Accordingly, we developed a series of musical exercises involving jointly and simultaneously sensory (visual, auditory, somatosensory) and motor systems, with special emphasis on rhythmic perception and production in addition to intensive training of various features of the musical auditory signal. In the present study, we tested the efficacy of a specially-designed Cognitivo-Musical Training (CMT) method based upon three principles: (1) music-language analogies: training dyslexics with music could contribute to improve brain circuits which are common to music and language processes (2) the temporal and rhythmic features of music, which could exert a positive effect on the multiple dimensions of the "temporal deficit" characteristic of some types of dyslexia and (3) cross-modal integration, based on converging evidence of impaired connectivity between brain regions in dyslexia and related disorders. However, this study illuminates the importance of a multi-sensory approach for this cohort as it allows them to participate in the music making experience, enjoying the myriad of benefits this provides.Numerous arguments in the recent neuroscientific literature support the use of musical training as a therapeutic tool among the arsenal already available to therapists and educators for treating children with dyslexia. It also uncovered a bias towards ‘reading’ alternatives by music teachers, with several participants being told they were ‘cheating’. Participants described a multi-sensory approach to learning music, often adapting ways of reading music to specifically suit their own learning needs. Especially ‘reading’ to the required speed for music making.
Revealing that a music education system built exclusively on traditional sight-reading is not inclusive of this cohort, as many dyslexic music students find sight-reading difficult. Addressing the gap in literature by focusing on the use of alternative ‘reading’ methods and strategies used by this cohort. Through case study analysis this study seeks to discover how the dyslexic student learns music and what, if any, coping mechanisms they adopt. This study explores if this form of ‘reading’ music excludes some students from fully participating in music making, specifically focusing on the dyslexic student. Modern music education system evolved from Western art music, where traditionally notated sheet music is the dominant form of communication. Our emotionally rich connection to music is solidified when we are able to positively participate in the music making experience, nourishing our deep connection to our primitive self. Indigenous ancestors viewed music as an integral part of society, and music making as an inclusive participatory activity. Music education should be considered a vital and important part of our education system due to the emotional, social and developmental benefits it provides. The data support the view that extensive rhythmic experience initiated during childhood (here in the form of music training) can affect basic auditory processing skills which are found to be deficient in individuals with dyslexia. Musicians with dyslexia showed equivalent auditory sensitivity to musicians without dyslexia and also showed equivalent rhythm perception. Here we took advantage of the presence of musicians with and without dyslexia in musical conservatoires, comparing their auditory temporal processing abilities with those of dyslexic non-musicians matched for cognitive ability.
As rhythm is explicit in music, musical training might have a beneficial effect on the auditory perception of acoustic cues to rhythm in dyslexia. Impairments in basic auditory processing show particular links with phonological impairments, and recent studies with dyslexic children across languages reveal a relationship between auditory temporal processing and sensitivity to rhythmic timing and speech rhythm. The core cognitive difficulty in developmental dyslexia involves phonological processing, but adults and children with dyslexia also have sensory impairments.