Colleen Huey Yi Wong’s scientific contributions

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Fig. 5. Baddeley's three-component working memory model In 1995, Berz introduced a theoretical model of music memory, building upon Baddeley's working memory framework. This model postulates that the central executive controller is a critical component of music working memory. It is envisioned to consist of two distinct loops: a language loop and a music loop. However, it's important to note that Berz did not provide experimental evidence to substantiate this theoretical model, as pointed out by Ricardo (2020). The conceptualization of Berz's model, with its integration of language and music components within the working memory structure, is illustrated in Fig. 6.
Fig. 7. Baddeley's four-component working memory model In 2011, Baddeley further refined his working memory model, naming it the Multicomponent Model. This iteration underscores the diverse inputs from perception to working memory (Baddeley, 2021). The model proposes two main information streams, each feeding into either the visuospatial or the phonological subsystem. For the phonological loop, this encompasses auditory and linguistic information, whether presented through sound, print, sign language, or lipreading. In the visuospatial sketchpad, the confluence of visual data (like color, shape, and location) merges with sensory information from touch, integrating inputs from various kinesthetic and tactile receptors. Both streams potentially converge in the episodic buffer, making them accessible to conscious awareness (Baddeley, 2021). The phonological loop is specifically geared towards managing speech-based or verbal materials in working memory. Comprising a short-term store and an articulatory rehearsal mechanism, research has highlighted three key aspects of the phonological loop: 1) Storage within the loop is phonological, not visual (the phonological similarity effect); 2) Spoken material gains obligatory access to the storage component (the articulatory suppression effect); 3) Subvocal rehearsal likely occurs in real-time (the word length effect). The visuospatial sketchpad is tasked with processing and storing visual and spatial information. Behavioral dualtask paradigms and neuroimaging studies suggest a partial separation between visual and spatial memory within this component. Lastly, the episodic buffer, introduced as a fourth component, acknowledges the interaction between longterm memory (LTM) and working memory (WM). This component serves as a bridge, facilitating the integration of information from LTM into WM processes (Schulze et al., 2011).
Cognitive Crescendos: A Review of Working Memory Training’s Role in Advancing Musical Dictation Skills
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June 2024

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Si Chen

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Colleen Huey Yi Wong

This review investigates the crucial impact of working memory training on improving musical dictation abilities in music students. Ear training, a fundamental aspect of solfeggio courses in higher education, forms the basis for a wide array of musical competencies. The review presents a comprehensive synthesis of the definitions, theoretical frameworks, and empirical findings pertaining to working memory, with a particular focus on its influential role in music education. Central to this review is the multi-component model of working memory, which is examined in detail across its various developments and practical applications within cognitive psychology. The review thoroughly analyzes how working memory intersects with music dictation, emphasizing the critical role of memory in both understanding and performing music. It explores the physiological and cognitive aspects of musical memory, highlighting its importance in the development of auditory skills. Additionally, the article reviews various methodologies employed in working memory training, such as the n-back task, assessing their effectiveness in enhancing cognitive abilities relevant to music education. It delves into the concept of transfer effects in working memory training, differentiating between 'near transfer' and 'far transfer', and discusses their significance in the context of music education, particularly in tasks like rhythmic dictation. In summary, this review offers an in-depth exploration of the connection between working memory training and its practical implications in music dictation. It elucidates the transformative impact that cognitive training techniques can have in advancing music dictation skills, thereby making a substantial contribution to pedagogical strategies in the realm of music education.

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