synchronization Task (c-RST).
Bars represent early-trained (ET) and late-trained (LT) musicians at three age of start cut-offs. Performance is measured as age-based z-scores.