Music Perception Skills

Law and Zentner (2012) focused on a study which aimed to construct and validate the profile of music perception skills. It can be considered that a conventional strategy for determining musical acumen and proficiency is to search on reliable factors that primarily contribute to an individual’s extent of musical training. However, depending judgment on musical ingenuity fails to recognize untrained individuals with musical skills, as well as those who, despite extensive musical training, may not be proficient. .The research is a three-pronged study, beginning with the authors developing a new test battery (Profile of Music Perception Skills, PROMS) with nine subtests, tapping multiple skills across subdomains of pitch, rhythm, and sound quality. The

They share the same background with the respondents in Study 1. Out of the 56 subjects, there were 17 music students and 5 semiprofessional musicians. Twenty subjects signified their consent to come back for a retest session after a week. In the final procedure (Study 3), the researchers further examined the discriminant validity of the assessment battery and looked into the subtest intercorrelations and factor structure underlying the nine subtests. In light of the methods executed, the profile of music perception skills was mainly devised to provide researchers with a tool to determine the level of respondents’ perceptual musicality objectively. Compared with other musical test batteries devised for special populations, the PROMS can be used as a test for the normal adult population. A second feature of the current battery is its versatility because of the inclusion of aspects of music perceptions. Third, the test construction standards and validation were comparatively high. Thus, stimuli were meticulously chosen, balanced and revised, and the psychometric property information presented is comprehensive. Specifically, both internal consistency and test-retest reliability were excellent for the