Music and language are both auditory phenomena expressing the inner feelings to the members of the outer world. This, unfortunately, does not mean that the characteristics of language and music are easily comparable. Even though evolutionists have speculated about a common origin of language and music since more than a century, first attempts of comparing music and language were made in the second half of the 20th century. Both, the musical system of the own culture and the mother tongue are acquired easily and effortlessly by healthy individuals from infancy stage on. Comparing both systems, the music sound system consists of pitches, timbres and temporal aspects, while the linguistic one is comprised of “vowels, consonants, and pitch contrasts of the native language” (Patel 2008).  Recent research, however, has shown that the relationship between language and music is more complex than previously thought as especially people with higher musical abilities are more responsive to imitate and discriminate new, unfamiliar language material (Christiner and Reiterer, 2013, 2015, 2016). Behavioral and neuroscientific studies have reported that musicians were better in imitating unintelligible speech (Christiner and Reiterer, 2013), treat unintelligible speech streams like musical statements (Christiner and Reiterer, 2015), could incorporate new utterances more easily (Milovanov, 2009), remember longer sound chunks (Pastuszek-Lipinska, 2008), and show alterations and structural adaptations in the brain (Schneider et al., 2002, 2005; Gaser and Schlaug, 2003; Seither-Preisler et al., 2014). Doubtless, the instrument playing/ learning and singing ability seem to contribute to language functions on multiple levels. Higher rhythmic ability of musicians has may be an impact on improving the ability to segment speech of foreign language material – a beneficial skill making musicians to faster learners. In language learning, the ability to segment speech, that is to say to be able to discriminate where a word begins and ends, is especially crucial in early stages which could be another underlying mechanism why musicians seem to deal with unfamiliar language better than non-musicians do. Noteworthy, rhythm of languages vary considerably depending on culture suggesting that if musicians are better in discriminating rhythmic changes, they will be able to remember and repeat any unfamiliar language material. In linguistics languages are said to vary on their foot rhythm and have traditionally been distinguished between stress-timed, syllable-timed and mora-timed languages. These different rhythmic components have been considered in the MULT/ APs test design and stress-timed, syllable-timed and mora-timed languages have been included in pure conditions in the standard (long) version of the MULT/ APs. At the other extreme, languages with strong tonal components have been included in the test design as pure condition to isolate whether musicians seem to be benefited in discriminating tone languages as well.