Prävalenz und Prädiktoren von Neuromythen bei (Musik-) Studierenden: Eine Teilreplikation der Studie von Düvel et al. (2017) Prevalence and Predictors of Neuromyths in (Music) Students: A Partial Replication of the Study by Düvel et al. (2017)

Abstract

The term neuromyth characterizes false or simplified representations of neuroscientific research findings in scientific discourses, public perception, and educational practices. Findings to date confirm the prevalence of neuromyths in educational contexts. Düvel et al. (2017) were the first to compare the prevalence and predictors of neuromyths among music teachers and music teacher students based on the paradigm of signal detection theory (SDT). Following this, our replication investigates possible changes in the abilities of music teacher students to distinguish between music-related and general theses regarding neuroscientific findings (neuromyths and neurofacts) both in comparison to students from other subject areas and the student sample of the reference study. The results of the replication show that music teacher students, teacher students with other subjects, and students from different degree programs do not show any significant differences in how well they can judge whether music-related or general neuromyths and neurofacts are scientifically proven or not. Compared to the reference study, the replication sample of music teacher students shows a significantly lower performance in discriminating neuromyths and neurofacts; moreover, the predictors determined in the reference study (amount of media read, previous duration of study) could not be replicated. To further investigate the formation and acceptance of neuromyths in higher education contexts, it will be necessary to analyze not only individual backgrounds and interests but also various teaching methods and course contents together with the role played by the brain and different cognitive processes in the study of music (listening, making, learning).The results of the replication show that music teacher students, teacher students with other subjects and students from other degree programmes do not show any significant differences in how well they can judge whether music-related or general neuromyths and neurofacts are scientifically proven or not scientifically proven. Compared to the reference study, the replication’s sample of music teacher students show a significantly lower performance in discriminating neuromyths and neurofacts; moreover, the predictors determined in the reference study (amount of media read, previous duration of study) could not be replicated. In order to further investigate the formation and acceptance of neuromyths in higher education contexts, it will be necessary to analyse not only individual backgrounds and interests, but also various teaching methods and course contents together with the role played by the brain and different cognitive processes in the study of music (listening, making, learning).