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includes a section about song lyrics and a good introduction to the cognitive aspects of memory Excerpt: "The experimental data corroborate our intuition that the memory representation for lyrics seems to be tied into the memory representation for melody (Serafine, Crowder, and Repp 1984). Further evidence of this comes from a case report of a musician who suffered a stroke caused by blockage of the right cerebral artery. After the stroke, he was able to recognize songs played on the piano if they were associated with words (even though the words weren't being presented to him), but he was unable to recognize songs that were purely instrumentals (Steinke, Cuddy, and Jacobson 1995)."

According to research led by V. S. Ramachandran, director of the Center for Brain and Cognition at the University of California, San Diego, a region of the brain known as the angular gyrus is probably at least partly responsible for the human ability to understand metaphor. Ramachandran and colleagues tested four right-handed patients with damage to the left angular gyrus. Fluent in English and otherwise intelligent and mentally lucid, the patients showed gross deficits in comprehending such common proverbs as "the grass is always greener on the other side" and "an empty vessel makes more noise." Asked to explain the sayings, the patients tended give responses that were literal. The metaphorical meaning escaped them almost entirely.

This article examines Nadine Gaab's 2014 study which established a connection - in both children and adults - between learning to play an instrument and improved executive functioning, like problem-solving, switching between tasks and focus. The article also cites the research of neuropsychologist Ani Patel, who advances the OPERA theory of music's benefits for learning. Patel notes "music is not an island in the brain cut off from other things, that there's overlap, that's the 'O' of OPERA, between the networks that process music and the networks that are involved in other day-to-day cognitive functions such as language, memory, attention and so forth," he says. "The 'P' in OPERA is precision. Think about how sensitive we are to the tuning of an instrument, whether the pitch is in key or not, and it can be painful if it's just slightly out of tune." That level of precision in processing music, Patel says, is much higher than the level of precision used in processing speech. This means, he says, that developing our brains' musical networks may very well enhance our ability to process speech. "And the last three components of OPERA, the 'E-R-A,' are emotion, repetition and attention," he says. "These are factors that are known to promote what's called brain plasticity, the changing of the brain's structure as a function of experience."

Examples of psychologist experiments where fruedian slips occur

Article explores the philosophical battle between those who believe in leveled reading--adjusting the difficulty of text to suit the ability of the reader--and those who emphasize the importance of "challenge" by having all students grapple with the same "complex texts." Leveled reading has become increasingly easier with the advent of technology. New-generation leveling tools like Newsela allow every student to read the same story, albeit at varying levels of complexity. "This facilitates the social learning that happens when students engage in a shared discussion of the text," Cogan-Drew notes. Second, digital reading programs can make leveling more discreet, preventing students from being teased or stigmatized for reading at a lower level. Compared to the large numbers emblazoned on the covers of many leveled-reader print books, the computerized versions call far less attention to the degree of competency of their users. At the same time, students using these programs are often given the option of dialing up or down their reading level themselves, supporting the development of their "metacognition," or awareness of their own cognitive abilities. Defenders of leveled reading and the champions of complex texts may share more common ground than they realize, however. Both agree that to become fluent readers, students must read a lot on their own-and such independent reading calls for not-too-easy, not-too-hard selections that look a lot like leveled reading. Meanwhile, both sides also concur that students should be asked to wrestle at times with more challenging texts-but in the classroom, where teachers are available to offer help and head off discouragement.

Oral forms like ballads and epics exist in every culture, originating long before the advent of written language. In preliterate eras, tales had to be appealing to the ear and memorable to the mind or else they would simply disappear. After all, most messages we hear are forgotten, or if they're passed on, they're changed beyond recognition - as psychologists' investigations of how rumors evolve have shown. In his classic book Memory in Oral Traditions, cognitive scientist David Rubin notes, "Oral traditions depend on human memory for their preservation. If a tradition is to survive, it must be stored in one person's memory and be passed on to another person who is also capable of storing and retelling it. All this must occur over many generations… Oral traditions must, therefore, have developed forms of organization and strategies to decrease the changes that human memory imposes on the more casual transmission of verbal material." What are these strategies? Tales that last for many generations tend to describe concrete actions rather than abstract concepts. They use powerful visual images. They are sung or chanted. And they employ patterns of sound: alliteration, assonance, repetition and, most of all, rhyme. Such universal characteristics of oral narratives are, in effect, mnemonics - memory aids that people developed over time "to make use of the strengths and avoid the weaknesses of human memory," as Rubin puts it.

Information set to music, suggests research, is better retained, as it taps into time- honored strategies that help information stick. Tales that last for many generations tend to describe concrete actions rather than abstract concepts. They use powerful visual images. They are sung or chanted. And they employ patterns of sound: alliteration, assonance, repetition and, most of all, rhyme. A study by Rubin showed that when two words in a ballad are linked by rhyme, contemporary college students remember them better than non-rhyming words. Such universal characteristics of oral narratives are, in effect, mnemonics-memory aids that people developed over time "to make use of the strengths and avoid the weaknesses of human memory," as Rubin puts it. Songs and rhymes can be used to remember all kinds of information. A study just published in the journal Memory and Cognition finds that adults learned a new language more effectively when they sang it.

Considering the cognitive and linguistic complexity of discourse production, it is expected that individuals with traumatic brain injury (TBI) should face difficulties in this task. Therefore, clinical examination of discourse has become a useful tool for studying and assessment of communication skills of people suffering from TBI.

If you can't recall your mother's birthday but can readily belt out all the lyrics to "Piano Man," welcome to the club. Music and melody seem to have a unique place in memory, Amherst College cognitive scientist Matthew Schulkind suggests.

3D interactive brain with labels: can select from left menu particular areas to look at, such as Broca's and Wernicke's

Examining the results and methodology of a large Whorfian study (17 languages), which tested differences if there are differences in cognition between speakers of verb-frame languages (like Spanish, if the "Path is characteristically represented in the main verb or verb root of a sentence") and satellite-frame languages (like English, if the path is "characteristically represented in the satellite and/or preposition"). Important conclusion regarding study methodology: "Strong claims regarding the (in)validity of the Whorfian hypothesis in the encoding of motion events cannot be made on the basis of a limited number of languages or a restricted range of manner and path contrasts." They could have reached opposite conclusions if they only compared certain language pairs.  This is made in contrast with studies by, e.g., Boroditsky, which had relatively small sample sizes.

Answers the question: how do literature and film cause real emotions in us in response to things that aren't real? This is the script of a speech, so it is a fairly easy read with lots of information.

"The human knowledge base is eroding as we lose languages, exacerbated by the fact that most of them have never been written down or recorded... Each language is a unique expression of human creativity... it seems premature to begin constructing grand theories of universal grammar...If we can learn to value the intellectual diversity that is fostered by linguistic variety, we can all help to ensure its survival."

This is an experiment completed that shows the effects music has on recalling words.

This review considers speaking in a second language from the perspective of motor-sensory control. Previous studies relating brain function to the prior acquisition of two or more languages (neurobilingualism) have investigated the differential demands made on linguistic representations and processes, and the role of domain-general cognitive control systems when speakers switch between languages.

Studies show that bilinguals are "smarter" than monolinguals as it improves cognitive skills. Because bilinguals have to switch languages often, it requires one to monitor the environment which constantly keeps the brain active.