Antonio Vivone

Vivone, A., Rumlich, D., & Lehmann-Wermser, A. (2025). Enhancing multi-word units learning through vocal training with authentic pop songs in the context of English as a foreign language. The Language Learning Journal, 14(2), 50-65. https://www.tandfonline.com/doi/full/10.1080/23735082.2025.2501043?src=
Vivone, A., & Mantie, R. (2025-submitted). Modality Matters: Effects of Singing, Vocal, and Instrumental Exposure on Involuntary Musical Imagery in Adolescents in the School Context. Psychology of Music. Sage Journal.
Vivone, A. (2024). Identifying musical and linguistic features triggering involuntary musical imagery: An eco-empirical study with pupils and teenagers in an educational context. In Innovación docente e investigación en educación: Desafíos de la enseñanza y aprendizaje en la educación superior. Dykinson. https://www.dykinson.com/media/pdf/indice978-84-1070-927-0.pdf

My research is grounded in the belief that education must be informed by rigorous, interdisciplinary inquiry and that scholarly work should meaningfully impact both theory and classroom practice. I approach research as a dynamic process of investigation that bridges cognitive science, music and language education, and educational neuroscience. At the heart of my scholarship is a sustained interest in how music-based experiences can enhance implicit learning, memory retention, and student well-being—particularly in linguistically and cognitively diverse populations.

As both an educator and researcher, I see the classroom as a living laboratory. My work aims to identify mechanisms of learning that are not only observable and measurable, but also applicable in authentic educational contexts. I believe that learning is relational and embodied, and that research should help explain how abstract cognitive processes are shaped by cultural, linguistic, and affective environments. This orientation is evident in my doctoral and postdoctoral research, which explores Involuntary Musical Imagery (INMI)—colloquially known as “earworms”—as a memory-supporting mechanism in language and music education.

My current research investigates the cognitive, affective, and pedagogical dimensions of INMI by combining neuroscientific methods with longitudinal classroom-based studies across Canada and Germany (N = 1,040). The first phase of the project examines the neural and musical-linguistic triggers of INMI under controlled laboratory conditions, while the second phase evaluates its pedagogical relevance in real-world language and music classrooms. In both phases, I apply multi-level and structural modeling techniques to understand the interaction between auditory stimulus properties, learner characteristics, and educational outcomes.

This work contributes to emerging models of implicit learning and memory encoding by exploring how subconscious musical repetition can facilitate language acquisition and music learning. The study offers new insights into shared syntactic and neural mechanisms between music and language (Patel, 2003, 2011), and expands on neurolinguistic theories of music-language transfer and auditory cognition (Koelsch, 2012; Brown et al., 2006). While the phenomenology of INMI has been studied in music psychology, its educational applications remain largely untapped—particularly in adolescent and multilingual learning environments. My research seeks to fill this gap.

My research philosophy is also rooted in a commitment to methodological pluralism. I strongly believe in the value of combining quantitative, qualitative, and neurophysiological approaches to produce robust, triangulated evidence. I regularly integrate tools such as standardized vocabulary assessments, INMI self-report scales, and musical sophistication indices, and analyze data using R, Mplus, and MATLAB. I am equally invested in the ethical dimensions of research, including informed consent with minors, cross-cultural comparability, and accessible dissemination of findings to educators and community stakeholders.

Collaboration and knowledge mobilization are key pillars of my research practice. I work closely with school partners, university departments, and interdisciplinary labs in Canada and Germany, including the University of Toronto’s Department of Psychology and the University of Music, Drama and Media Hannover. I involve undergraduate research assistants, teacher-collaborators, and international supervisors in every phase of my projects, ensuring a balance between scientific depth and practical relevance.

Looking ahead, my long-term research agenda aims to develop pedagogical frameworks that integrate neuroscience-informed music instruction into formal curricula for language and music education. I plan to extend my INMI research into populations with neurodivergent profiles (e.g., dyslexia, ADHD) to explore how musical repetition can support cognitive flexibility and working memory. I also envision creating open-access instructional materials based on my findings—tools that educators can use to foster engagement, recall, and emotional connection in diverse classrooms.

In sum, my research philosophy reflects a deep commitment to integrative, applied, and ethically grounded scholarship. I seek to advance our understanding of how music and language interact in the brain and the classroom, and how this knowledge can inform equitable, innovative, and evidence-based teaching. I view research not as an isolated academic pursuit, but as a transformative force that can empower learners and reshape educational practice.

I have always been fascinated by how the brain processes and acquires both language and music. Understanding the evolving mental networks involved in second language acquisition and musical learning informs every aspect of my teaching. Whether I am working with secondary school students or mentoring future educators, I strive to make language and music learning engaging, inclusive, and rooted in evidence-based practice. I see the teacher as a multifaceted figure: a content expert, a guide, and a facilitator. As a content expert, I am committed to delivering accurate, relevant, and up-to-date knowledge. As a guide, I help students navigate complex concepts with care and structure. As a facilitator, I support collaborative, inquiry-based learning and foster respectful dialogue where all voices are heard.

My teaching philosophy is grounded in the belief that education should promote intellectual growth, critical thinking, and personal transformation. I aim to help students not only learn content, but also develop the tools and confidence to become lifelong learners. In a Grade 10 English unit on media literacy, for instance, I gave students the choice to analyze persuasive techniques through a written essay, a recorded podcast, or a video presentation. This differentiated, multimodal approach, rooted in the principles I also apply in music instruction, supported students’ strengths while deepening their conceptual understanding. The result was not only higher engagement but also more nuanced critical thinking, with students drawing connections between rhetorical strategies and their everyday digital lives.

Creating a positive and inclusive learning environment is central to my practice. I believe students learn best when they feel respected, supported, and empowered to express themselves. To foster such a space, I focus on three key pillars: empathy, accessibility, and active engagement. I promote open dialogue where diverse experiences are welcomed and reflected in both materials and discussions. In my English as foreign language classroom in Germany, I implemented a rotating “language stations” model—combining visual mapping, collaborative role-play, and personalized grammar tasks. Similarly, in music contexts, I design rehearsals and assignments that honor varied learner profiles, from auditory to kinesthetic musicians. Across settings, students have reported feeling “seen” and supported, and assessments have reflected increased confidence and retention.

In teacher education seminars at the University of Toronto, I introduce pre-service educators to critical pedagogy and inclusive design. One recurring strategy involves redesigning traditional lesson plans through a Universal Design for Learning lens to better accommodate diverse learners. In one case, a group transformed a music history assignment into an inquiry-based digital timeline project, enabling visual and auditory learners to co-create knowledge. Their written reflections noted a stronger sense of ownership and deeper understanding of historical context. These activities exemplify how I balance direct instruction with student-centered, collaborative learning in both music and language education.

My work across academic and secondary contexts demonstrates a consistent commitment to formative feedback, transparent expectations, and student autonomy. As a flute and piccolo teacher, I regularly integrate peer review and self-assessment checklists in studio lessons, helping students articulate their musical progress. One student commented, “For the first time, I understood how to evaluate my own tone—not just mimic what I heard.” These moments of metacognition are, to me, the building blocks of deeper and more durable learning.

Beyond the classroom, I have contributed to inclusive education efforts through curriculum development and extracurricular initiatives. At a high school in North Rhine-Westphalia, I co-led a mentorship program for first-generation students and helped implement a weekly cultural dialogue circle. These experiences have strengthened my belief in education as a vehicle for belonging and empowerment.

Looking ahead, I am developing a cross-disciplinary course that integrates music cognition, language development, and well-being, informed by my doctoral research. I am also committed to creating open-access, multilingual resources that support equity in both music and language learning.

In sum, my teaching is animated by the belief that learning is relational, adaptive, and transformative. I aim to equip students with the tools to navigate complexity, think critically, and collaborate with empathy—preparing them not only for academic success, but for meaningful engagement in their communities and professional lives.

Department of Germanic Languages & Literatures University of Toronto

Antonio Vivone

Contact

Office Hours

Classes 2025-26

Departments’ Affiliation

Academic Background

Recent Publications

Scholarships

Research Philosophy Statement

Teaching Philosophy Statement