Tonal languages use pitch (音调) to distinguish words that otherwise might sound the same. In Mandarin, for instance, mă means horse whereas mã means mother. Nontonal languages like Spanish sometimes include pitch changes to suggest emotion, for example, but not to change a word’s meaning.

As a Mandarin speaker and musician, Jingxuan Liu wondered about the crossover (融合) between language and music. While studying at Duke University, Liu helped analyze the musical abilities of nearly half a million people from 203 countries. Her colleagues had launched an online game in which participants completed several musical tasks, including identifying matching melodies at different pitches and finding beat tracks that fit songs’ rhythms.

On average, native speakers of the 19 represented tonal languages were better at the melody task compared with speakers of 29 nontonal languages. And the effect wasn’t small a tonal first language strengthened melodic understanding by about half the amount that music lessons did, which was also surveyed. But tonal languages speakers tended to be worse at the rhythm task.

Humans must be choosy about what they pay attention to. Pitch patterns are quite important in tonal languages, which might explain the balancing act in music. “You’ve got a finite resource of attention, and you’ve got to divide up that somehow,” says study coauthor Courtney Hilton, a scientist at the University of Auckland in New Zealand.

Prior research on language and music often compared just two tongues, usually English and Mandarin. But other cultural influences, such as Eastern and Western music styles, could have affected results. By examining a wide range of people, the new study included languages never estimated in this way and reached more generalizable conclusion.

“Our result here is showing that the language someone speaks which is an important part of culture — also shapes cognition,” Hilton says.

We are born to dance. Dancing changes the way we feel and think, and increases self-worth.

As a dance psychologist and teacher, I have witnessed the ways dancing has changed the lives of hundreds of people. Then I set up the Dance Psychology Lab so that I could combine my knowledge in psychology with dance, using science to study the relationship between movement and the brain. What I found was extraordinary: people with Parkinson's disease（帕金森病）and dementia（痴呆）getting a new chance to live longer；an increase in the self-worth of teenagers；reductions in sadness and anxiety in adults；increases in social bonding between people；and fundamental changes in the way people think and solve problems. All because of dancing.

Dancing stimulates the link between the body and the brain. The emotional high we get from dancing is due to dopamine（多巴胺）.This brain chemical plays a role in how we feel, and low levels are associated with feelings of anxiety, hopelessness, pain and mood swings. Dancing is a great way to overcome these negative feelings because the exercise and our emotional responses to the music we're hearing can increase the release of dopamine in different parts of the brain. As dopamine levels go up, we can shake off some of those negative feelings and float into an excited state.

Scientists suggest that the best time to learn a dance routine is before you go to sleep. This is because the brain builds new knowledge structures while we sleep, and it is these structures that strengthen our ability to learn and remember information.

In our lab experiments, we found that people who did 20 minutes of improvised（即兴的）dancing became more creative when answering creative-thinking tasks. For example, before dancing, participants could generate about four or five alternative uses for a common object such as a brick or a newspaper, but after dancing they could generate seven or eight.

Some of the world’s most famous musicians recently gathered in Paris and New Orleans to celebrate the first annual International Jazz Day. UNESCO( United Nations Educational, Scientific and Cultural Organization) recently set April 30 as a day to raise awareness of jazz music, its significance, and its potential as a unifying(联合) voice across cultures.

Despite the celebrations, though, in the U.S. the jazz audience continues to shrink and grow older, and the music has failed to connect with younger generations.

It’s Jason Moran’s job to help change that. As the Kennedy Center’s artistic adviser for jazz, Moran hopes to widen the audience for jazz, make the music more accessible, and preserve its history and culture.

“Jazz seems like it’s not really a part of the American appetite,” Moran tells National Public Radio’s reporter Neal Conan. “What I’m hoping to accomplish is that my generation and younger start to reconsider and understand that jazz is not black and write anymore. It’s actually color, and it’s actually digital.”

Moran says one of the problems with jazz today is that the entertainment aspect of the music has been lost. “The music can’t be presented today the way it was in 1908 or 1958. It has to continue to move, because the way the world works is not the same,” says Moran.

Last year, Moran worked on a project that arranged Fats Waller’s music for a dance party, “Just to kind of put it back in the mind that Waller is dance music as much as it is concert music,” says Moran. “For me, it’s the recontextualization. In music, where does the emotion(情感) lie? Are we, as humans, gaining any insight(感悟) on how to talk about ourselves and how something as abstract as a Charlie Parker record gets us into a dialogue about our emotions and our thoughts? Sometimes we lose sight that the music has a wider context,” says Moran, “so I want to continue those dialogues. Those are the things I want to foster.”