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Do musicians have better short-term memory than nonmusicians? A multilab study

  • Massimo Grassi
  • , Francesca Talamini
  • , Gianmarco Altoè
  • , Elvira Brattico
  • , Anne Caclin
  • , Barbara Carretti
  • , Véronique Drai-Zerbib
  • , Laura Ferreri
  • , Filippo Gambarota
  • , Jessica Grahn
  • , Lucrezia Guiotto Nai Fovino
  • , Marco Roccato
  • , Antoni Rodriguez-Fornells
  • , Swathi Swaminathan
  • , Barbara Tillmann
  • , Peter Vuust
  • , Jonathan Wilbiks
  • , Marcel Zentner
  • , Karla Aguilar
  • , Christ B. Aryanto
  • Frederico C. Assis Leite, Aíssa M. Baldé, Deniz Başkent, Laura Bishop, Graziela Kalsi, Fleur L. Bouwer, Axelle Calcus, Giulio Carraturo, Victor Cepero-Escribano, Antonia Čerič, Antonio Criscuolo, L. Dairain, Simone Dalla Bella, Oscar Daniel, Anne Danielsen, Anne Isabelle de Parcevaux, Delphine Dellacherie, Tor Endestad, Juliana L.d.B. Fialho, Caitlin Fitzpatrick, Anna Fiveash, Juliette Fortier, Noah R. Fram, Eleonora Fullone, Stefanie Gloggengießer, Lucia Gonzalez Sanchez, Reyna L. Gordon, Mathilde Groussard, Assal Habibi, Heidi M.U. Hansen, Eleanor E. Harding, Kirsty Hawkins, Steffen A. Herff, Veikka P. Holma, Kelly Jakubowski, Maria G. Jol, Aarushi Kalsi, Veronica Kandro, Rosaliina Kelo, Sonja A. Kotz, Gangothri S. Ladegam, Bruno Laeng, André Lee, Miriam Lense, César F. Lima, Simon P. Limmer, Chengran K. Liu, Paulina d.C. Martín Sánchez, Langley McEntyre, Jessica P. Michael, Daniel Mirman, Daniel Müllensiefen, Niloufar Najafi, Jaakko Nokkala, Ndassi Nzonlang, Maria Gabriela M. Oliveira, Katie Overy, Andrew J. Oxenham, Edoardo Passarotto, Marie Elisabeth Plasse, Herve Platel, Alice Poissonnier, Neha Rajappa, Michaela Ritchie, Italo Ramon Rodrigues Menezes, Rafael Román-Caballero, Paula Roncaglia, Farrah Y. Sa’adullah, Suvi Saarikallio, Daniela Sammler, Séverine Samson, E. G. Schellenberg, Nora R. Serres, L. R. Slevc, Ragnya Norasoa Souffiane, Florian J. Strauch, Hannah Strauss, Nicholas Tantengco, Mari Tervaniemi, Rachel Thompson, Renee Timmers, Petri Toiviainen, Laurel J. Trainor, Clara Tuske, Jed Villanueva, Claudia C. von Bastian, Kelly L. Whiteford, Emily A. Wood, Florian Worschech, Ana Zappa
  • University of Padua
  • University of Innsbruck
  • Aarhus University
  • University of Bari
  • Université de Saint-Étienne
  • Université de Bourgogne
  • University of Pavia
  • Western University
  • ICREA
  • University of Barcelona
  • Aarhus University & The Royal Academy of Music Aarhus/Aalborg
  • University of New Brunswick
  • University of Sheffield
  • Atma Jaya Catholic University of Indonesia
  • Universidade Federal de São Paulo
  • University Institute of Lisbon
  • University of Groningen
  • University of Oslo
  • Universidade Estadual Paulista Júlio de Mesquita Filho
  • Leiden University
  • Université libre de Bruxelles
  • Computer Vision Centre
  • Max Planck Institute for Empirical Aesthetics
  • Maastricht University
  • International Laboratory for Brain, Music, and Sound Research
  • University of Montreal
  • CRBLM
  • VIZJA University
  • Durham University
  • Université de Lille
  • Helgeland Hospital
  • Universidade Cruzeiro do Sul
  • Vanderbilt University
  • Université de Caen Normandie
  • University of Southern California
  • Goldsmiths, University of London
  • The University of Sydney
  • University of Jyväskylä
  • University of Maryland, College Park
  • University of Helsinki
  • Max Planck Institute for Human Cognitive and Brain Sciences
  • University of Edinburgh
  • Hanover University of Music
  • Technical University of Munich
  • University of Granada
  • University of Minnesota Twin Cities
  • McMaster University
  • Tilburg University
  • Western Sydney University
  • Université Paris Cité
  • University of Toronto

Research output: Contribution to journal › Article › peer-review

16 Citations (Scopus)
5 Downloads (Pure)

Abstract

Musicians are often regarded as a positive example of brain plasticity and associated cognitive benefits. This emerges when experienced musicians (e.g., musicians with more than 10 years of music training and practice) are compared with nonmusicians. A frequently observed behavioral finding is a short-term memory advantage of the former over the latter. Although available meta-analysis reported that the effect size of this advantage is medium (Hedges’s g = 0.5), no literature study was adequately powered to estimate reliably an effect of such size. This multilab study has been ideated, realized, and conducted in lab by several groups that have been working on this topic. Our ultimate goal was to provide a community-driven shared and reliable estimate of the musicians’ short-term memory advantage (if any) and set a method and a standard for future studies in neuroscience and psychology comparing musicians and nonmusicians. Thirty-three research units recruited a total of 600 experienced musicians and 600 nonmusicians, a number that is sufficiently large to estimate a small effect size (Hedges’s g = 0.3) with a high statistical power (i.e., 95%). Subsequently, we measured the difference in short-term memory for musical, verbal, and visuospatial stimuli. We also looked at cognitive, personality, and socioeconomic factors that might mediate the difference. Musicians had better short-term memory than nonmusicians for musical, verbal, and visuospatial stimuli with an effect size of, respectively, Hedges’s gs = 1.08 (95% confidence interval [CI] = [0.94, 1.22]; large), 0.16 (95% CI = [0.02 0.30]; very small), and 0.28 (95% CI = [0.15, 0.41]; small). This work sets the basis for sound research practices in studies comparing musicians and nonmusicians and contributes to the ongoing debate on the possible cognitive benefits of musical training.

Original languageEnglish
Number of pages30
JournalAdvances in Methods and Practices in Psychological Science
Volume8
Issue number4
DOIs
Publication statusPublished - 1 Oct 2025

Keywords

  • cognitive abilities
  • multilab
  • music training
  • musicians
  • nonmusicians
  • open data
  • open materials
  • preregistration

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