We sought to establish norms and correlates for the Musical Ear Test (MET), an objective test of musical ability. A large sample of undergraduates at a Canadian university (N > 500) took the 20-min test, which provided a Total score as well as separate scores for its Melody and Rhythm subtests. On each trial, listeners judged whether standard and comparison auditory sequences were the same or different. Norms were derived as percentiles, Z-scores, and T-scores. The distribution of scores was approximately normal without floor or ceiling effects. There were no gender differences on either subtest or the total score. As expected, scores on both subtests were correlated with performance on a test of immediate recall for nonmusical auditory stimuli (Digit Span Forward). Moreover, as duration of music training increased, so did performance on both subtests, but starting lessons at a younger age was not predictive of better musical abilities. Listeners who spoke a tone language exhibited enhanced performance on the Melody subtest but not on the Rhythm subtest. The MET appears to have adequate psychometric characteristics that make it suitable for researchers who seek to measure musical abilities objectively.

我们试图为音乐耳朵测试 (MET) 建立规范和关联，音乐能力的客观测试。加拿大大学的大量本科生 ( N > 500) 参加了 20 分钟的测试，该测试提供了总分以及旋律和节奏子测试的单独分数。在每次试验中，听者判断标准和比较听觉序列是否相同或不同。范数衍生为百分位数、Z分数和T- 分数。分数分布近似正常，没有地板或天花板效应。无论是分测验还是总分，都没有性别差异。正如预期的那样，两个子测试的分数都与非音乐听觉刺激（数字跨度向前）的即时回忆测试的表现相关。此外，随着音乐训练持续时间的增加，两个子测试的表现也随之增加，但在更年轻的时候开始上课并不能预测更好的音乐能力。说一种声调语言的听众在旋律子测试中表现出更好的表现，但在节奏子测试中则没有。MET 似乎具有足够的心理测量特征，使其适合寻求客观衡量音乐能力的研究人员。