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Sample records for non-musicians behaviorally musicians

  1. Behavioral and neural correlates of executive functioning in musicians and non-musicians.

    Science.gov (United States)

    Zuk, Jennifer; Benjamin, Christopher; Kenyon, Arnold; Gaab, Nadine

    2014-01-01

    Executive functions (EF) are cognitive capacities that allow for planned, controlled behavior and strongly correlate with academic abilities. Several extracurricular activities have been shown to improve EF, however, the relationship between musical training and EF remains unclear due to methodological limitations in previous studies. To explore this further, two experiments were performed; one with 30 adults with and without musical training and one with 27 musically trained and untrained children (matched for general cognitive abilities and socioeconomic variables) with a standardized EF battery. Furthermore, the neural correlates of EF skills in musically trained and untrained children were investigated using fMRI. Adult musicians compared to non-musicians showed enhanced performance on measures of cognitive flexibility, working memory, and verbal fluency. Musically trained children showed enhanced performance on measures of verbal fluency and processing speed, and significantly greater activation in pre-SMA/SMA and right VLPFC during rule representation and task-switching compared to musically untrained children. Overall, musicians show enhanced performance on several constructs of EF, and musically trained children further show heightened brain activation in traditional EF regions during task-switching. These results support the working hypothesis that musical training may promote the development and maintenance of certain EF skills, which could mediate the previously reported links between musical training and enhanced cognitive skills and academic achievement.

  2. Behavioral and neural correlates of executive functioning in musicians and non-musicians.

    Directory of Open Access Journals (Sweden)

    Jennifer Zuk

    Full Text Available Executive functions (EF are cognitive capacities that allow for planned, controlled behavior and strongly correlate with academic abilities. Several extracurricular activities have been shown to improve EF, however, the relationship between musical training and EF remains unclear due to methodological limitations in previous studies. To explore this further, two experiments were performed; one with 30 adults with and without musical training and one with 27 musically trained and untrained children (matched for general cognitive abilities and socioeconomic variables with a standardized EF battery. Furthermore, the neural correlates of EF skills in musically trained and untrained children were investigated using fMRI. Adult musicians compared to non-musicians showed enhanced performance on measures of cognitive flexibility, working memory, and verbal fluency. Musically trained children showed enhanced performance on measures of verbal fluency and processing speed, and significantly greater activation in pre-SMA/SMA and right VLPFC during rule representation and task-switching compared to musically untrained children. Overall, musicians show enhanced performance on several constructs of EF, and musically trained children further show heightened brain activation in traditional EF regions during task-switching. These results support the working hypothesis that musical training may promote the development and maintenance of certain EF skills, which could mediate the previously reported links between musical training and enhanced cognitive skills and academic achievement.

  3. Relationships between behavior, brainstem and cortical encoding of seen and heard speech in musicians and non-musicians.

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    Musacchia, Gabriella; Strait, Dana; Kraus, Nina

    2008-07-01

    Musicians have a variety of perceptual and cortical specializations compared to non-musicians. Recent studies have shown that potentials evoked from primarily brainstem structures are enhanced in musicians, compared to non-musicians. Specifically, musicians have more robust representations of pitch periodicity and faster neural timing to sound onset when listening to sounds or both listening to and viewing a speaker. However, it is not known whether musician-related enhancements at the subcortical level are correlated with specializations in the cortex. Does musical training shape the auditory system in a coordinated manner or in disparate ways at cortical and subcortical levels? To answer this question, we recorded simultaneous brainstem and cortical evoked responses in musician and non-musician subjects. Brainstem response periodicity was related to early cortical response timing across all subjects, and this relationship was stronger in musicians. Peaks of the brainstem response evoked by sound onset and timbre cues were also related to cortical timing. Neurophysiological measures at both levels correlated with musical skill scores across all subjects. In addition, brainstem and cortical measures correlated with the age musicians began their training and the years of musical practice. Taken together, these data imply that neural representations of pitch, timing and timbre cues and cortical response timing are shaped in a coordinated manner, and indicate corticofugal modulation of subcortical afferent circuitry.

  4. Pitch Discrimination in Musicians and Non-Musicians: Effects of Harmonic Resolvability and Processing Effort

    DEFF Research Database (Denmark)

    Bianchi, Federica; Santurette, Sébastien; Wendt, Dorothea

    2016-01-01

    Musicians typically show enhanced pitch discrimination abilities compared to non-musicians. The present study investigated this perceptual enhancement behaviorally and objectively for resolved and unresolved complex tones to clarify whether the enhanced performance in musicians can be ascribed to...

  5. Temporal sequencing abilities in musicians violinists and non-musicians

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    Nascimento, Franklin Martins

    2010-06-01

    Full Text Available Introduction: The ability of temporal sequencing refers to the processing of two or more auditory stimuli in order of occurrence in time. Objective: To compare the skill of sequencing between musicians and non-musicians violinists from the frequency pattern test (FPT. Method: The prospective, constituted a group of 20 violinists and musicians non-musicians 20 participants, half matched for age and education, all males who underwent audiometric assessment and WPPT. Results: Comparing the performance in TFP between the groups was found statistically significant for the group of musicians in both ears, (p = 0.003 for the right ear (RE and (p = 0.002 for the left ear (OE. The results of the PPT were correlated with the average frequencies, three-tone average and high frequencies mean obtaining a statistically significant only for OD being (p = 0.0047 for low frequencies, (p = 0.011 for average and tritonal (p = 0.02 for the average frequencies. The comparative analysis between the ears, the only group statistically significant variable was the mean of frequencies in the group of musicians (p <0.001. Conclusion: The performance of the group of musicians in the TPF group was superior to non-musicians. Highlights the relevance of the auditory thresholds for low frequencies, acute tritonal average performance of TPF in OD.

  6. Pitch discrimination: are professional musicians better than non-musicians?

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    Kishon-Rabin, L; Amir, O; Vexler, Y; Zaltz, Y

    2001-01-01

    Musicians are typically considered to exhibit exceptional auditory skills. Only few studies, however, have substantiated this in basic psychoacoustic tasks. The purpose of the present investigation was to expand our knowledge on basic auditory abilities of musicians compared to non-musicians. Specific goals were: (1) to compare frequency discrimination thresholds (difference limen for frequency [DLF]) of non-musical pure tones in controlled groups of professional musicians and non-musicians; (2) to relate DLF performance to musical background; and (3) to compare DLF thresholds obtained with two threshold estimation procedures: 2- and 3- interval forced choice procedures (2IFC and 3IFC). Subjects were 16 professional musicians and 14 non-musicians. DLFs were obtained for three frequencies (0.25, 1 and 1.5 kHz) using the 3IFC adaptive procedure, and for one frequency (1 kHz) also using the 2IFC. Three threshold estimates were obtained for each frequency, procedure and subject. The results of the present study support five major findings: (a) mean DLFs for musicians were approximately half the values of the non-musicians; (b) significant learning for both groups during the three threshold estimations; (c) classical musicians performed better than those with contemporary musical background; (d) performance was influenced by years of musical experience; and (e) both groups showed better DLF in a 2IFC paradigm compared to the 3IFC. These data highlight the importance of short-term training on an auditory task, auditory memory and factors related to musical background (such as musical genre and years of experience) on auditory performance.

  7. Cortical pitch representations of complex tones in musicians and non-musicians

    OpenAIRE

    Bianchi, Federica; Hjortkjær, Jens; Santurette, Sébastien; Siebner, Hartwig; Zatorre, Robert; Dau, Torsten

    2015-01-01

    Musicians typically show enhanced pitch-discrimination ability compared to non-musicians, consistent with the fact that musicians are more sensitive to some acoustic features critical for both speech and music processing. However, it is still unclear which mechanisms underlie this perceptual enhancement. In a previous behavioral study, musicians showed an increased pitch-discrimination performance for both resolved and unresolved complex tones suggesting an enhanced neural representation of p...

  8. Character Strengths Profiles of Musicians and Non-Musicians

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    Angelika Güsewell

    2015-06-01

    Full Text Available In the 1980s and 1990s a series of studies investigated musicians’ personalities using Cattell’s 16 personality factors, Eysenck’s PEN super factors, and Costa and McCrae’s Big Five. The findings hinted at some traits most musicians seemed to share, and highlighted differences between the personality traits of brass and string players. However, results were inconclusive and sometimes contradictory. The main aim of this study was to further investigate the topic using novel theoretical frameworks: Peterson and Seligman’s (2004 VIA classification, and Güsewell and Ruch’s (2012 responsiveness to the beautiful and good model. The character strengths and responsiveness to the beautiful and good profiles of classical and non-classical (i.e. jazz, rock, and pop professional musicians, amateur musicians, and non-musicians were compared. In total, 324 participants equally distributed among these three subgroups completed the Values in Action Inventory of Strengths (VIA-IS; Peterson, Park, & Seligman, 2005, the Engagement with Beauty Scale (EBS; Diessner, Solom, Frost, Parsons, & Davidson, 2008, and the Appreciation of Beauty and Excellence Test (ABET; Güsewell & Ruch, 2012. Professional musicians scored significantly higher than non-musicians on self-regulation, appreciation of beauty and excellence, and responsiveness to artistic beauty; they scored significantly lower than amateurs on judgement and perspective, and lower than both amateurs and non-musicians on teamwork, fairness, and leadership. Professional classical musicians scored significantly higher than professional non-classical musicians on prudence. The latter, in turn, displayed significantly higher scores on creativity, bravery, and honesty. The two groups did not differ with respect to any of the responsiveness dimensions.

  9. Cortical pitch representations of complex tones in musicians and non-musicians

    DEFF Research Database (Denmark)

    Bianchi, Federica; Hjortkjær, Jens; Santurette, Sébastien

    Musicians typically show enhanced pitch-discrimination ability compared to non-musicians, consistent with the fact that musicians are more sensitive to some acoustic features critical for both speech and music processing. However, it is still unclear which mechanisms underlie this perceptual...... enhancement. In a previous behavioral study, musicians showed an increased pitch-discrimination performance for both resolved and unresolved complex tones suggesting an enhanced neural representation of pitch at central stages of the auditory system. The aim of this study was to clarify whether musicians show...... (i) differential neural activation in response to complex tones as compared to non-musicians and/or (ii) finer fundamental frequency (F0) representation in the auditory cortex. Assuming that the right auditory cortex is specialized in processing fine spectral changes, we hypothesized that an enhanced...

  10. Visual memory in musicians and non-musicians

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    Rodrigues, Ana Carolina; Loureiro, Maurício; Caramelli, Paulo

    2014-01-01

    Many investigations have reported structural, functional, and cognitive changes in the brains of musicians, which occur as a result of many years of musical practice. We aimed to investigate if intensive, long-term musical practice is associated with improved visual memory ability. Musicians and non-musicians, who were comparable in age, gender, and education, were submitted to a visual memory test. The test consisted of the presentation of four sets of stimuli, each one containing eight figures to be memorized. Each set was followed by individual figures and the subject was required to indicate if each figure was or was not present in the memorized set, by pressing the corresponding keys. We divided the test in two parts, in which the stimuli had greater or reduced semantic coding. Overall, musicians showed better performance on reaction times, but not on accuracy. An additional analysis revealed no significant interaction between group and any part of the test in the prediction of the outcomes. When simple reaction time was included as covariate, no significant difference between groups was found on reaction times. In the group of musicians, we found some significant correlations between variables related to musical practice and performance in the visual memory test. In summary, our data provide no evidence of enhanced visual memory ability in musicians, since there was no difference in accuracy between groups. Our results suggest that performance of musicians in the visual memory test may be associated with better sensorimotor integration, since although they have presented shorter reaction times, such effect disappeared when taken in consideration the simple reaction time test. However, given existing evidence of associations between simple reaction time and cognitive function, their performance in the visual memory test could also be related to enhanced visual attention ability, as has been suggested by previous studies, but this hypothesis deserves more

  11. Visual memory in musicians and non-musicians.

    Science.gov (United States)

    Rodrigues, Ana Carolina; Loureiro, Maurício; Caramelli, Paulo

    2014-01-01

    Many investigations have reported structural, functional, and cognitive changes in the brains of musicians, which occur as a result of many years of musical practice. We aimed to investigate if intensive, long-term musical practice is associated with improved visual memory ability. Musicians and non-musicians, who were comparable in age, gender, and education, were submitted to a visual memory test. The test consisted of the presentation of four sets of stimuli, each one containing eight figures to be memorized. Each set was followed by individual figures and the subject was required to indicate if each figure was or was not present in the memorized set, by pressing the corresponding keys. We divided the test in two parts, in which the stimuli had greater or reduced semantic coding. Overall, musicians showed better performance on reaction times, but not on accuracy. An additional analysis revealed no significant interaction between group and any part of the test in the prediction of the outcomes. When simple reaction time was included as covariate, no significant difference between groups was found on reaction times. In the group of musicians, we found some significant correlations between variables related to musical practice and performance in the visual memory test. In summary, our data provide no evidence of enhanced visual memory ability in musicians, since there was no difference in accuracy between groups. Our results suggest that performance of musicians in the visual memory test may be associated with better sensorimotor integration, since although they have presented shorter reaction times, such effect disappeared when taken in consideration the simple reaction time test. However, given existing evidence of associations between simple reaction time and cognitive function, their performance in the visual memory test could also be related to enhanced visual attention ability, as has been suggested by previous studies, but this hypothesis deserves more

  12. Cortical inhibition effect in musicians and non-musicians using P300 with and without contralateral stimulation.

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    Rabelo, Camila Maia; Neves-Lobo, Ivone Ferreira; Rocha-Muniz, Caroline Nunes; Ubiali, Thalita; Schochat, Eliane

    2015-01-01

    Musicians have more robust and efficient neural responses in the cortical and sub-cortical regions, demonstrating that musical experience benefits the processing of both non-linguistic and linguistic stimuli. This study aimed to verify P300's latency and amplitude behavioral using contralateral stimulation in musicians and non-musicians. This was a case-control study. Subjects were divided in two groups: musicians, comprising 30 professional musicians, and non-musicians, comprising 25 subjects without musical experience. The present study showed that the musicians had lower latencies and higher amplitudes than the non-musicians in the P300 without contralateral noise. For the P300 amplitude values, the difference between groups persisted, and the musicians presented significantly higher amplitude values compared with the non-musicians; additionally, the analysis of the noise effect on the P300 response showed that the latency values were significantly increased in the musicians. The central auditory nervous system of musicians presents peculiar characteristics of electrophysiological responses probably due to the plasticity imposed by musical practice. Copyright © 2014 Associação Brasileira de Otorrinolaringologia e Cirurgia Cérvico-Facial. Published by Elsevier Editora Ltda. All rights reserved.

  13. Comparison of Gap in Noise Test Results in Musicians and Non-Musician Controls

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    Ghassem Mohamadkhani; Mohammad Hossein Nilforoushkhoshk; Ali Zadeh Mohammadi; Soghrat Faghihzadeh; Mahsa Sepehrnejhad

    2011-01-01

    Background and Aim: Main feature of auditory processing abilities is temporal processing including temporal resolution, temporal ordering, temporal integration and temporal masking. Many studies have shown the superiority of musicians in temporal discrimination over non-musicians. In this study we compared temporal processing in musicians and non-musician controls via Gap in Noise (GIN) test.Methods: This cohort study was conducted on 24 musicians with mean age of 25.3 years and 24 normal hea...

  14. Absolute Memory for Tempo in Musicians and Non-Musicians

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    Brandimonte, Maria A.; Bruno, Nicola

    2016-01-01

    The ability to remember tempo (the perceived frequency of musical pulse) without external references may be defined, by analogy with the notion of absolute pitch, as absolute tempo (AT). Anecdotal reports and sparse empirical evidence suggest that at least some individuals possess AT. However, to our knowledge, no systematic assessments of AT have been performed using laboratory tasks comparable to those assessing absolute pitch. In the present study, we operationalize AT as the ability to identify and reproduce tempo in the absence of rhythmic or melodic frames of reference and assess these abilities in musically trained and untrained participants. We asked 15 musicians and 15 non-musicians to listen to a seven-step `tempo scale’ of metronome beats, each associated to a numerical label, and then to perform two memory tasks. In the first task, participants heard one of the tempi and attempted to report the correct label (identification task), in the second, they saw one label and attempted to tap the correct tempo (production task). A musical and visual excerpt was presented between successive trials as a distractor to prevent participants from using previous tempi as anchors. Thus, participants needed to encode tempo information with the corresponding label, store the information, and recall it to give the response. We found that more than half were able to perform above chance in at least one of the tasks, and that musical training differentiated between participants in identification, but not in production. These results suggest that AT is relatively wide-spread, relatively independent of musical training in tempo production, but further refined by training in tempo identification. We propose that at least in production, the underlying motor representations are related to tactus, a basic internal rhythmic period that may provide a body-based reference for encoding tempo. PMID:27760198

  15. Auditory and visual interhemispheric communication in musicians and non-musicians.

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    Woelfle, Rebecca; Grahn, Jessica A

    2013-01-01

    The corpus callosum (CC) is a brain structure composed of axon fibres linking the right and left hemispheres. Musical training is associated with larger midsagittal cross-sectional area of the CC, suggesting that interhemispheric communication may be faster in musicians. Here we compared interhemispheric transmission times (ITTs) for musicians and non-musicians. ITT was measured by comparing simple reaction times to stimuli presented to the same hemisphere that controlled a button-press response (uncrossed reaction time), or to the contralateral hemisphere (crossed reaction time). Both visual and auditory stimuli were tested. We predicted that the crossed-uncrossed difference (CUD) for musicians would be smaller than for non-musicians as a result of faster interhemispheric transfer times. We did not expect a difference in CUDs between the visual and auditory modalities for either musicians or non-musicians, as previous work indicates that interhemispheric transfer may happen through the genu of the CC, which contains motor fibres rather than sensory fibres. There were no significant differences in CUDs between musicians and non-musicians. However, auditory CUDs were significantly smaller than visual CUDs. Although this auditory-visual difference was larger in musicians than non-musicians, the interaction between modality and musical training was not significant. Therefore, although musical training does not significantly affect ITT, the crossing of auditory information between hemispheres appears to be faster than visual information, perhaps because subcortical pathways play a greater role for auditory interhemispheric transfer.

  16. Comparison of Gap in Noise Test Results in Musicians and Non-Musician Controls

    Directory of Open Access Journals (Sweden)

    Ghassem Mohamadkhani

    2011-12-01

    Full Text Available Background and Aim: Main feature of auditory processing abilities is temporal processing including temporal resolution, temporal ordering, temporal integration and temporal masking. Many studies have shown the superiority of musicians in temporal discrimination over non-musicians. In this study we compared temporal processing in musicians and non-musician controls via Gap in Noise (GIN test.Methods: This cohort study was conducted on 24 musicians with mean age of 25.3 years and 24 normal hearing non-musician controls with mean age of 24.5 years, in Faculty of Rehabilitation of Tehran University of Medical Sciences. GIN test results (approximate threshold and percent of corrected answers obtained and analyzed by Mann-Whitney non-parametric statistical test.Results: There was significant difference between approximate threshold and percent of corrected answers between musicians and non-musician group (p0.05.Conclusion: the lower approximate threshold and the more corrected answers in GIN test by musician group indicate rapid auditory temporal processing ability of this group rather than non-musicians group. This might be related to effects of musical training on central auditory processing.

  17. Neural Entrainment to Polyrhythms: A Comparison of Musicians and Non-musicians.

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    Stupacher, Jan; Wood, Guilherme; Witte, Matthias

    2017-01-01

    Music can be thought of as a dynamic path over time. In most cases, the rhythmic structure of this path, such as specific sequences of strong and weak beats or recurring patterns, allows us to predict what and particularly when sounds are going to happen. Without this ability we would not be able to entrain body movements to music, like we do when we dance. By combining EEG and behavioral measures, the current study provides evidence illustrating the importance of ongoing neural oscillations at beat-related frequencies-i.e., neural entrainment-for tracking and predicting musical rhythms. Participants (13 musicians and 13 non-musicians) listened to drum rhythms that switched from a quadruple rhythm to a 3-over-4 polyrhythm. After a silent period of ~2-3 s, participants had to decide whether a target stimulus was presented on time with the triple beat of the polyrhythm, too early, or too late. Results showed that neural oscillations reflected the rhythmic structure of both the simple quadruple rhythm and the more complex polyrhythm with no differences between musicians and non-musicians. During silent periods, the observation of time-frequency plots and more commonly used frequency spectra analyses suggest that beat-related neural oscillations were more pronounced in musicians compared to non-musicians. Neural oscillations during silent periods are not driven by an external input and therefore are thought to reflect top-down controlled endogenous neural entrainment. The functional relevance of endogenous neural entrainment was demonstrated by a positive correlation between the amplitude of task-relevant neural oscillations during silent periods and the number of correctly identified target stimuli. In sum, our findings add to the evidence supporting the neural resonance theory of pulse and meter. Furthermore, they indicate that beat-related top-down controlled neural oscillations can exist without external stimulation and suggest that those endogenous oscillations

  18. Production of Mandarin tone contrasts by musicians and non-musicians

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    Gottfried, Terry L.; Ouyang, Grace Yin-Hwei

    2005-09-01

    Previous research has shown that native speakers of American English who are musicians perform better than non-musicians when identifying and producing the four phonemic tones of Mandarin. The present study corroborates these findings and analyzes acoustic properties of non-natives' tonal imitations. Listeners imitated Mandarin two-syllable word phrases that varied the vowel (/li/, /la/, /lu/) and tone (high-level, mid-rising, low-dipping, high-falling) of the first syllable. Four native Mandarin speakers rated the musicians, on average, to be better in their imitation of Mandarin tone 4 (high-falling) than non-musicians. There were no significant differences between groups in how they were rated on the other three tones. Acoustical analyses revealed that non-natives failed to match native speakers both in differences in initial F0 and in F0 contour (change from initial to final F0) across tones. Imitations by musicians did not show significant acoustic differences from non-musicians, except for tone 4, where musicians' imitations showed a significant decrease in F0 from initial to final portions of the syllable; the decrease in F0 for non-musicians was smaller and not significant. Creaky voice (often present in natives' tone 3 and 4) was observed in many non-native imitations, but was not restricted to tones 3 and 4.

  19. The appropriate or optimal tempo for music: a comparison between non-musicians and musicians.

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    Quinn, Sandra; Watt, Roger

    2013-01-01

    Musicians have enhanced skills that result from intensive training. Whilst musicians show enhanced auditory capabilities (Kraus and Chandrasekaran, 2010 Nature Reviews Neuroscience 11 599-605), non-musicians demonstrate an ability to perform musical tasks (eg listening, dancing, and singing). Non-musicians can also undertake tasks that would normally be reserved for musicians. For example, non-musicians can perceive optimal tempi (ie an appropriate speed) for music (Quinn and Watt, 2006 Perception 35 267-280; Quinn and Watt, 2012 Perception 41 236-238; Quinn et al, 2012 Journal of the Acoustical Society of America 131 3595-3598). This suggests that formalised musical training is not a prerequisite for developing a sense of the tempo that sounds right for a melody. The current studies examine this issue and compare the tempo that musicians choose to perform unfamiliar melodies with the tempo that non-musicians perceive to be optimal for the same melodies. The results demonstrate that the perceived optimal tempo is similar to the performed tempo.

  20. Event-related brain potentials to sound omissions differ in musicians and non-musicians.

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    Rüsseler, J; Altenmüller, E; Nager, W; Kohlmetz, C; Münte, T F

    2001-07-27

    The mismatch negativity (MMN) component of the auditory event-related brain potential reflects the automatic detection of sound change. MMN to occasionally omitted sounds in a tone series can be used to investigate the time course of temporal integration in the acoustic system. We used MMN to study differences in temporal integration in musicians and non-musicians. In experiment 1, occasionally omitted 'sounds' in an otherwise regular tone series evoked a reliable MMN at interstimulus intervals (SOAs) of 100, 120, 180 and 220 ms in musicians. In non-musicians, MMN was smaller/absent in the 180 and 220 ms SOAs, respectively. In experiment 2, deviance of a tone was induced by presenting tones at a shorter SOA (100 or 130 ms) compared to the standard stimulus (150 ms). Musicians showed a reliable MMN for both deviant SOAs whereas non-musicians showed an MMN only for tones presented 50 ms prior to a standard tone (SOA 100 ms). These results indicate that the temporal window of integration seems to be longer and more precise in musicians compared to musical laypersons and that long-term training is reflected in changes in neural activity.

  1. Pre-attentive auditory discrimination skill in Indian classical vocal musicians and non-musicians

    Institute of Scientific and Technical Information of China (English)

    Himanshu Kumar Sanju; Prawin Kumar

    2016-01-01

    Objective:To test for pre-attentive auditory discrimination skills in Indian classical vocal musicians and non-musicians. Design:Mismatch negativity (MMN) was recorded to test for pre-attentive auditory discrimination skills with a pair of stimuli of/1000 Hz/and/1100 Hz/, with/1000 Hz/as the frequent stimulus and/1100 Hz/as the infrequent stimulus. Onset, offset and peak latencies were the considered latency parameters, whereas peak amplitude and area under the curve were considered for amplitude analysis. Study sample:Exactly 50 participants, out of which the experimental group had 25 adult Indian classical vocal musicians and 25 age-matched non-musicians served as the control group, were included in the study. Experimental group participants had a minimum professional music experience in Indian classic vocal music of 10 years. However, control group participants did not have any formal training in music. Results:Descriptive statistics showed better waveform morphology in the experimental group as compared to the control. MANOVA showed significantly better onset latency, peak amplitude and area under the curve in the experimental group but no significant difference in the offset and peak latencies between the two groups. Conclusion:The present study probably points towards the enhancement of pre-attentive auditory discrimination skills in Indian classical vocal musicians compared to non-musicians. It indicates that Indian classical musical training enhances pre-attentive auditory discrimination skills in musicians, leading to higher peak amplitude and a greater area under the curve compared to non-musicians. Copyright © 2016, PLA General Hospital Department of Otolaryngology Head and Neck Surgery. Production and hosting by Elsevier (Singapore) Pte Ltd. This is an open access article under the CC BY-NC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/).

  2. Musicians and non-musicians are equally adept at perceiving masked speech

    OpenAIRE

    Boebinger, Dana; Evans, Samuel; Scott, Sophie K.; Rosen, Stuart; Lima, César F.; Manly, Tom

    2015-01-01

    There is much interest in the idea that musicians perform better than non-musicians in understanding speech in background noise. Research in this area has often used energetic maskers, which have their effects primarily at the auditory periphery. However, masking interference can also occur at more central auditory levels, known as informational masking. This experiment extends existing research by using multiple maskers that vary in their informational content and similarity to speech, in or...

  3. Executive Function, Visual Attention and the Cocktail Party Problem in Musicians and Non-Musicians

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    Clayton, Kameron K.; Swaminathan, Jayaganesh; Yazdanbakhsh, Arash; Zuk, Jennifer; Patel, Aniruddh D.; Kidd, Gerald

    2016-01-01

    The goal of this study was to investigate how cognitive factors influence performance in a multi-talker, “cocktail-party” like environment in musicians and non-musicians. This was achieved by relating performance in a spatial hearing task to cognitive processing abilities assessed using measures of executive function (EF) and visual attention in musicians and non-musicians. For the spatial hearing task, a speech target was presented simultaneously with two intelligible speech maskers that were either colocated with the target (0° azimuth) or were symmetrically separated from the target in azimuth (at ±15°). EF assessment included measures of cognitive flexibility, inhibition control and auditory working memory. Selective attention was assessed in the visual domain using a multiple object tracking task (MOT). For the MOT task, the observers were required to track target dots (n = 1,2,3,4,5) in the presence of interfering distractor dots. Musicians performed significantly better than non-musicians in the spatial hearing task. For the EF measures, musicians showed better performance on measures of auditory working memory compared to non-musicians. Furthermore, across all individuals, a significant correlation was observed between performance on the spatial hearing task and measures of auditory working memory. This result suggests that individual differences in performance in a cocktail party-like environment may depend in part on cognitive factors such as auditory working memory. Performance in the MOT task did not differ between groups. However, across all individuals, a significant correlation was found between performance in the MOT and spatial hearing tasks. A stepwise multiple regression analysis revealed that musicianship and performance on the MOT task significantly predicted performance on the spatial hearing task. Overall, these findings confirm the relationship between musicianship and cognitive factors including domain-general selective attention and

  4. Musicians and non-musicians are equally adept at perceiving masked speech.

    Science.gov (United States)

    Boebinger, Dana; Evans, Samuel; Rosen, Stuart; Lima, César F; Manly, Tom; Scott, Sophie K

    2015-01-01

    There is much interest in the idea that musicians perform better than non-musicians in understanding speech in background noise. Research in this area has often used energetic maskers, which have their effects primarily at the auditory periphery. However, masking interference can also occur at more central auditory levels, known as informational masking. This experiment extends existing research by using multiple maskers that vary in their informational content and similarity to speech, in order to examine differences in perception of masked speech between trained musicians (n = 25) and non-musicians (n = 25). Although musicians outperformed non-musicians on a measure of frequency discrimination, they showed no advantage in perceiving masked speech. Further analysis revealed that non-verbal IQ, rather than musicianship, significantly predicted speech reception thresholds in noise. The results strongly suggest that the contribution of general cognitive abilities needs to be taken into account in any investigations of individual variability for perceiving speech in noise.

  5. Perception of Segment Boundaries in Musicians and Non-Musicians

    DEFF Research Database (Denmark)

    Hartmann, Martin; Toiviainen, Petri; Lartillot, Olivier

    2014-01-01

    not pinpoint the effects of data collection methods and of musicianship on boundary perception. Our study investigated the differences between segmentation tasks performed by musicians in real-time and non real-time listening contexts. Further, we assessed the effect of musical training on the perception...... at a time-scale of 10 seconds after comparing segmentation data at different resolutions. Further, musicians located significantly more boundaries in the non real-time task than in the real-time task for 5 out of 6 examples. We found a clear effect of the task but no effects of musical training upon......In the act of music listening, many people break down musical pieces into chunks such as verses and choruses. Recent work on music segmentation has shown that highly agreed segment boundaries are also considered strong and are described by using multiple cues. However, these studies could...

  6. Differences between musicians and non-musicians in neuro-affective processing of sadness and fear expressed in music.

    Science.gov (United States)

    Park, Mona; Gutyrchik, Evgeny; Bao, Yan; Zaytseva, Yuliya; Carl, Petra; Welker, Lorenz; Pöppel, Ernst; Reiser, Maximilian; Blautzik, Janusch; Meindl, Thomas

    2014-04-30

    Music is known to convey and evoke emotional states. Musical training has been argued to lead to changes in neural architecture and enhanced processing of emotions. It is not clear, however, whether musical training is also associated with changes in behavioral and neural responses to musically conveyed discrete emotions. Using functional magnetic resonance imaging, we investigated the responses to three musically conveyed emotions (happiness, sadness, fear) in a group of musicians and a group of non-musicians. We find that musicians rate sadness and fear as significantly more arousing than non-musicians, and that musical training is associated with specific neural activations: In response to sadness expressed in music, musicians show activation increases in the right prefrontal cortex, specifically in the superior and middle frontal gyri. In response to fear, musicians show activation increases in the right parietal cortex, specifically in the supramarginal and inferior parietal gyri. No specific activations were observed in response to happiness. Our results highlight the strong association between musical training and altered processing of "negative" emotions on both the behavioral and on the neural level.

  7. A comparative study on the prevalence of musculoskeletal complaints among musicians and non-musicians

    Directory of Open Access Journals (Sweden)

    Kok Laura M

    2013-01-01

    Full Text Available Abstract Background Research comparing the frequency of musculoskeletal complaints between musicians and non-musicians is scarce. The aim of this study was to compare the prevalence of musculoskeletal complaints between musicians and non-musicians. Methods A cross-sectional study in 3215 students from three music academies (n = 345 and one medical school (n = 2870 in The Netherlands was performed, using an electronic questionnaire. The questionnaire included socio-demographic characteristics, use of music instruments and the occurrence of musculoskeletal complaints in six body regions. Questions were related to musculoskeletal complaints over the last twelve months and at the time of the questionnaire. Chi-square, t-tests and Kruskal-Wallis tests were used for comparison between the two groups. The association between musculoskeletal complaints and possible predictors was analyzed using a logistic and Poisson regression. Results Eighty-seven music academy students and 503 medical students returned the questionnaire, of which respectively eighty-three and 494 were included in the study. Seventy-four music academy students (89.2% reported one or more musculoskeletal complaints during the last twelve months, compared to 384 (77.9% medical students (p = 0.019. Moreover 52 music academy students (62.7% and 211 medical students (42.7% reported current musculoskeletal complaints (p = 0.001. The Odds ratio (OR for the development of musculoskeletal complaints during the last twelve months in music academy students versus medical students is 2.33 (95% CI 1.61–3.05, p = 0.022. The OR at the time of the questionnaire is 2.25 (95% CI 1.77–2.73, p = 0.001. The total number of complaints have been modeled by employing a Poisson regression; the results show that non-musicians have on average less complaints than musicians (p = 0.01. The adjusted means are 2.90 (95% CI 2.18–3.63 and 1.83 (95% CI 1.63–2.04 respectively for

  8. The Effect of Instruction on Musicians' and Non-Musicians' Aesthetic Response to Brazilian and African Music

    Science.gov (United States)

    DeKaney, Elisa M.; Coggiola, John C.; Macedo, Elizeu C.

    2010-01-01

    This study examined aesthetic response to Brazilian and African music experienced with and without instruction received prior to the listening session. In addition, there was an attempt to determine if there was a difference in response between musicians (music therapy majors) and non-musicians (psychology majors). The participants (N = 44) were…

  9. Mirror neuron activation of musicians and non-musicians in response to motion captured piano performances.

    Science.gov (United States)

    Hou, Jiancheng; Rajmohan, Ravi; Fang, Dan; Kashfi, Karl; Al-Khalil, Kareem; Yang, James; Westney, William; Grund, Cynthia M; O'Boyle, Michael W

    2017-07-01

    Mirror neurons (MNs) activate when performing an action and when an observer witnesses the same action performed by another individual. Functional magnetic resonance imaging (fMRI) and presentation of motion captured piano performances were used to identify differences in MN activation for musicians/non-musicians when viewing piano pieces played in a "Correct" mode (i.e., emphasis on technical correctness) or an "Enjoyment" mode (i.e., simply told to "enjoy" playing the piece). Results showed greater MN activation in a variety of brain regions for musicians, with these differences more pronounced in the "Enjoyment" mode. Our findings suggest that activation of MNs is not only initiated by the imagined action of an observed movement, but such activation is modulated by the level of musical expertise and knowledge of associated motor movements that the observer brings to the viewing situation. Enhanced MN activation in musicians may stem from imagining themselves actually playing the observed piece. Copyright © 2017 Elsevier Inc. All rights reserved.

  10. The effect of visual cues on auditory stream segregation in musicians and non-musicians.

    Directory of Open Access Journals (Sweden)

    Jeremy Marozeau

    Full Text Available BACKGROUND: The ability to separate two interleaved melodies is an important factor in music appreciation. This ability is greatly reduced in people with hearing impairment, contributing to difficulties in music appreciation. The aim of this study was to assess whether visual cues, musical training or musical context could have an effect on this ability, and potentially improve music appreciation for the hearing impaired. METHODS: Musicians (N = 18 and non-musicians (N = 19 were asked to rate the difficulty of segregating a four-note repeating melody from interleaved random distracter notes. Visual cues were provided on half the blocks, and two musical contexts were tested, with the overlap between melody and distracter notes either gradually increasing or decreasing. CONCLUSIONS: Visual cues, musical training, and musical context all affected the difficulty of extracting the melody from a background of interleaved random distracter notes. Visual cues were effective in reducing the difficulty of segregating the melody from distracter notes, even in individuals with no musical training. These results are consistent with theories that indicate an important role for central (top-down processes in auditory streaming mechanisms, and suggest that visual cues may help the hearing-impaired enjoy music.

  11. Training of tonal similarity ratings in Non-Musicians: a “Rapid Learning” approach

    OpenAIRE

    Oechslin, Mathias S.; Läge, Damian; Vitouch, Oliver

    2012-01-01

    Although cognitive music psychology has a long tradition of expert–novice comparisons, experimental training studies are rare. Studies on the learning progress of trained novices in hearing harmonic relationships are still largely lacking. This paper presents a simple training concept using the example of tone/triad similarity ratings, demonstrating the gradual progress of non-musicians compared to musical experts: In a feedback-based “rapid learning” paradigm, participants had to decide for ...

  12. Training of Tonal Similarity Ratings in Non-Musicians: A “Rapid Learning” Approach

    OpenAIRE

    Oechslin, Mathias S.; Läge, Damian; Vitouch, Oliver

    2012-01-01

    Although cognitive music psychology has a long tradition of expert–novice comparisons, experimental training studies are rare. Studies on the learning progress of trained novices in hearing harmonic relationships are still largely lacking. This paper presents a simple training concept using the example of tone/triad similarity ratings, demonstrating the gradual progress of non-musicians compared to musical experts: In a feedback-based “rapid learning” paradigm, participants had to decide for ...

  13. Variations on the theme of musical expertise: cognitive and sensory processing in percussionists, vocalists and non-musicians.

    Science.gov (United States)

    Slater, Jessica; Azem, Andrea; Nicol, Trent; Swedenborg, Britta; Kraus, Nina

    2017-02-08

    Comparisons of musicians and non-musicians have revealed enhanced cognitive and sensory processing in musicians, with longitudinal studies suggesting these enhancements may be due in part to experience-based plasticity. Here, we investigate the impact of primary instrument on the musician signature of expertise by assessing three groups of young adults: percussionists, vocalists, and non-musician controls. We hypothesize that primary instrument engenders selective enhancements reflecting the most salient acoustic features to that instrument, whereas cognitive functions are enhanced regardless of instrument. Consistent with our hypotheses, percussionists show more precise encoding of the fast-changing acoustic features of speech than non-musicians, whereas vocalists have better frequency discrimination and show stronger encoding of speech harmonics than non-musicians. There were no strong advantages to specialization in sight-reading vs. improvisation. These effects represent subtle nuances to the signature since the musician groups do not differ from each other in these measures. Interestingly, percussionists outperform both non-musicians and vocalists in inhibitory control. Follow-up analyses reveal that within the vocalists and non-musicians, better proficiency on an instrument other than voice is correlated with better inhibitory control. Taken together, these outcomes suggest the more extensive engagement of motor systems during instrumental practice may be an important factor for enhancements in inhibitory control, consistent with evidence for overlapping neural circuitry involved in both motor and cognitive control. These findings contribute to the ongoing refinement of the musician signature of expertise and may help to inform the use of music in training and intervention to strengthen cognitive function.

  14. Music listening engages specific cortical regions within the temporal lobes: differences between musicians and non-musicians.

    Science.gov (United States)

    Angulo-Perkins, Arafat; Aubé, William; Peretz, Isabelle; Barrios, Fernando A; Armony, Jorge L; Concha, Luis

    2014-10-01

    Music and speech are two of the most relevant and common sounds in the human environment. Perceiving and processing these two complex acoustical signals rely on a hierarchical functional network distributed throughout several brain regions within and beyond the auditory cortices. Given their similarities, the neural bases for processing these two complex sounds overlap to a certain degree, but particular brain regions may show selectivity for one or the other acoustic category, which we aimed to identify. We examined 53 subjects (28 of them professional musicians) by functional magnetic resonance imaging (fMRI), using a paradigm designed to identify regions showing increased activity in response to different types of musical stimuli, compared to different types of complex sounds, such as speech and non-linguistic vocalizations. We found a region in the anterior portion of the superior temporal gyrus (aSTG) (planum polare) that showed preferential activity in response to musical stimuli and was present in all our subjects, regardless of musical training, and invariant across different musical instruments (violin, piano or synthetic piano). Our data show that this cortical region is preferentially involved in processing musical, as compared to other complex sounds, suggesting a functional role as a second-order relay, possibly integrating acoustic characteristics intrinsic to music (e.g., melody extraction). Moreover, we assessed whether musical experience modulates the response of cortical regions involved in music processing and found evidence of functional differences between musicians and non-musicians during music listening. In particular, bilateral activation of the planum polare was more prevalent, but not exclusive, in musicians than non-musicians, and activation of the right posterior portion of the superior temporal gyrus (planum temporale) differed between groups. Our results provide evidence of functional specialization for music processing in specific

  15. Non-musicians also have a piano in the head: evidence for spatial-musical associations from line bisection tracking.

    Science.gov (United States)

    Hartmann, Matthias

    2017-02-01

    The spatial representation of ordinal sequences (numbers, time, tones) seems to be a fundamental cognitive property. While an automatic association between horizontal space and pitch height (left-low pitch, right-high pitch) is constantly reported in musicians, the evidence for such an association in non-musicians is mixed. In this study, 20 non-musicians performed a line bisection task while listening to irrelevant high- and low-pitched tones and white noise (control condition). While pitch height had no influence on the final bisection point, participants' movement trajectories showed systematic biases: When approaching the line and touching the line for the first time (initial bisection point), the mouse cursor was directed more rightward for high-pitched tones compared to low-pitched tones and noise. These results show that non-musicians also have a subtle but nevertheless automatic association between pitch height and the horizontal space. This suggests that spatial-musical associations do not necessarily depend on constant sensorimotor experiences (as it is the case for musicians) but rather reflect the seemingly inescapable tendency to represent ordinal information on a horizontal line.

  16. Training of tonal similarity ratings in non-musicians: a "rapid learning" approach.

    Science.gov (United States)

    Oechslin, Mathias S; Läge, Damian; Vitouch, Oliver

    2012-01-01

    Although cognitive music psychology has a long tradition of expert-novice comparisons, experimental training studies are rare. Studies on the learning progress of trained novices in hearing harmonic relationships are still largely lacking. This paper presents a simple training concept using the example of tone/triad similarity ratings, demonstrating the gradual progress of non-musicians compared to musical experts: In a feedback-based "rapid learning" paradigm, participants had to decide for single tones and chords whether paired sounds matched each other well. Before and after the training sessions, they provided similarity judgments for a complete set of sound pairs. From these similarity matrices, individual relational sound maps, intended to display mental representations, were calculated by means of non-metric multidimensional scaling (NMDS), and were compared to an expert model through procrustean transformation. Approximately half of the novices showed substantial learning success, with some participants even reaching the level of professional musicians. Results speak for a fundamental ability to quickly train an understanding of harmony, show inter-individual differences in learning success, and demonstrate the suitability of the scaling method used for learning research in music and other domains. Results are discussed in the context of the "giftedness" debate.

  17. Training of Tonal Similarity Ratings in Non-Musicians: A “Rapid Learning” Approach

    Science.gov (United States)

    Oechslin, Mathias S.; Läge, Damian; Vitouch, Oliver

    2012-01-01

    Although cognitive music psychology has a long tradition of expert–novice comparisons, experimental training studies are rare. Studies on the learning progress of trained novices in hearing harmonic relationships are still largely lacking. This paper presents a simple training concept using the example of tone/triad similarity ratings, demonstrating the gradual progress of non-musicians compared to musical experts: In a feedback-based “rapid learning” paradigm, participants had to decide for single tones and chords whether paired sounds matched each other well. Before and after the training sessions, they provided similarity judgments for a complete set of sound pairs. From these similarity matrices, individual relational sound maps, intended to display mental representations, were calculated by means of non-metric multidimensional scaling (NMDS), and were compared to an expert model through procrustean transformation. Approximately half of the novices showed substantial learning success, with some participants even reaching the level of professional musicians. Results speak for a fundamental ability to quickly train an understanding of harmony, show inter-individual differences in learning success, and demonstrate the suitability of the scaling method used for learning research in music and other domains. Results are discussed in the context of the “giftedness” debate. PMID:22629252

  18. Training of tonal similarity ratings in non-musicians: a rapid learning approach

    Directory of Open Access Journals (Sweden)

    Mathias S Oechslin

    2012-05-01

    Full Text Available Although music psychology has a long tradition of expert-novice comparisons, experimental training studies are rare. Studies on the learning progress of trained novices in hearing harmonic relationships are still largely lacking. This paper presents a simple training concept using the example of tone/triad similarity ratings, demonstrating the gradual progress of non-musicians compared to musical experts: In a feedback-based rapid learning paradigm, participants had to decide for single tones and chords whether paired sounds matched each other well. Before and after the training sessions, they provided similarity judgments for a complete set of sound pairs. From these similarity matrices, individual relational sound maps, aiming to map the mental representations, were calculated by means of non-metric multidimensional scaling (NMDS, which were compared to an expert model through procrustean transformation. Approximately half of the novices showed substantial learning success, with some participants even reaching the level of professional musicians. Results speak for a fundamental ability to quickly train an understanding of harmony, show inter-individual differences in learning success, and demonstrate the suitability of the scaling method used for music psychological research. Results are discussed in the context of the giftedness debate.

  19. Instrument specific use-dependent plasticity shapes the anatomical properties of the corpus callosum: A comparison between musicians and non-musicians

    Directory of Open Access Journals (Sweden)

    Henning eVollmann

    2014-07-01

    Full Text Available Long-term musical expertise has been shown to be associated with a number of functional and structural brain changes, making it an attractive model for investigating use-dependent plasticity in humans. Physiological interhemispheric inhibition (IHI as examined by transcranial magnetic stimulation has been shown to be correlated with anatomical properties of the corpus callosum as indexed by fractional anisotropy (FA. However, whether or not IHI or the relationship between IHI and FA in the corpus callosum can be modified by different musical training regimes remains largely unknown. We investigated this question in musicians with different requirements for bimanual finger movements (piano and string players and non-expert controls. IHI values were generally higher in musicians, but differed significantly from non-musicians only in string players. IHI was correlated with FA in the posterior midbody of the corpus callosum across all participants. Interestingly, subsequent analyses revealed that this relationship may indeed be modulated by different musical training regimes. Crucially, while string players had greater IHI than non-musicians and showed a positive structure-function relationship, the amount of IHI in pianists was comparable to that of non-musicians and there was no significant structure-function relationship. Our findings indicate instrument specific use-dependent plasticity in both functional (IHI and structural (FA connectivity of motor related brain regions in musicians.

  20. The role of rhythm in perceiving speech in noise: a comparison of percussionists, vocalists and non-musicians

    OpenAIRE

    Slater, Jessica; Kraus, Nina

    2015-01-01

    The natural rhythms of speech help a listener follow what is being said, especially in noisy conditions. There is increasing evidence for links between rhythm abilities and language skills; however, the role of rhythm-related expertise in perceiving speech in noise is unknown. The present study assesses musical competence (rhythmic and melodic discrimination), speech-in-noise perception and auditory working memory in young adult percussionists, vocalists and non-musicians. Outcomes reveal tha...

  1. The role of rhythm in perceiving speech in noise: a comparison of percussionists, vocalists and non-musicians.

    Science.gov (United States)

    Slater, Jessica; Kraus, Nina

    2016-02-01

    The natural rhythms of speech help a listener follow what is being said, especially in noisy conditions. There is increasing evidence for links between rhythm abilities and language skills; however, the role of rhythm-related expertise in perceiving speech in noise is unknown. The present study assesses musical competence (rhythmic and melodic discrimination), speech-in-noise perception and auditory working memory in young adult percussionists, vocalists and non-musicians. Outcomes reveal that better ability to discriminate rhythms is associated with better sentence-in-noise (but not words-in-noise) perception across all participants. These outcomes suggest that sensitivity to rhythm helps a listener understand unfolding speech patterns in degraded listening conditions, and that observations of a "musician advantage" for speech-in-noise perception may be mediated in part by superior rhythm skills.

  2. Thresholds of Auditory-Motor Coupling Measured with a Simple Task in Musicians and Non-Musicians: Was the Sound Simultaneous to the Key Press?

    Science.gov (United States)

    van Vugt, Floris T.; Tillmann, Barbara

    2014-01-01

    The human brain is able to predict the sensory effects of its actions. But how precise are these predictions? The present research proposes a tool to measure thresholds between a simple action (keystroke) and a resulting sound. On each trial, participants were required to press a key. Upon each keystroke, a woodblock sound was presented. In some trials, the sound came immediately with the downward keystroke; at other times, it was delayed by a varying amount of time. Participants were asked to verbally report whether the sound came immediately or was delayed. Participants' delay detection thresholds (in msec) were measured with a staircase-like procedure. We hypothesised that musicians would have a lower threshold than non-musicians. Comparing pianists and brass players, we furthermore hypothesised that, as a result of a sharper attack of the timbre of their instrument, pianists might have lower thresholds than brass players. Our results show that non-musicians exhibited higher thresholds for delay detection (180±104 ms) than the two groups of musicians (102±65 ms), but there were no differences between pianists and brass players. The variance in delay detection thresholds could be explained by variance in sensorimotor synchronisation capacities as well as variance in a purely auditory temporal irregularity detection measure. This suggests that the brain's capacity to generate temporal predictions of sensory consequences can be decomposed into general temporal prediction capacities together with auditory-motor coupling. These findings indicate that the brain has a relatively large window of integration within which an action and its resulting effect are judged as simultaneous. Furthermore, musical expertise may narrow this window down, potentially due to a more refined temporal prediction. This novel paradigm provides a simple test to estimate the temporal precision of auditory-motor action-effect coupling, and the paradigm can readily be incorporated in studies

  3. Thresholds of auditory-motor coupling measured with a simple task in musicians and non-musicians: was the sound simultaneous to the key press?

    Directory of Open Access Journals (Sweden)

    Floris T van Vugt

    Full Text Available The human brain is able to predict the sensory effects of its actions. But how precise are these predictions? The present research proposes a tool to measure thresholds between a simple action (keystroke and a resulting sound. On each trial, participants were required to press a key. Upon each keystroke, a woodblock sound was presented. In some trials, the sound came immediately with the downward keystroke; at other times, it was delayed by a varying amount of time. Participants were asked to verbally report whether the sound came immediately or was delayed. Participants' delay detection thresholds (in msec were measured with a staircase-like procedure. We hypothesised that musicians would have a lower threshold than non-musicians. Comparing pianists and brass players, we furthermore hypothesised that, as a result of a sharper attack of the timbre of their instrument, pianists might have lower thresholds than brass players. Our results show that non-musicians exhibited higher thresholds for delay detection (180 ± 104 ms than the two groups of musicians (102 ±65 ms, but there were no differences between pianists and brass players. The variance in delay detection thresholds could be explained by variance i n sensorimotor synchronisation capacities as well as variance in a purely auditory temporal irregularity detection measure. This suggests that the brain's capacity to generate temporal predictions of sensory consequences can be decomposed into general temporal prediction capacities together with auditory-motor coupling. These findings indicate that the brain has a relatively large window of integration within which an action and its resulting effect are judged as simultaneous. Furthermore, musical expertise may narrow this window down, potentially due to a more refined temporal prediction. This novel paradigm provides a simple test to estimate the temporal precision of auditory-motor action-effect coupling, and the paradigm can readily be

  4. Music-space associations are grounded, embodied and situated: examination of cello experts and non-musicians in a standard tone discrimination task.

    Science.gov (United States)

    Lachmair, Martin; Cress, Ulrike; Fissler, Tim; Kurek, Simone; Leininger, Jan; Nuerk, Hans-Christoph

    2017-07-25

    In recent research, a systematic association of musical pitch with space has been described in the so-called Spatial-Pitch-Association-of-Response Codes-effect (SPARC). Typically, high pitch is associated with upper/right and low pitch with lower/left space. However, a theoretical classification of these associations regarding their experiential sources is difficult. Therefore, we applied a theoretical framework of numerical cognition classifying similar Space-Associated Response Codes (SARC) effects according to their groundedness, embodiedness and situatedness. We tested these attributes with a group of non-musicians and with a group of highly skilled cello players playing high tones with lower hand positions (i.e., reverse SPARC alignment) in a standard SPARC context of a piano and a reversed SPARC context of a cello. The results showed that SPARC is grounded, in general. However, for cello player SPARC is also situated and embodied. We conclude that groundedness, embodiedness and situatedness provide general characteristics of mapping cognitive representations to space.

  5. The sound of music: Differentiating musicians using a fast, musical multi-feature mismatch negativity paradigm

    DEFF Research Database (Denmark)

    Vuust, Peter; Brattico, Elvira; Seppänen, Miia

    2012-01-01

    (classical, jazz, rock/pop) and in non-musicians. Jazz and classical musicians scored higher in the musical aptitude test than band musicians and non-musicians, especially with regards to tonal abilities. These results were extended by the MMN findings: jazz musicians had larger MMN-amplitude than all other......Musicians' skills in auditory processing depend highly on instrument, performance practice, and on level of expertise. Yet, it is not known though whether the style/genre of music might shape auditory processing in the brains of musicians. Here, we aimed at tackling the role of musical style....../genre on modulating neural and behavioral responses to changes in musical features. Using a novel, fast and musical sounding multi-feature paradigm, we measured the mismatch negativity (MMN), a pre-attentive brain response, to six types of musical feature change in musicians playing three distinct styles of music...

  6. Temporal processing of audiovisual stimuli is enhanced in musicians: evidence from magnetoencephalography (MEG.

    Directory of Open Access Journals (Sweden)

    Yao Lu

    Full Text Available Numerous studies have demonstrated that the structural and functional differences between professional musicians and non-musicians are not only found within a single modality, but also with regard to multisensory integration. In this study we have combined psychophysical with neurophysiological measurements investigating the processing of non-musical, synchronous or various levels of asynchronous audiovisual events. We hypothesize that long-term multisensory experience alters temporal audiovisual processing already at a non-musical stage. Behaviorally, musicians scored significantly better than non-musicians in judging whether the auditory and visual stimuli were synchronous or asynchronous. At the neural level, the statistical analysis for the audiovisual asynchronous response revealed three clusters of activations including the ACC and the SFG and two bilaterally located activations in IFG and STG in both groups. Musicians, in comparison to the non-musicians, responded to synchronous audiovisual events with enhanced neuronal activity in a broad left posterior temporal region that covers the STG, the insula and the Postcentral Gyrus. Musicians also showed significantly greater activation in the left Cerebellum, when confronted with an audiovisual asynchrony. Taken together, our MEG results form a strong indication that long-term musical training alters the basic audiovisual temporal processing already in an early stage (direct after the auditory N1 wave, while the psychophysical results indicate that musical training may also provide behavioral benefits in the accuracy of the estimates regarding the timing of audiovisual events.

  7. Temporal processing of audiovisual stimuli is enhanced in musicians: evidence from magnetoencephalography (MEG).

    Science.gov (United States)

    Lu, Yao; Paraskevopoulos, Evangelos; Herholz, Sibylle C; Kuchenbuch, Anja; Pantev, Christo

    2014-01-01

    Numerous studies have demonstrated that the structural and functional differences between professional musicians and non-musicians are not only found within a single modality, but also with regard to multisensory integration. In this study we have combined psychophysical with neurophysiological measurements investigating the processing of non-musical, synchronous or various levels of asynchronous audiovisual events. We hypothesize that long-term multisensory experience alters temporal audiovisual processing already at a non-musical stage. Behaviorally, musicians scored significantly better than non-musicians in judging whether the auditory and visual stimuli were synchronous or asynchronous. At the neural level, the statistical analysis for the audiovisual asynchronous response revealed three clusters of activations including the ACC and the SFG and two bilaterally located activations in IFG and STG in both groups. Musicians, in comparison to the non-musicians, responded to synchronous audiovisual events with enhanced neuronal activity in a broad left posterior temporal region that covers the STG, the insula and the Postcentral Gyrus. Musicians also showed significantly greater activation in the left Cerebellum, when confronted with an audiovisual asynchrony. Taken together, our MEG results form a strong indication that long-term musical training alters the basic audiovisual temporal processing already in an early stage (direct after the auditory N1 wave), while the psychophysical results indicate that musical training may also provide behavioral benefits in the accuracy of the estimates regarding the timing of audiovisual events.

  8. The sound of music: differentiating musicians using a fast, musical multi-feature mismatch negativity paradigm.

    Science.gov (United States)

    Vuust, Peter; Brattico, Elvira; Seppänen, Miia; Näätänen, Risto; Tervaniemi, Mari

    2012-06-01

    Musicians' skills in auditory processing depend highly on instrument, performance practice, and on level of expertise. Yet, it is not known though whether the style/genre of music might shape auditory processing in the brains of musicians. Here, we aimed at tackling the role of musical style/genre on modulating neural and behavioral responses to changes in musical features. Using a novel, fast and musical sounding multi-feature paradigm, we measured the mismatch negativity (MMN), a pre-attentive brain response, to six types of musical feature change in musicians playing three distinct styles of music (classical, jazz, rock/pop) and in non-musicians. Jazz and classical musicians scored higher in the musical aptitude test than band musicians and non-musicians, especially with regards to tonal abilities. These results were extended by the MMN findings: jazz musicians had larger MMN-amplitude than all other experimental groups across the six different sound features, indicating a greater overall sensitivity to auditory outliers. In particular, we found enhanced processing of pith and sliding up to pitches in jazz musicians only. Furthermore, we observed a more frontal MMN to pitch and location compared to the other deviants in jazz musicians and left lateralization of the MMN to timbre in classical musicians. These findings indicate that the characteristics of the style/genre of music played by musicians influence their perceptual skills and the brain processing of sound features embedded in a musical context. Musicians' brain is hence shaped by the type of training, musical style/genre, and listening experiences. Copyright © 2012 Elsevier Ltd. All rights reserved.

  9. Superior voice timbre processing in musicians.

    Science.gov (United States)

    Chartrand, Jean-Pierre; Belin, Pascal

    2006-09-25

    After several years of exposure to musical instrument practice, musicians acquire a great expertise in processing auditory features like tonal pitch or timbre. Here we compared the performance of musicians and non-musicians in two timbre discrimination tasks: one using instrumental timbres, the other using voices. Both accuracy (d-prime) and reaction time measures were obtained. The results indicate that the musicians performed better than the non-musicians at both tasks. The musicians also took more time to respond at both tasks. One interpretation of this result is that the expertise musicians acquired with instrumental timbres during their training transferred to timbres of voice. The musician participants may also have used different cognitive strategies during the experiment. Higher response times found in musicians can be explained by a longer verbal-auditory memory and the use of a strategy to further process auditory features.

  10. Reduced surround inhibition in musicians.

    Science.gov (United States)

    Shin, Hae-Won; Kang, Suk Y; Hallett, Mark; Sohn, Young H

    2012-06-01

    To investigate whether surround inhibition (SI) in the motor system is altered in professional musicians, we performed a transcranial magnetic stimulation (TMS) study in 10 professional musicians and 15 age-matched healthy non-musicians. TMS was set to be triggered by self-initiated flexion of the index finger at different intervals ranging from 3 to 1,000 ms. Average motor evoked potential (MEP) amplitudes obtained from self-triggered TMS were normalized to average MEPs of the control TMS at rest and expressed as a percentage. Normalized MEP amplitudes of the abductor digiti minimi (ADM) muscles were compared between the musicians and non-musicians with the primary analysis being the intervals between 3 and 80 ms (during the movement). A mixed-design ANOVA revealed a significant difference in normalized ADM MEPs during the index finger flexion between groups, with less SI in the musicians. This study demonstrated that the functional operation of SI is less strong in musicians than non-musicians, perhaps due to practice of movement synergies involving both muscles. Reduced SI, however, could lead susceptible musicians to be prone to develop task-specific dystonia.

  11. Audiological and electrophysiological assessment of professional pop/rock musicians

    Directory of Open Access Journals (Sweden)

    Alessandra G Samelli

    2012-01-01

    Full Text Available In the present study, we evaluated peripheral and central auditory pathways in professional musicians (with and without hearing loss compared to non-musicians. The goal was to verify if music exposure could affect auditory pathways as a whole. This is a prospective study that compared the results obtained between three groups (musicians with and without hearing loss and non-musicians. Thirty-two male individuals participated and they were assessed by: Immittance measurements, pure-tone air conduction thresholds at all frequencies from 0.25 to 20 kHz, Transient Evoked Otoacoustic Emissions, Auditory Brainstem Response (ABR, and Cognitive Potential. The musicians showed worse hearing thresholds in both conventional and high frequency audiometry when compared to the non-musicians; the mean amplitude of Transient Evoked Otoacoustic Emissions was smaller in the musicians group, but the mean latencies of Auditory Brainstem Response and Cognitive Potential were diminished in the musicians when compared to the non-musicians. Our findings suggest that the population of musicians is at risk for developing music-induced hearing loss. However, the electrophysiological evaluation showed that latency waves of ABR and P300 were diminished in musicians, which may suggest that the auditory training to which these musicians are exposed acts as a facilitator of the acoustic signal transmission to the cortex.

  12. The enigma of dyslexic musicians.

    Science.gov (United States)

    Weiss, Atalia H; Granot, Roni Y; Ahissar, Merav

    2014-02-01

    Musicians are known to have exceptional sensitivity to sounds, whereas poor phonological representations (or access to these representations) are considered a main characteristic of dyslexic individuals. Though these two characteristics refer to different abilities that are related to non-verbal and verbal skills respectively, the recent literature suggests that they are tightly related. However, there are informal reports of dyslexic musicians. To better understand this enigma, two groups of musicians were recruited, with and without a history of reading difficulties. The pattern of reading difficulties found among musicians was similar to that reported for non-musician dyslexics, though its magnitude was less severe. In contrast to non-musician dyslexics, their performance in pitch and interval discrimination, synchronous tapping and speech perception tasks, did not differ from the performance of their musician peers, and was superior to that of the general population. However, the auditory working memory scores of dyslexic musicians were consistently poor, including memory for rhythm, melody and speech sounds. Moreover, these abilities were inter-correlated, and highly correlated with their reading accuracy. These results point to a discrepancy between their perceptual and working memory skills rather than between sensitivity to speech and non-speech sounds. The results further suggest that in spite of intensive musical training, auditory working memory remains a bottleneck to the reading accuracy of dyslexic musicians. Copyright © 2013 Elsevier Ltd. All rights reserved.

  13. Probabilistic Diffusion Tractography Reveals Improvement of Structural Network in Musicians

    OpenAIRE

    Jianfu Li; Cheng Luo; Yueheng Peng; Qiankun Xie; Jinnan Gong; Li Dong; Yongxiu Lai; Hong Li; Dezhong Yao

    2014-01-01

    PURPOSE: Musicians experience a large amount of information transfer and integration of complex sensory, motor, and auditory processes when training and playing musical instruments. Therefore, musicians are a useful model in which to investigate neural adaptations in the brain. METHODS: Here, based on diffusion-weighted imaging, probabilistic tractography was used to determine the architecture of white matter anatomical networks in musicians and non-musicians. Furthermore, the features of the...

  14. Enhanced cognitive and perceptual processing: A computational basis for the musician advantage in speech learning

    Directory of Open Access Journals (Sweden)

    Kirsten eSmayda

    2015-05-01

    Full Text Available Long-term music training can positively impact speech processing. A recent framework developed to explain such cross-domain plasticity posits that music training-related advantages in speech processing are due to shared cognitive and perceptual processes between music and speech. Although perceptual and cognitive processing advantages due to music training have been independently demonstrated, to date no study has examined perceptual and cognitive processing within the context of a single task. The present study examines the impact of long-term music training on speech learning from a rigorous, computational perspective derived from signal detection theory. Our computational models provide independent estimates of cognitive and perceptual processing in native English-speaking musicians (n=15, mean age= 25 years and non-musicians (n=15, mean age= 23 years learning to categorize non-native lexical pitch patterns (Mandarin tones. Musicians outperformed non-musicians in this task. Model-based analyses suggested that musicians shifted from simple unidimensional decision strategies to more optimal multidimensional decision strategies sooner than non-musicians. In addition, musicians used optimal decisional strategies more often than non-musicians. However, musicians and non-musicians who used multidimensional strategies showed no difference in performance. We estimated parameters that quantify the magnitude of perceptual variability along two dimensions that are critical for tone categorization: pitch height and pitch direction. Both musicians and non-musicians showed a decrease in perceptual variability along the pitch height dimension, but only musicians showed a significant reduction in perceptual variability along the pitch direction dimension. Notably, these advantages persisted during a generalization phase, when no feedback was provided. These results provide an insight into the mechanisms underlying the musician advantage observed in non

  15. Cognitive control in auditory working memory is enhanced in musicians

    DEFF Research Database (Denmark)

    Pallesen, Karen Johanne; Brattico, Elvira; Bailey, Christopher J;

    2010-01-01

    performed better as reflected in reaction times and error rates. Musicians also had larger BOLD responses than non-musicians in neuronal networks that sustain attention and cognitive control, including regions of the lateral prefrontal cortex, lateral parietal cortex, insula, and putamen in the right...

  16. Enhanced perception of various linguistic features by musicians: A cross-linguistic study

    NARCIS (Netherlands)

    Sadakata, M.; Sekiyama, K.

    2011-01-01

    Two cross-linguistic experiments comparing musicians and non-musicians were performed in order to examine whether musicians have enhanced perception of specific acoustical features of speech in a second language (L2). These discrimination and identification experiments examined the perception of var

  17. Maximum Acceptable Vibrato Excursion as a Function of Vibrato Rate in Musicians and Non-musicians

    DEFF Research Database (Denmark)

    Vatti, Marianna; Santurette, Sébastien; Pontoppidan, Niels H.

    and, in most listeners, exhibited a peak at medium vibrato rates (5–7 Hz). Large across-subject variability was observed, and no significant effect of musical experience was found. Overall, most listeners were not solely sensitive to the vibrato excursion and there was a listener-dependent rate...

  18. Maximum Acceptable Vibrato Excursion as a Function of Vibrato Rate in Musicians and Non-musicians

    DEFF Research Database (Denmark)

    Vatti, Marianna; Santurette, Sébastien; Pontoppidan, Niels H.

    2014-01-01

    and, in most listeners, exhibited a peak at medium vibrato rates (5–7 Hz). Large across-subject variability was observed, and no significant effect of musical experience was found. Overall, most listeners were not solely sensitive to the vibrato excursion and there was a listener-dependent rate...

  19. Working memory and musical competence of musicians and non-musicians

    DEFF Research Database (Denmark)

    Hansen, Mads; Wallentin, Mikkel; Vuust, Peter

    2013-01-01

    Musical ability has been found to be associated with an enhancement of verbal working memory. In this study, we investigated whether this effect would generalize to visual-spatial working memory as would be expected if the effect were driven by general intelligence. We administered the WAIS-III D...

  20. Statistical Learning Effects in Musicians and Non-Musicians: An MEG Study

    Science.gov (United States)

    Paraskevopoulos, Evangelos; Kuchenbuch, Anja; Herholz, Sibylle C.; Pantev, Christo

    2012-01-01

    This study aimed to assess the effect of musical training in statistical learning of tone sequences using Magnetoencephalography (MEG). Specifically, MEG recordings were used to investigate the neural and functional correlates of the pre-attentive ability for detection of deviance, from a statistically learned tone sequence. The effect of…

  1. Do older professional musicians have cognitive advantages?

    Science.gov (United States)

    Amer, Tarek; Kalender, Beste; Hasher, Lynn; Trehub, Sandra E; Wong, Yukwal

    2013-01-01

    The current study investigates whether long-term music training and practice are associated with enhancement of general cognitive abilities in late middle-aged to older adults. Professional musicians and non-musicians who were matched on age, education, vocabulary, and general health were compared on a near-transfer task involving auditory processing and on far-transfer tasks that measured spatial span and aspects of cognitive control. Musicians outperformed non-musicians on the near-transfer task, on most but not all of the far-transfer tasks, and on a composite measure of cognitive control. The results suggest that sustained music training or involvement is associated with improved aspects of cognitive functioning in older adults.

  2. Do older professional musicians have cognitive advantages?

    Directory of Open Access Journals (Sweden)

    Tarek Amer

    Full Text Available The current study investigates whether long-term music training and practice are associated with enhancement of general cognitive abilities in late middle-aged to older adults. Professional musicians and non-musicians who were matched on age, education, vocabulary, and general health were compared on a near-transfer task involving auditory processing and on far-transfer tasks that measured spatial span and aspects of cognitive control. Musicians outperformed non-musicians on the near-transfer task, on most but not all of the far-transfer tasks, and on a composite measure of cognitive control. The results suggest that sustained music training or involvement is associated with improved aspects of cognitive functioning in older adults.

  3. Faster native vowel discrimination learning in musicians is mediated by an optimization of mnemonic functions.

    Science.gov (United States)

    Elmer, Stefan; Greber, Marielle; Pushparaj, Arethy; Kühnis, Jürg; Jäncke, Lutz

    2017-09-01

    The ability to discriminate phonemes varying in spectral and temporal attributes constitutes one of the most basic intrinsic elements underlying language learning mechanisms. Since previous work has consistently shown that professional musicians are characterized by perceptual and cognitive advantages in a variety of language-related tasks, and since vowels can be considered musical sounds within the domain of speech, here we investigated the behavioral and electrophysiological correlates of native vowel discrimination learning in a sample of professional musicians and non-musicians. We evaluated the contribution of both the neurophysiological underpinnings of perceptual (i.e., N1/P2 complex) and mnemonic functions (i.e., N400 and P600 responses) while the participants were instructed to judge whether pairs of native consonant-vowel (CV) syllables manipulated in the first formant transition of the vowel (i.e., from /tu/ to /to/) were identical or not. Results clearly demonstrated faster learning in musicians, compared to non-musicians, as reflected by shorter reaction times and higher accuracy. Most notably, in terms of morphology, time course, and voltage strength, this steeper learning curve was accompanied by distinctive N400 and P600 manifestations between the two groups. In contrast, we did not reveal any group differences during the early stages of auditory processing (i.e., N1/P2 complex), suggesting that faster learning was mediated by an optimization of mnemonic but not perceptual functions. Based on a clear taxonomy of the mnemonic functions involved in the task, results are interpreted as pointing to a relationship between faster learning mechanisms in musicians and an optimization of echoic (i.e., N400 component) and working memory (i.e., P600 component) functions. Copyright © 2017 Elsevier Ltd. All rights reserved.

  4. Connectivity patterns during music listening: Evidence for action-based processing in musicians.

    Science.gov (United States)

    Alluri, Vinoo; Toiviainen, Petri; Burunat, Iballa; Kliuchko, Marina; Vuust, Peter; Brattico, Elvira

    2017-03-28

    Musical expertise is visible both in the morphology and functionality of the brain. Recent research indicates that functional integration between multi-sensory, somato-motor, default-mode (DMN), and salience (SN) networks of the brain differentiates musicians from non-musicians during resting state. Here, we aimed at determining whether brain networks differentially exchange information in musicians as opposed to non-musicians during naturalistic music listening. Whole-brain graph-theory analyses were performed on participants' fMRI responses. Group-level differences revealed that musicians' primary hubs comprised cerebral and cerebellar sensorimotor regions whereas non-musicians' dominant hubs encompassed DMN-related regions. Community structure analyses of the key hubs revealed greater integration of motor and somatosensory homunculi representing the upper limbs and torso in musicians. Furthermore, musicians who started training at an earlier age exhibited greater centrality in the auditory cortex, and areas related to top-down processes, attention, emotion, somatosensory processing, and non-verbal processing of speech. We here reveal how brain networks organize themselves in a naturalistic music listening situation wherein musicians automatically engage neural networks that are action-based while non-musicians use those that are perception-based to process an incoming auditory stream. Hum Brain Mapp, 2017. © 2017 Wiley Periodicals, Inc.

  5. Enhanced auditory evoked potentials in musicians:A review of recent findings

    Institute of Scientific and Technical Information of China (English)

    2016-01-01

    Auditory evoked potentials serve as an objective mode for assessment to check the functioning of the auditory system and neuroplasticity. Literature has reported enhanced electrophysiological responses in musicians, which shows neuroplasticity in musicians. Various databases including PubMed, Google, Google Scholar and Medline were searched for references related to auditory evoked potentials in musicians from 1994 till date. Different auditory evoked potentials in musicians have been summarized in the present article. The findings of various studies may support as evidences for music-induced neuroplasticity which can be used for the treatment of various clinical disorders. The search results showed enhanced auditory evoked potentials in musicians compared to non-musicians from brainstem to cortical levels. Also, the present review showed enhanced attentive and pre-attentive skills in musicians compared to non-musicians.

  6. Pain sensitivity and tactile spatial acuity are altered in healthy musicians as in chronic pain patients

    Science.gov (United States)

    Zamorano, Anna M.; Riquelme, Inmaculada; Kleber, Boris; Altenmüller, Eckart; Hatem, Samar M.; Montoya, Pedro

    2015-01-01

    Extensive training of repetitive and highly skilled movements, as it occurs in professional classical musicians, may lead to changes in tactile sensitivity and corresponding cortical reorganization of somatosensory cortices. It is also known that professional musicians frequently experience musculoskeletal pain and pain-related symptoms during their careers. The present study aimed at understanding the complex interaction between chronic pain and music training with respect to somatosensory processing. For this purpose, tactile thresholds (mechanical detection, grating orientation, two-point discrimination) and subjective ratings to thermal and pressure pain stimuli were assessed in 17 professional musicians with chronic pain, 30 pain-free musicians, 20 non-musicians with chronic pain, and 18 pain-free non-musicians. We found that pain-free musicians displayed greater touch sensitivity (i.e., lower mechanical detection thresholds), lower tactile spatial acuity (i.e., higher grating orientation thresholds) and increased pain sensitivity to pressure and heat compared to pain-free non-musicians. Moreover, we also found that musicians and non-musicians with chronic pain presented lower tactile spatial acuity and increased pain sensitivity to pressure and heat compared to pain-free non-musicians. The significant increment of pain sensitivity together with decreased spatial discrimination in pain-free musicians and the similarity of results found in chronic pain patients, suggests that the extensive training of repetitive and highly skilled movements in classical musicians could be considered as a risk factor for developing chronic pain, probably due to use-dependent plastic changes elicited in somatosensory pathways. PMID:25610384

  7. Pain sensitivity and tactile spatial acuity are altered in healthy musicians as in chronic pain patients.

    Directory of Open Access Journals (Sweden)

    Anna M. eZamorano

    2015-01-01

    Full Text Available Extensive training of repetitive and highly skilled movements, as it occurs in professional classical musicians, may lead to changes in tactile sensitivity and corresponding cortical reorganization of somatosensory cortices. It is also known that professional musicians frequently experience musculoskeletal pain and pain-related symptoms during their careers. The present study aimed at understanding the complex interaction between chronic pain and music training with respect to somatosensory processing. For this purpose, tactile thresholds (mechanical detection, grating orientation, two-point discrimination and subjective ratings to thermal and pressure pain stimuli were assessed in 17 professional musicians with chronic pain, 30 pain-free musicians, 20 non-musicians with chronic pain, and 18 pain-free non-musicians. We found that pain-free musicians displayed greater touch sensitivity (i.e. lower mechanical detection thresholds, lower tactile spatial acuity (i.e., higher grating orientation thresholds and increased pain sensitivity to pressure and heat compared to pain-free non-musicians. Moreover, we also found that musicians and non-musicians with chronic pain presented lower tactile spatial acuity and increased pain sensitivity to pressure and heat compared to pain-free non-musicians. The significant increment of pain sensitivity together with decreased spatial discrimination in pain-free musicians and the similarity of results found in chronic pain patients, suggests that the extensive training of repetitive and highly skilled movements in classical musicians could be considered as a risk factor for developing chronic pain, probably due to use-dependent plastic changes elicited in somatosensory pathways.

  8. Evidence for enhanced interoceptive accuracy in professional musicians

    Directory of Open Access Journals (Sweden)

    Katharina eSchirmer-Mokwa

    2015-12-01

    Full Text Available Interoception is defined as the perceptual activity involved in the processing of internal bodily signals. While the ability of internal perception is considered a relatively stable trait, recent data suggest that learning to integrate multisensory information can modulate it. Making music is a uniquely rich multisensory experience that has shown to alter motor, sensory, and multimodal representations in the brain of musicians. We hypothesize that musical training also heightens interoceptive accuracy comparable to other perceptual modalities. Thirteen professional singers, twelve string players, and thirteen matched non-musicians were examined using a well-established heartbeat discrimination paradigm complemented by self-reported dispositional traits. Results revealed that both groups of musicians displayed higher interoceptive accuracy than non-musicians, whereas no differences were found between singers and string-players. Regression analyses showed that accumulated musical practice explained about 49% variation in heartbeat perception accuracy in singers but not in string-players. Psychometric data yielded a number of psychologically plausible inter-correlations in musicians related to performance anxiety. However, dispositional traits were not a confounding factor on heartbeat discrimination accuracy. Together, these data provide first evidence indicating that professional musicians show enhanced interoceptive accuracy compared to non-musicians. We argue that musical training largely accounted for this effect.

  9. Cognitive control in auditory working memory is enhanced in musicians.

    Directory of Open Access Journals (Sweden)

    Karen Johanne Pallesen

    Full Text Available Musical competence may confer cognitive advantages that extend beyond processing of familiar musical sounds. Behavioural evidence indicates a general enhancement of both working memory and attention in musicians. It is possible that musicians, due to their training, are better able to maintain focus on task-relevant stimuli, a skill which is crucial to working memory. We measured the blood oxygenation-level dependent (BOLD activation signal in musicians and non-musicians during working memory of musical sounds to determine the relation among performance, musical competence and generally enhanced cognition. All participants easily distinguished the stimuli. We tested the hypothesis that musicians nonetheless would perform better, and that differential brain activity would mainly be present in cortical areas involved in cognitive control such as the lateral prefrontal cortex. The musicians performed better as reflected in reaction times and error rates. Musicians also had larger BOLD responses than non-musicians in neuronal networks that sustain attention and cognitive control, including regions of the lateral prefrontal cortex, lateral parietal cortex, insula, and putamen in the right hemisphere, and bilaterally in the posterior dorsal prefrontal cortex and anterior cingulate gyrus. The relationship between the task performance and the magnitude of the BOLD response was more positive in musicians than in non-musicians, particularly during the most difficult working memory task. The results confirm previous findings that neural activity increases during enhanced working memory performance. The results also suggest that superior working memory task performance in musicians rely on an enhanced ability to exert sustained cognitive control. This cognitive benefit in musicians may be a consequence of focused musical training.

  10. Cognitive Control in Auditory Working Memory Is Enhanced in Musicians

    Science.gov (United States)

    Pallesen, Karen Johanne; Brattico, Elvira; Bailey, Christopher J.; Korvenoja, Antti; Koivisto, Juha; Gjedde, Albert; Carlson, Synnöve

    2010-01-01

    Musical competence may confer cognitive advantages that extend beyond processing of familiar musical sounds. Behavioural evidence indicates a general enhancement of both working memory and attention in musicians. It is possible that musicians, due to their training, are better able to maintain focus on task-relevant stimuli, a skill which is crucial to working memory. We measured the blood oxygenation-level dependent (BOLD) activation signal in musicians and non-musicians during working memory of musical sounds to determine the relation among performance, musical competence and generally enhanced cognition. All participants easily distinguished the stimuli. We tested the hypothesis that musicians nonetheless would perform better, and that differential brain activity would mainly be present in cortical areas involved in cognitive control such as the lateral prefrontal cortex. The musicians performed better as reflected in reaction times and error rates. Musicians also had larger BOLD responses than non-musicians in neuronal networks that sustain attention and cognitive control, including regions of the lateral prefrontal cortex, lateral parietal cortex, insula, and putamen in the right hemisphere, and bilaterally in the posterior dorsal prefrontal cortex and anterior cingulate gyrus. The relationship between the task performance and the magnitude of the BOLD response was more positive in musicians than in non-musicians, particularly during the most difficult working memory task. The results confirm previous findings that neural activity increases during enhanced working memory performance. The results also suggest that superior working memory task performance in musicians rely on an enhanced ability to exert sustained cognitive control. This cognitive benefit in musicians may be a consequence of focused musical training. PMID:20559545

  11. Cognitive control in auditory working memory is enhanced in musicians.

    Science.gov (United States)

    Pallesen, Karen Johanne; Brattico, Elvira; Bailey, Christopher J; Korvenoja, Antti; Koivisto, Juha; Gjedde, Albert; Carlson, Synnöve

    2010-06-15

    Musical competence may confer cognitive advantages that extend beyond processing of familiar musical sounds. Behavioural evidence indicates a general enhancement of both working memory and attention in musicians. It is possible that musicians, due to their training, are better able to maintain focus on task-relevant stimuli, a skill which is crucial to working memory. We measured the blood oxygenation-level dependent (BOLD) activation signal in musicians and non-musicians during working memory of musical sounds to determine the relation among performance, musical competence and generally enhanced cognition. All participants easily distinguished the stimuli. We tested the hypothesis that musicians nonetheless would perform better, and that differential brain activity would mainly be present in cortical areas involved in cognitive control such as the lateral prefrontal cortex. The musicians performed better as reflected in reaction times and error rates. Musicians also had larger BOLD responses than non-musicians in neuronal networks that sustain attention and cognitive control, including regions of the lateral prefrontal cortex, lateral parietal cortex, insula, and putamen in the right hemisphere, and bilaterally in the posterior dorsal prefrontal cortex and anterior cingulate gyrus. The relationship between the task performance and the magnitude of the BOLD response was more positive in musicians than in non-musicians, particularly during the most difficult working memory task. The results confirm previous findings that neural activity increases during enhanced working memory performance. The results also suggest that superior working memory task performance in musicians rely on an enhanced ability to exert sustained cognitive control. This cognitive benefit in musicians may be a consequence of focused musical training.

  12. Improved effectiveness of performance monitoring in amateur instrumental musicians.

    Science.gov (United States)

    Jentzsch, Ines; Mkrtchian, Anahit; Kansal, Nayantara

    2014-01-01

    Here we report a cross-sectional study investigating the influence of instrumental music practice on the ability to monitor for and respond to processing conflicts and performance errors. Behavioural and electrophysiological indicators of response monitoring in amateur musicians with various skill levels were collected using simple conflict tasks. The results show that instrumental musicians are better able than non-musicians to detect conflicts and errors as indicated by systematic increases in the amplitude of the error-related negativity and the N200 with increasing levels of instrumental practice. Also, high levels of musical training were associated with more efficient and less reactive responses after experience of conflicts and errors as indicated by reduced post-error interference and post-conflict processing adjustments. Together, the present findings suggest that playing a musical instrument might improve the ability to monitor our behavior and adjust our responses effectively when needed. As these processes are amongst the first to be affected by cognitive aging, our evidence could promote musical activity as a realistic intervention to slow or even prevent age-related decline in frontal cortex mediated executive functioning. © 2013 Published by Elsevier Ltd.

  13. The effect of music performance on the transcriptome of professional musicians

    OpenAIRE

    Chakravarthi Kanduri; Tuire Kuusi; Minna Ahvenainen; Philips, Anju K.; Harri Lähdesmäki; Irma Järvelä

    2015-01-01

    Music performance by professional musicians involves a wide-spectrum of cognitive and multi-sensory motor skills, whose biological basis is unknown. Several neuroscientific studies have demonstrated that the brains of professional musicians and non-musicians differ structurally and functionally and that musical training enhances cognition. However, the molecules and molecular mechanisms involved in music performance remain largely unexplored. Here, we investigated the effect of music performa...

  14. Transient evoked otoacoustic emissions in rock musicians.

    Science.gov (United States)

    Høydal, Erik Harry; Lein Størmer, Carl Christian; Laukli, Einar; Stenklev, Niels Christian

    2017-09-01

    Our focus in this study was the assessment of transient evoked otoacoustic emissions (TEOAEs) in a large group of rock musicians. A further objective was to analyse tinnitus among rock musicians as related to TEOAEs. The study was a cross-sectional survey of rock musicians selected at random. A control group was included at random for comparison. We recruited 111 musicians and a control group of 40 non-musicians. Testing was conducted by using clinical examination, pure tone audiometry, TEOAEs and a questionnaire. TEOAE SNR in the half-octave frequency band centred on 4 kHz was significantly lower bilaterally in musicians than controls. This effect was strongly predicted by age and pure-tone hearing threshold levels in the 3-6 kHz range. Bilateral hearing thresholds were significantly higher at 6 kHz in musicians. Twenty percent of the musicians had permanent tinnitus. There was no association between the TEOAE parameters and permanent tinnitus. Our results suggest an incipient hearing loss at 6 kHz in rock musicians. Loss of TEOAE SNR in the 4 kHz half-octave frequency band was observed, but it was related to higher mean 3-6 kHz hearing thresholds and age. A large proportion of rock musicians have permanent tinnitus.

  15. Probabilistic diffusion tractography reveals improvement of structural network in musicians.

    Directory of Open Access Journals (Sweden)

    Jianfu Li

    Full Text Available PURPOSE: Musicians experience a large amount of information transfer and integration of complex sensory, motor, and auditory processes when training and playing musical instruments. Therefore, musicians are a useful model in which to investigate neural adaptations in the brain. METHODS: Here, based on diffusion-weighted imaging, probabilistic tractography was used to determine the architecture of white matter anatomical networks in musicians and non-musicians. Furthermore, the features of the white matter networks were analyzed using graph theory. RESULTS: Small-world properties of the white matter network were observed in both groups. Compared with non-musicians, the musicians exhibited significantly increased connectivity strength in the left and right supplementary motor areas, the left calcarine fissure and surrounding cortex and the right caudate nucleus, as well as a significantly larger weighted clustering coefficient in the right olfactory cortex, the left medial superior frontal gyrus, the right gyrus rectus, the left lingual gyrus, the left supramarginal gyrus, and the right pallidum. Furthermore, there were differences in the node betweenness centrality in several regions. However, no significant differences in topological properties were observed at a global level. CONCLUSIONS: We illustrated preliminary findings to extend the network level understanding of white matter plasticity in musicians who have had long-term musical training. These structural, network-based findings may indicate that musicians have enhanced information transmission efficiencies in local white matter networks that are related to musical training.

  16. Processing of voiced and unvoiced acoustic stimuli in musicians

    Directory of Open Access Journals (Sweden)

    Cyrill Guy Martin Ott

    2011-09-01

    Full Text Available Past research has shown that musical training induces changes in the processing of supra-segmental aspects of speech, such as pitch and prosody. The aim of the present study was to determine whether musical expertise also leads to an altered neurophysiological processing of sub-segmental information available in the speech signal, in particular the voice onset time (VOT. Using high-density EEG recordings we analysed the neurophysiological responses to voiced and unvoiced CV syllables and noise analogues in 26 German speaking adult musicians and non-musicians. From the EEG the N1 amplitude of the event-related potential (ERP and two microstates from the topographical EEG analysis (one around the N1 amplitude and one immediately preceding the N1 microstate were calculated to the different stimuli. Similar to earlier studies the N1 amplitude was different to voiced and unvoiced stimuli in non-musicians with larger amplitudes to voiced stimuli. The more refined microstate analysis revealed that the microstate within the N1 time window was shorter to unvoiced stimuli in non-musicians. For musicians there was no difference for the N1 amplitudes and the corresponding microstates between voiced and unvoiced stimuli. In addition, there was a longer very early microstate preceding the microstate at the N1 time window to non-speech stimuli only in musicians. Taken together, our findings suggest that musicians process unvoiced stimuli (irrespective whether these stimuli are speech or non-speech stimuli differently. We propose that musicians utilise the same network to analyse unvoiced stimuli as for the analysis of voiced stimuli. As a further explanation it is also possible that musicians devote more neurophysiological resources into the analysis of unvoiced segments.

  17. The effect of music performance on the transcriptome of professional musicians.

    Science.gov (United States)

    Kanduri, Chakravarthi; Kuusi, Tuire; Ahvenainen, Minna; Philips, Anju K; Lähdesmäki, Harri; Järvelä, Irma

    2015-03-25

    Music performance by professional musicians involves a wide-spectrum of cognitive and multi-sensory motor skills, whose biological basis is unknown. Several neuroscientific studies have demonstrated that the brains of professional musicians and non-musicians differ structurally and functionally and that musical training enhances cognition. However, the molecules and molecular mechanisms involved in music performance remain largely unexplored. Here, we investigated the effect of music performance on the genome-wide peripheral blood transcriptome of professional musicians by analyzing the transcriptional responses after a 2-hr concert performance and after a 'music-free' control session. The up-regulated genes were found to affect dopaminergic neurotransmission, motor behavior, neuronal plasticity, and neurocognitive functions including learning and memory. Particularly, candidate genes such as SNCA, FOS and DUSP1 that are involved in song perception and production in songbirds, were identified, suggesting an evolutionary conservation in biological processes related to sound perception/production. Additionally, modulation of genes related to calcium ion homeostasis, iron ion homeostasis, glutathione metabolism, and several neuropsychiatric and neurodegenerative diseases implied that music performance may affect the biological pathways that are otherwise essential for the proper maintenance of neuronal function and survival. For the first time, this study provides evidence for the candidate genes and molecular mechanisms underlying music performance.

  18. The musicality of non-musicians: an index for assessing musical sophistication in the general population.

    Science.gov (United States)

    Müllensiefen, Daniel; Gingras, Bruno; Musil, Jason; Stewart, Lauren

    2014-01-01

    Musical skills and expertise vary greatly in Western societies. Individuals can differ in their repertoire of musical behaviours as well as in the level of skill they display for any single musical behaviour. The types of musical behaviours we refer to here are broad, ranging from performance on an instrument and listening expertise, to the ability to employ music in functional settings or to communicate about music. In this paper, we first describe the concept of 'musical sophistication' which can be used to describe the multi-faceted nature of musical expertise. Next, we develop a novel measurement instrument, the Goldsmiths Musical Sophistication Index (Gold-MSI) to assess self-reported musical skills and behaviours on multiple dimensions in the general population using a large Internet sample (n = 147,636). Thirdly, we report results from several lab studies, demonstrating that the Gold-MSI possesses good psychometric properties, and that self-reported musical sophistication is associated with performance on two listening tasks. Finally, we identify occupation, occupational status, age, gender, and wealth as the main socio-demographic factors associated with musical sophistication. Results are discussed in terms of theoretical accounts of implicit and statistical music learning and with regard to social conditions of sophisticated musical engagement.

  19. The musicality of non-musicians: an index for assessing musical sophistication in the general population.

    Directory of Open Access Journals (Sweden)

    Daniel Müllensiefen

    Full Text Available Musical skills and expertise vary greatly in Western societies. Individuals can differ in their repertoire of musical behaviours as well as in the level of skill they display for any single musical behaviour. The types of musical behaviours we refer to here are broad, ranging from performance on an instrument and listening expertise, to the ability to employ music in functional settings or to communicate about music. In this paper, we first describe the concept of 'musical sophistication' which can be used to describe the multi-faceted nature of musical expertise. Next, we develop a novel measurement instrument, the Goldsmiths Musical Sophistication Index (Gold-MSI to assess self-reported musical skills and behaviours on multiple dimensions in the general population using a large Internet sample (n = 147,636. Thirdly, we report results from several lab studies, demonstrating that the Gold-MSI possesses good psychometric properties, and that self-reported musical sophistication is associated with performance on two listening tasks. Finally, we identify occupation, occupational status, age, gender, and wealth as the main socio-demographic factors associated with musical sophistication. Results are discussed in terms of theoretical accounts of implicit and statistical music learning and with regard to social conditions of sophisticated musical engagement.

  20. The Musicality of Non-Musicians: An Index for Assessing Musical Sophistication in the General Population

    Science.gov (United States)

    Müllensiefen, Daniel; Gingras, Bruno; Musil, Jason; Stewart, Lauren

    2014-01-01

    Musical skills and expertise vary greatly in Western societies. Individuals can differ in their repertoire of musical behaviours as well as in the level of skill they display for any single musical behaviour. The types of musical behaviours we refer to here are broad, ranging from performance on an instrument and listening expertise, to the ability to employ music in functional settings or to communicate about music. In this paper, we first describe the concept of ‘musical sophistication’ which can be used to describe the multi-faceted nature of musical expertise. Next, we develop a novel measurement instrument, the Goldsmiths Musical Sophistication Index (Gold-MSI) to assess self-reported musical skills and behaviours on multiple dimensions in the general population using a large Internet sample (n = 147,636). Thirdly, we report results from several lab studies, demonstrating that the Gold-MSI possesses good psychometric properties, and that self-reported musical sophistication is associated with performance on two listening tasks. Finally, we identify occupation, occupational status, age, gender, and wealth as the main socio-demographic factors associated with musical sophistication. Results are discussed in terms of theoretical accounts of implicit and statistical music learning and with regard to social conditions of sophisticated musical engagement. PMID:24586929

  1. Cortical and subcortical processing of short duration speech stimuli in trained rock musicians: a pilot study.

    Science.gov (United States)

    Kumar, Prawin; Anil, Sam Publius; Grover, Vibhu; Sanju, Himanshu Kumar; Sinha, Sachchidanand

    2017-02-01

    Most trained musicians are actively involved in rigorous practice from several years to achieve a high level of proficiency. Therefore, musicians are best group to research changes or modification in brain structures and functions across several information processing systems. This study aimed to investigate cortical and subcortical processing of short duration speech stimuli in trained rock musicians and non-musicians. Two groups of participant (experimental and control groups) in the age range of 18-25 years were selected for the study. Experimental group includes 15 rock musicians who had minimum professional training of 5 years of rock music, and each member had to be a regular performer of rock music for at least 15 h a week. Further age-matched 15 participants who were not having any formal training of any music served as non-musicians, in the control group. The speech-evoked ABR (S-ABR) and speech-evoked ALLR (S-LLR) with short duration speech 'synthetic /da/' was elicited in both groups. Different measures were analyzed for S-ABR and S-LLR. For S-ABR, MANOVA revealed significant main effect of groups on latencies of wave V, wave A, and amplitude of wave V/A slope. Similarly, Kruskal-Wallis test showed significantly higher F 0 amplitude in rock musicians compared with non-musicians. For S-LLR, MANOVA showed statistically significant differences observed for latencies of wave P2 and N2 and amplitude measures of P2-N2 amplitude. This study indicated better neural processing of short duration speech stimuli at subcortical as well as cortical level among rock musicians when compared with non-musicians.

  2. Does timbre affect pitch?: Estimations by musicians and non-musicians / Allan Vurma, Marju Raju, Annika Kuuda

    Index Scriptorium Estoniae

    Vurma, Allan, 1955-

    2011-01-01

    Muusikutel ja mittemuusikutel lasti kuulata lindilt inimhääle, vioola ja trompetihelisid ning hinnata järgmisena kõlanud helikatket võrreldes eelmisega kas "madalaks", "kõrgeks" või "hääles". Leiti, et tämbrist mõjutatud helikõrguse muutused võivad tekitada konflikti subjektiivse tunnetamise ja fundamentaalsel võnkesagedusel põhineva heli hindamise vahel

  3. Does timbre affect pitch?: Estimations by musicians and non-musicians / Allan Vurma, Marju Raju, Annika Kuuda

    Index Scriptorium Estoniae

    Vurma, Allan, 1955-

    2011-01-01

    Muusikutel ja mittemuusikutel lasti kuulata lindilt inimhääle, vioola ja trompetihelisid ning hinnata järgmisena kõlanud helikatket võrreldes eelmisega kas "madalaks", "kõrgeks" või "hääles". Leiti, et tämbrist mõjutatud helikõrguse muutused võivad tekitada konflikti subjektiivse tunnetamise ja fundamentaalsel võnkesagedusel põhineva heli hindamise vahel

  4. A Limiting Feature of the Mozart Effect: Listening Enhances Mental Rotation Abilities in Non-Musicians but Not Musicians

    Science.gov (United States)

    Aheadi, Afshin; Dixon, Peter; Glover, Scott

    2010-01-01

    The "Mozart effect" occurs when performance on spatial cognitive tasks improves following exposure to Mozart. It is hypothesized that the Mozart effect arises because listening to complex music activates similar regions of the right cerebral hemisphere as are involved in spatial cognition. A counter-intuitive prediction of this hypothesis (and one…

  5. A Limiting Feature of the Mozart Effect: Listening Enhances Mental Rotation Abilities in Non-Musicians but Not Musicians

    Science.gov (United States)

    Aheadi, Afshin; Dixon, Peter; Glover, Scott

    2010-01-01

    The "Mozart effect" occurs when performance on spatial cognitive tasks improves following exposure to Mozart. It is hypothesized that the Mozart effect arises because listening to complex music activates similar regions of the right cerebral hemisphere as are involved in spatial cognition. A counter-intuitive prediction of this hypothesis (and one…

  6. Accurate guitar tuning by cochlear implant musicians.

    Directory of Open Access Journals (Sweden)

    Thomas Lu

    Full Text Available Modern cochlear implant (CI users understand speech but find difficulty in music appreciation due to poor pitch perception. Still, some deaf musicians continue to perform with their CI. Here we show unexpected results that CI musicians can reliably tune a guitar by CI alone and, under controlled conditions, match simultaneously presented tones to <0.5 Hz. One subject had normal contralateral hearing and produced more accurate tuning with CI than his normal ear. To understand these counterintuitive findings, we presented tones sequentially and found that tuning error was larger at ∼ 30 Hz for both subjects. A third subject, a non-musician CI user with normal contralateral hearing, showed similar trends in performance between CI and normal hearing ears but with less precision. This difference, along with electric analysis, showed that accurate tuning was achieved by listening to beats rather than discriminating pitch, effectively turning a spectral task into a temporal discrimination task.

  7. Cognitive abilities of musicians.

    Science.gov (United States)

    Giovagnoli, A R; Raglio, A

    2011-10-01

    Playing music may involve different cognitive domains, but previous studies of musicians and patients with brain lesions have reported inconsistent associations between music performances and other cognitive functions. Fine musical performance may be associated with high executive and control functions. 21 skilled musicians and 21 age- and education-matched healthy controls with no specific musical competence were compared on attentive, executive, linguistic, perceptual, praxic, memory, and theory of mind functions, using standardized neuropsychological tests. No differences between the musicians and controls, music composers and performers, or between soloists or orchestral players were observed. In musicians, there was no correlation between the test scores and amount of music education. Findings based on these musician groups, carefully evaluated, suggest further exploration of associations of distinct components of music comprehension and expression with different cognitive functions and behavioral aspects.

  8. Pitch height modulates visual and haptic bisection performance in musicians

    Directory of Open Access Journals (Sweden)

    Carlotta eLega

    2014-04-01

    Full Text Available Consistent evidence suggests that pitch height may be represented in a spatial format, having both a vertical and an horizontal representation. The spatial representation of pitch height results into response compatibility effects for which high pitch tones are preferentially associated to up-right responses, and low pitch tones are preferentially associated to down-left responses (i.e., the SMARC effect, with the strength of these associations depending on individuals’ musical skills. In this study we investigated whether listening to tones of different pitch affects the representation of external space, as assessed in a visual and haptic line bisection paradigm, in musicians and non musicians. Low and high pitch tones affected the bisection performance in musicians differently, both when pitch was relevant and irrelevant for the task, and in both the visual and the haptic modality. No effect of pitch height was observed on the bisection performance of non musicians. Moreover, our data also show that musicians present a (supramodal rightward bisection bias in both the visual and the haptic modality, extending previous findings limited to the visual modality, and consistent with the idea that intense practice with musical notation and bimanual instrument training affects hemispheric lateralization.

  9. Auditory temporal processing skills in musicians with dyslexia.

    Science.gov (United States)

    Bishop-Liebler, Paula; Welch, Graham; Huss, Martina; Thomson, Jennifer M; Goswami, Usha

    2014-08-01

    The core cognitive difficulty in developmental dyslexia involves phonological processing, but adults and children with dyslexia also have sensory impairments. Impairments in basic auditory processing show particular links with phonological impairments, and recent studies with dyslexic children across languages reveal a relationship between auditory temporal processing and sensitivity to rhythmic timing and speech rhythm. As rhythm is explicit in music, musical training might have a beneficial effect on the auditory perception of acoustic cues to rhythm in dyslexia. Here we took advantage of the presence of musicians with and without dyslexia in musical conservatoires, comparing their auditory temporal processing abilities with those of dyslexic non-musicians matched for cognitive ability. Musicians with dyslexia showed equivalent auditory sensitivity to musicians without dyslexia and also showed equivalent rhythm perception. The data support the view that extensive rhythmic experience initiated during childhood (here in the form of music training) can affect basic auditory processing skills which are found to be deficient in individuals with dyslexia.

  10. Do musicians with perfect pitch have more autism traits than musicians without perfect pitch? An empirical study.

    Science.gov (United States)

    Dohn, Anders; Garza-Villarreal, Eduardo A; Heaton, Pamela; Vuust, Peter

    2012-01-01

    Perfect pitch, also known as absolute pitch (AP), refers to the rare ability to identify or produce a musical tone correctly without the benefit of an external reference. AP is often considered to reflect musical giftedness, but it has also been associated with certain disabilities due to increased prevalence of AP in individuals with sensory and developmental disorders. Here, we determine whether individual autistic traits are present in people with AP. We quantified subclinical levels of autism traits using the Autism-Spectrum Quotient (AQ) in three matched groups of subjects: 16 musicians with AP (APs), 18 musicians without AP (non-APs), and 16 non-musicians. In addition, we measured AP ability by a pitch identification test with sine wave tones and piano tones. We found a significantly higher degree of autism traits in APs than in non-APs and non-musicians, and autism scores were significantly correlated with pitch identification scores (r = .46, p = .003). However, our results showed that APs did not differ from non-APs on diagnostically crucial social and communicative domain scores and their total AQ scores were well below clinical thresholds for autism. Group differences emerged on the imagination and attention switching subscales of the AQ. Thus, whilst these findings do link AP with autism, they also show that AP ability is most strongly associated with personality traits that vary widely within the normal population.

  11. Enhanced syllable discrimination thresholds in musicians.

    Directory of Open Access Journals (Sweden)

    Jennifer Zuk

    Full Text Available Speech processing inherently relies on the perception of specific, rapidly changing spectral and temporal acoustic features. Advanced acoustic perception is also integral to musical expertise, and accordingly several studies have demonstrated a significant relationship between musical training and superior processing of various aspects of speech. Speech and music appear to overlap in spectral and temporal features; however, it remains unclear which of these acoustic features, crucial for speech processing, are most closely associated with musical training. The present study examined the perceptual acuity of musicians to the acoustic components of speech necessary for intra-phonemic discrimination of synthetic syllables. We compared musicians and non-musicians on discrimination thresholds of three synthetic speech syllable continua that varied in their spectral and temporal discrimination demands, specifically voice onset time (VOT and amplitude envelope cues in the temporal domain. Musicians demonstrated superior discrimination only for syllables that required resolution of temporal cues. Furthermore, performance on the temporal syllable continua positively correlated with the length and intensity of musical training. These findings support one potential mechanism by which musical training may selectively enhance speech perception, namely by reinforcing temporal acuity and/or perception of amplitude rise time, and implications for the translation of musical training to long-term linguistic abilities.

  12. Enhanced perception of various linguistic features by musicians: a cross-linguistic study.

    Science.gov (United States)

    Sadakata, Makiko; Sekiyama, Kaoru

    2011-09-01

    Two cross-linguistic experiments comparing musicians and non-musicians were performed in order to examine whether musicians have enhanced perception of specific acoustical features of speech in a second language (L2). These discrimination and identification experiments examined the perception of various speech features; namely, the timing and quality of Japanese consonants, and the quality of Dutch vowels. We found that musical experience was more strongly associated with discrimination performance rather than identification performance. The enhanced perception was observed not only with respect to L2, but also L1. It was most pronounced when tested with Japanese consonant timing. These findings suggest the following: 1) musicians exhibit enhanced early acoustical analysis of speech, 2) musical training does not equally enhance the perception of all acoustic features automatically, and 3) musicians may enjoy an advantage in the perception of acoustical features that are important in both language and music, such as pitch and timing.

  13. Musician children detect pitch violations in both music and language better than nonmusician children: behavioral and electrophysiological approaches.

    Science.gov (United States)

    Magne, Cyrille; Schön, Daniele; Besson, Mireille

    2006-02-01

    The idea that extensive musical training can influence processing in cognitive domains other than music has received considerable attention from the educational system and the media. Here we analyzed behavioral data and recorded event-related brain potentials (ERPs) from 8-year-old children to test the hypothesis that musical training facilitates pitch processing not only in music but also in language. We used a parametric manipulation of pitch so that the final notes or words of musical phrases or sentences were congruous, weakly incongruous, or strongly incongruous. Musician children outperformed nonmusician children in the detection of the weak incongruity in both music and language. Moreover, the greatest differences in the ERPs of musician and nonmusician children were also found for the weak incongruity: whereas for musician children, early negative components developed in music and late positive components in language, no such components were found for nonmusician children. Finally, comparison of these results with previous ones from adults suggests that some aspects of pitch processing are in effect earlier in music than in language. Thus, the present results reveal positive transfer effects between cognitive domains and shed light on the time course and neural basis of the development of prosodic and melodic processing.

  14. Behavioral Quantification of Audiomotor Transformations in Improvising and Score-Dependent Musicians.

    Science.gov (United States)

    Harris, Robert; van Kranenburg, Peter; de Jong, Bauke M

    2016-01-01

    The historically developed practice of learning to play a music instrument from notes instead of by imitation or improvisation makes it possible to contrast two types of skilled musicians characterized not only by dissimilar performance practices, but also disparate methods of audiomotor learning. In a recent fMRI study comparing these two groups of musicians while they either imagined playing along with a recording or covertly assessed the quality of the performance, we observed activation of a right-hemisphere network of posterior superior parietal and dorsal premotor cortices in improvising musicians, indicating more efficient audiomotor transformation. In the present study, we investigated the detailed performance characteristics underlying the ability of both groups of musicians to replicate music on the basis of aural perception alone. Twenty-two classically-trained improvising and score-dependent musicians listened to short, unfamiliar two-part excerpts presented with headphones. They played along or replicated the excerpts by ear on a digital piano, either with or without aural feedback. In addition, they were asked to harmonize or transpose some of the excerpts either to a different key or to the relative minor. MIDI recordings of their performances were compared with recordings of the aural model. Concordance was expressed in an audiomotor alignment score computed with the help of music information retrieval algorithms. Significantly higher alignment scores were found when contrasting groups, voices, and tasks. The present study demonstrates the superior ability of improvising musicians to replicate both the pitch and rhythm of aurally perceived music at the keyboard, not only in the original key, but also in other tonalities. Taken together with the enhanced activation of the right dorsal frontoparietal network found in our previous fMRI study, these results underscore the conclusion that the practice of improvising music can be associated with enhanced

  15. Auditory Profiles of Classical, Jazz, and Rock Musicians: Genre-Specific Sensitivity to Musical Sound Features.

    Science.gov (United States)

    Tervaniemi, Mari; Janhunen, Lauri; Kruck, Stefanie; Putkinen, Vesa; Huotilainen, Minna

    2015-01-01

    When compared with individuals without explicit training in music, adult musicians have facilitated neural functions in several modalities. They also display structural changes in various brain areas, these changes corresponding to the intensity and duration of their musical training. Previous studies have focused on investigating musicians with training in Western classical music. However, musicians involved in different musical genres may display highly differentiated auditory profiles according to the demands set by their genre, i.e., varying importance of different musical sound features. This hypothesis was tested in a novel melody paradigm including deviants in tuning, timbre, rhythm, melody transpositions, and melody contour. Using this paradigm while the participants were watching a silent video and instructed to ignore the sounds, we compared classical, jazz, and rock musicians' and non-musicians' accuracy of neural encoding of the melody. In all groups of participants, all deviants elicited an MMN response, which is a cortical index of deviance discrimination. The strength of the MMN and the subsequent attentional P3a responses reflected the importance of various sound features in each music genre: these automatic brain responses were selectively enhanced to deviants in tuning (classical musicians), timing (classical and jazz musicians), transposition (jazz musicians), and melody contour (jazz and rock musicians). Taken together, these results indicate that musicians with different training history have highly specialized cortical reactivity to sounds which violate the neural template for melody content.

  16. Behavioral Quantification of Audiomotor Transformations in Improvising and Score-Dependent Musicians

    NARCIS (Netherlands)

    Harris, Robert; van Kranenburg, Peter; de Jong, Bauke M.

    2016-01-01

    The historically developed practice of learning to play a music instrument from notes instead of by imitation or improvisation makes it possible to contrast two types of skilled musicians characterized not only by dissimilar performance practices, but also disparate methods of audiomotor learning. I

  17. Enhanced Divergent Thinking and Creativity in Musicians: A Behavioral and Near-Infrared Spectroscopy Study

    Science.gov (United States)

    Gibson, Crystal; Folley, Bradley S.; Park, Sohee

    2009-01-01

    Empirical studies of creativity have focused on the importance of divergent thinking, which supports generating novel solutions to loosely defined problems. The present study examined creativity and frontal cortical activity in an externally-validated group of creative individuals (trained musicians) and demographically matched control…

  18. Enhanced Divergent Thinking and Creativity in Musicians: A Behavioral and Near-Infrared Spectroscopy Study

    Science.gov (United States)

    Gibson, Crystal; Folley, Bradley S.; Park, Sohee

    2009-01-01

    Empirical studies of creativity have focused on the importance of divergent thinking, which supports generating novel solutions to loosely defined problems. The present study examined creativity and frontal cortical activity in an externally-validated group of creative individuals (trained musicians) and demographically matched control…

  19. Tinnitus, Anxiety, Depression and Substance Abuse in Rock Musicians a Norwegian Survey.

    Science.gov (United States)

    Stormer, Carl Christian Lein; Sorlie, Tore; Stenklev, Niels Christian

    2017-06-01

    Rock musicians are known to have an increased prevalence of hearing loss and tinnitus. The aims of the present study were to examine the distribution of anxiety and depression symptoms among rock musicians with or without tinnitus and how these mental health indicators and internal locus of control influenced upon their tinnitus symptom concerns and the degree to which the tinnitus affected their lives. The study was a questionnairebased cross-sectional survey of subjects selected from a cohort of rock musicians. We recruited 111 active musicians from the Oslo region, and a control group of 40 non-musicians from the student population at the University of Tromso. Among the rock musicians 19.8% reported permanent tinnitus vs. 0% among the controls. Musicians more often reported anxiety symptoms than controls (35.1% vs. 17.5%), however this prevalence was not different in musicians with and without tinnitus. Tinnitus-affected musicians reported depressive symptoms, significantly more than controls (13.6% vs. 5%). Rock musicians consumed more alcohol than controls, but alcohol consumption was unrelated to severity of tinnitus. Drug abuse was not more prevalent in rock musicians than in controls. Duration of tinnitus, internal locus of control, sleep disturbance and anxiety were significant predictors of how affected and how concerned musicians were about their tinnitus. Rock musicians are at risk for the development of chronic tinnitus, and they have an increased prevalence of anxiety. There is an association between chronic tinnitus and depressive symptoms in rock musicians, but our results are ambiguous. Although rock musicians have a chronic exposure to noise, noise-induced hearing loss is not the sole causative agent for the development of tinnitus.

  20. Tibetan musician

    OpenAIRE

    Simpson, Sir, Benjamin, fl 1872

    2003-01-01

    241 x 293 mm. Half length portrait of a Tibetan musician. This photograph, by Dr. (later Sir) Benjamin Simpson was exhibited in the 1872 exhibition of the Bengal Photographic Society under the title of 'A wandering minstrel'. See: Falconer, J (198?), 'Ethnographical photography in India 1850-1900', 'The Photographic Collector', volume 5, no. 1, pp.16-46. Photograph taken circa 1872.

  1. Modulation of auditory evoked responses to spectral and temporal changes by behavioral discrimination training

    Directory of Open Access Journals (Sweden)

    Okamoto Hidehiko

    2009-12-01

    Full Text Available Abstract Background Due to auditory experience, musicians have better auditory expertise than non-musicians. An increased neocortical activity during auditory oddball stimulation was observed in different studies for musicians and for non-musicians after discrimination training. This suggests a modification of synaptic strength among simultaneously active neurons due to the training. We used amplitude-modulated tones (AM presented in an oddball sequence and manipulated their carrier or modulation frequencies. We investigated non-musicians in order to see if behavioral discrimination training could modify the neocortical activity generated by change detection of AM tone attributes (carrier or modulation frequency. Cortical evoked responses like N1 and mismatch negativity (MMN triggered by sound changes were recorded by a whole head magnetoencephalographic system (MEG. We investigated (i how the auditory cortex reacts to pitch difference (in carrier frequency and changes in temporal features (modulation frequency of AM tones and (ii how discrimination training modulates the neuronal activity reflecting the transient auditory responses generated in the auditory cortex. Results The results showed that, additionally to an improvement of the behavioral discrimination performance, discrimination training of carrier frequency changes significantly modulates the MMN and N1 response amplitudes after the training. This process was accompanied by an attention switch to the deviant stimulus after the training procedure identified by the occurrence of a P3a component. In contrast, the training in discrimination of modulation frequency was not sufficient to improve the behavioral discrimination performance and to alternate the cortical response (MMN to the modulation frequency change. The N1 amplitude, however, showed significant increase after and one week after the training. Similar to the training in carrier frequency discrimination, a long lasting

  2. Cardiovascular, cerebrovascular, and respiratory changes induced by different types of music in musicians and non-musicians: the importance of silence

    National Research Council Canada - National Science Library

    Bernardi, L; Porta, C; Sleight, P

    To assess the potential clinical use, particularly in modulating stress, of changes in the cardiovascular and respiratory systems induced by music, specifically tempo, rhythm, melodic structure, pause...

  3. Thresholds of Auditory-Motor Coupling Measured with a Simple Task in Musicians and Non-Musicians: Was the Sound Simultaneous to the Key Press?

    OpenAIRE

    van Vugt, Floris T.; Barbara Tillmann

    2014-01-01

    The human brain is able to predict the sensory effects of its actions. But how precise are these predictions? The present research proposes a tool to measure thresholds between a simple action (keystroke) and a resulting sound. On each trial, participants were required to press a key. Upon each keystroke, a woodblock sound was presented. In some trials, the sound came immediately with the downward keystroke; at other times, it was delayed by a varying amount of time. Participants were asked t...

  4. Function and plasticity of the medial olivocochlear system in musicians: a review.

    Science.gov (United States)

    Perrot, Xavier; Collet, Lionel

    2014-02-01

    The outer hair cells of the organ of Corti are the target of abundant efferent projections from the olivocochlear system. This peripheral efferent auditory subsystem is currently thought to be modulated by central activity via corticofugal descending auditory system, and to modulate active cochlear micromechanics. Although the function of this efferent subsystem remains unclear, physiological, psychophysical, and modeling data suggest that it may be involved in ear protection against noise damage and auditory perception, especially in the presence of background noise. Moreover, there is mounting evidence that its activity is modulated by auditory and visual attention. A commonly used approach to measure olivocochlear activity noninvasively in humans relies on the suppression of otoacoustic emissions by contralateral noise. Previous studies have found substantial interindividual variability in this effect, and statistical differences have been observed between professional musicians and non-musicians, with stronger bilateral suppression effects in the former. In this paper, we review these studies and discuss various possible interpretations for these findings, including experience-dependent neuroplasticity. We ask whether differences in olivocochlear function between musicians and non-musicians reflect differences in peripheral auditory function or in more central factors, such as top-down attentional modulation.

  5. Visual memory in musicians and non-msicians

    Directory of Open Access Journals (Sweden)

    Ana Carolina eRodrigues

    2014-06-01

    Full Text Available Many investigations have reported structural, functional and cognitive changes in the brains of musicians, which occur as a result of many years of musical practice. We aimed to investigate if intensive, long-term musical practice is associated with improved visual memory ability. Musicians and non-musicians, who were comparable in age, gender and education, were submitted to a visual memory test. The test consisted of the presentation of 4 sets of stimuli, each one containing 8 figures to be memorized. Each set was followed by individual figures and the subject was required to indicate if each figure was or was not present in the memorized set, by pressing the corresponding keys. We divided the test in two parts, in which the stimuli had greater or reduced semantic coding. Overall, musicians showed better performance on reaction times, but not on accuracy. An additional analysis revealed no significant interaction between group and any part of the test in the prediction of the outcomes. When simple reaction time was included as covariate, no significant difference between groups was found on reaction times. In the group of musicians, we found some significant correlations between variables related to musical practice and performance in the visual memory test. In summary, our data provide no evidence of enhanced visual memory ability in musicians, since there was no difference in accuracy between groups. Our results suggest that performance of musicians in the visual memory test may be associated with better sensorimotor integration, since although they have presented shorter reaction times, such effect disappeared when taken in consideration the simple reaction time test. However, given existing evidence of associations between simple reaction time and cognitive function, their performance in the visual memory test could also be related to enhanced visual attention ability, as has been suggested by previous studies, but this hypothesis deserves

  6. Error monitoring in musicians

    Directory of Open Access Journals (Sweden)

    Clemens eMaidhof

    2013-07-01

    Full Text Available To err is human, and hence even professional musicians make errors occasionally during their performances. This paper summarizes recent work investigating error monitoring in musicians, i.e. the processes and their neural correlates associated with the monitoring of ongoing actions and the detection of deviations from intended sounds. EEG Studies reported an early component of the event-related potential (ERP occurring before the onsets of pitch errors. This component, which can be altered in musicians with focal dystonia, likely reflects processes of error detection and/or error compensation, i.e. attempts to cancel the undesired sensory consequence (a wrong tone a musician is about to perceive. Thus, auditory feedback seems not to be a prerequisite for error detection, consistent with previous behavioral results. In contrast, when auditory feedback is externally manipulated and thus unexpected, motor performance can be severely distorted, although not all feedback alterations result in performance impairments. Recent studies investigating the neural correlates of feedback processing showed that unexpected feedback elicits an ERP component after note onsets, which shows larger amplitudes during music performance than during mere perception of the same musical sequences. Hence, these results stress the role of motor actions for the processing of auditory information. Furthermore, recent methodological advances like the combination of 3D motion capture techniques with EEG will be discussed. Such combinations of different measures can potentially help to disentangle the roles of different feedback types such as proprioceptive and auditory feedback, and in general to derive at a better understanding of the complex interactions between the motor and auditory domain during error monitoring. Finally, outstanding questions and future directions in this context will be discussed.

  7. Effective Connectivity Associated With Auditory Error Detection In Musicians With Absolute Pitch

    Directory of Open Access Journals (Sweden)

    Amy L Parkinson

    2014-03-01

    Full Text Available It is advantageous to study a wide range of vocal abilities in order to fully understand how vocal control measures vary across the full spectrum. Individuals with absolute pitch (AP are able to assign a verbal label to musical notes and have enhanced abilities in pitch identification without reliance on an external referent. In this study we used dynamic causal modeling (DCM to model effective connectivity of ERP responses to pitch perturbation in voice auditory feedback in musicians with relative pitch (RP, absolute pitch and non-musician controls. We identified a network compromising left and right hemisphere superior temporal gyrus (STG, primary motor cortex (M1 and premotor cortex (PM. We specified nine models and compared two main factors examining various combinations of STG involvement in feedback pitch error detection/correction process. Our results suggest that modulation of left to right STG connections are important in the identification of self-voice error and sensory motor integration in AP musicians. We also identify reduced connectivity of left hemisphere PM to STG connections in AP and RP groups during the error detection and corrections process relative to non-musicians. We suggest that this suppression may allow for enhanced connectivity relating to pitch identification in the right hemisphere in those with more precise pitch matching abilities. Musicians with enhanced pitch identification abilities likely have an improved auditory error detection and correction system involving connectivity of STG regions. Our findings here also suggest that individuals with AP are more adept at using feedback related to pitch from the right hemisphere.

  8. Action and familiarity effects on self and other expert musicians' Laban effort-shape analyses of expressive bodily behaviors in instrumental music performance: a case study approach.

    Science.gov (United States)

    Broughton, Mary C; Davidson, Jane W

    2014-01-01

    Self-reflective performance review and expert evaluation are features of Western music performance practice. While music is usually the focus, visual information provided by performing musicians' expressive bodily behaviors communicates expressiveness to musically trained and untrained observers. Yet, within a seemingly homogenous group, such as one of musically trained individuals, diversity of experience exists. Individual differences potentially affect perception of the subtleties of expressive performance, and performers' effective communication of their expressive intentions. This study aimed to compare self- and other expert musicians' perception of expressive bodily behaviors observed in marimba performance. We hypothesized that analyses of expressive bodily behaviors differ between expert musicians according to their specialist motor expertise and familiarity with the music. Two professional percussionists and experienced marimba players, and one professional classical singer took part in the study. Participants independently conducted Laban effort-shape analysis - proposing that intentions manifest in bodily activity are understood through shared embodied processes - of a marimbists' expressive bodily behaviors in an audio-visual performance recording. For one percussionist, this was a self-reflective analysis. The work was unfamiliar to the other percussionist and singer. Perception of the performer's expressive bodily behaviors appeared to differ according to participants' individual instrumental or vocal motor expertise, and familiarity with the music. Furthermore, individual type of motor experience appeared to direct participants' attention in approaching the analyses. Findings support forward and inverse perception-action models, and embodied cognitive theory. Implications offer scientific rigor and artistic interest for how performance practitioners can reflectively analyze performance to improve expressive communication.

  9. The encoding of vowels and temporal speech cues in the auditory cortex of professional musicians: an EEG study.

    Science.gov (United States)

    Kühnis, Jürg; Elmer, Stefan; Meyer, Martin; Jäncke, Lutz

    2013-07-01

    Here, we applied a multi-feature mismatch negativity (MMN) paradigm in order to systematically investigate the neuronal representation of vowels and temporally manipulated CV syllables in a homogeneous sample of string players and non-musicians. Based on previous work indicating an increased sensitivity of the musicians' auditory system, we expected to find that musically trained subjects will elicit increased MMN amplitudes in response to temporal variations in CV syllables, namely voice-onset time (VOT) and duration. In addition, since different vowels are principally distinguished by means of frequency information and musicians are superior in extracting tonal (and thus frequency) information from an acoustic stream, we also expected to provide evidence for an increased auditory representation of vowels in the experts. In line with our hypothesis, we could show that musicians are not only advantaged in the pre-attentive encoding of temporal speech cues, but most notably also in processing vowels. Additional "just noticeable difference" measurements suggested that the musicians' perceptual advantage in encoding speech sounds was more likely driven by the generic constitutional properties of a highly trained auditory system, rather than by its specialisation for speech representations per se. These results shed light on the origin of the often reported advantage of musicians in processing a variety of speech sounds.

  10. Vowels--Sonic Gems of Emotion for Social Communication: Practical Singing Strategies for Non-Musician Teachers with Developmentally Diverse Young Children

    Science.gov (United States)

    Weeks, Kaja

    2015-01-01

    Communicative and social capacities are known to be of primary developmental importance to all children and often present a particular difficulty for children with neurodevelopmental disorders. A recurring challenge for teachers is achieving effective communication with children who span developmental diversity (e.g. inclusive settings or those…

  11. Pain among professional orchestral musicians

    DEFF Research Database (Denmark)

    Nygaard Andersen, Lotte; Roessler, Kirsten K; Eichberg, Henning

    2013-01-01

    Professional musicians experience high rates of musculoskeletal pain, but only few studies have investigated how this pain is accepted by musicians.......Professional musicians experience high rates of musculoskeletal pain, but only few studies have investigated how this pain is accepted by musicians....

  12. Maladies in musicians.

    Science.gov (United States)

    Liu, Steven; Hayden, Gregory F

    2002-07-01

    Certain medical ailments occur with increased frequency among musicians and can affect musicians of all ages and ability. These maladies range in severity from incidental, asymptomatic findings among casual a nd occasional players to serious injuries that significantly disable professional musicians from practicing or performing. The most prevalent problems involve overuse of muscles resulting from repetitive movements of playing, often in combination with prolonged weight bearing in an awkward position. Other common problems include dermatologic irritation, peripheral neuropathies, focal dystonias, and otolaryngologic disorders. This review organizes the musical maladies according to section of the orchestra with further subclassification by pathologic process. By becoming familiar with the disorders associated with specific instruments, physicians will be better able to make the correct diagnosis in musicians with medical complaints.

  13. Regaining motor control in musician's dystonia by restoring sensorimotor organization.

    Science.gov (United States)

    Rosenkranz, Karin; Butler, Katherine; Williamon, Aaron; Rothwell, John C

    2009-11-18

    Professional musicians are an excellent model of long-term motor learning effects on structure and function of the sensorimotor system. However, intensive motor skill training has been associated with task-specific deficiency in hand motor control, which has a higher prevalence among musicians (musician's dystonia) than in the general population. Using a transcranial magnetic stimulation paradigm, we previously found an expanded spatial integration of proprioceptive input into the hand motor cortex [sensorimotor organization (SMO)] in healthy musicians. In musician's dystonia, however, this expansion was even larger. Whereas motor skills of musicians are likely to be supported by a spatially expanded SMO, we hypothesized that in musician's dystonia this might have developed too far and now disrupts rather than assists task-specific motor control. If so, motor control should be regained by reversing the excessive reorganization in musician's dystonia. Here, we test this hypothesis and show that a 15 min intervention with proprioceptive input (proprioceptive training) restored SMO in pianists with musician's dystonia to the pattern seen in healthy pianists. Crucially, task-specific motor control improved significantly and objectively as measured with a MIDI (musical instrument digital interface) piano, and the amount of behavioral improvement was significantly correlated to the degree of sensorimotor reorganization. In healthy pianists and nonmusicians, the SMO and motor performance remained essentially unchanged. These findings suggest that the differentiation of SMO in the hand motor cortex and the degree of motor control of intensively practiced tasks are significantly linked and finely balanced. Proprioceptive training restored this balance in musician's dystonia to the behaviorally beneficial level of healthy musicians.

  14. Secrets of virtuoso: neuromuscular attributes of motor virtuosity in expert musicians

    Science.gov (United States)

    Furuya, Shinichi; Oku, Takanori; Miyazaki, Fumio; Kinoshita, Hiroshi

    2015-10-01

    Musical performance requires extremely fast and dexterous limb movements. The underlying biological mechanisms have been an object of interest among scientists and non-scientists for centuries. Numerous studies of musicians and non-musicians have demonstrated that neuroplastic adaptations through early and deliberate musical training endowed superior motor skill. However, little has been unveiled about what makes inter-individual differences in motor skills among musicians. Here we determined the attributes of inter-individual differences in the maximum rate of repetitive piano keystrokes in twenty-four pianists. Among various representative factors of neuromuscular functions, anatomical characteristics, and training history, a stepwise multiple regression analysis and generalized linear model identified two predominant predictors of the maximum rate of repetitive piano keystrokes; finger tapping rate and muscular strength of the elbow extensor. These results suggest a non-uniform role of individual limb muscles in the production of extremely fast repetitive multi-joint movements. Neither age of musical training initiation nor the amount of extensive musical training before age twenty was a predictor. Power grip strength was negatively related to the maximum rate of piano keystrokes only during the smallest tone production. These findings highlight the importance of innate biological nature and explicit training for motor virtuosity.

  15. Secrets of virtuoso: neuromuscular attributes of motor virtuosity in expert musicians.

    Science.gov (United States)

    Furuya, Shinichi; Oku, Takanori; Miyazaki, Fumio; Kinoshita, Hiroshi

    2015-10-27

    Musical performance requires extremely fast and dexterous limb movements. The underlying biological mechanisms have been an object of interest among scientists and non-scientists for centuries. Numerous studies of musicians and non-musicians have demonstrated that neuroplastic adaptations through early and deliberate musical training endowed superior motor skill. However, little has been unveiled about what makes inter-individual differences in motor skills among musicians. Here we determined the attributes of inter-individual differences in the maximum rate of repetitive piano keystrokes in twenty-four pianists. Among various representative factors of neuromuscular functions, anatomical characteristics, and training history, a stepwise multiple regression analysis and generalized linear model identified two predominant predictors of the maximum rate of repetitive piano keystrokes; finger tapping rate and muscular strength of the elbow extensor. These results suggest a non-uniform role of individual limb muscles in the production of extremely fast repetitive multi-joint movements. Neither age of musical training initiation nor the amount of extensive musical training before age twenty was a predictor. Power grip strength was negatively related to the maximum rate of piano keystrokes only during the smallest tone production. These findings highlight the importance of innate biological nature and explicit training for motor virtuosity.

  16. Anania Shirakatsi Musician

    Science.gov (United States)

    Shakhkulyan, Tatevik

    2014-10-01

    Anania Shirakatsi's musical works are described and discussed. Though his main works and activities were in the area of exact sciences, but he was also a musician and he has a crucial role in the history of the Armenian music. Anania Shirakatsi's main domain was the religious music, particulary he wrote a number of so-called "Sharakans". He has also studies acoustics.

  17. Inhibitory control in bilinguals and musicians: event related potential (ERP) evidence for experience-specific effects

    National Research Council Canada - National Science Library

    Moreno, Sylvain; Wodniecka, Zofia; Tays, William; Alain, Claude; Bialystok, Ellen

    2014-01-01

    Bilinguals and musicians exhibit behavioral advantages on tasks with high demands on executive functioning, particularly inhibitory control, but the brain mechanisms supporting these differences are unclear...

  18. Helen Bonny as a Musician

    Directory of Open Access Journals (Sweden)

    Diane Ritchey Vaux

    2010-11-01

    Full Text Available This article discusses Helen Bonny’s role as a musician, focusing on her early musical history, her choice of the violin, her musical training, her expression as a musician over the years, the quality of her playing, and the way that playing music was foundational to her life and work. The information in the article is based on written sources that describe her life as a musician, including an autobiographical statement written by Helen herself, as well as interviews and personal communications with musicians who have had the privilege of playing music with her.

  19. Processing of self-initiated speech-sounds is different in musicians

    Directory of Open Access Journals (Sweden)

    Cyrill Guy Martin Ott

    2013-02-01

    Full Text Available Musicians and musically untrained individuals have been shown to differ in a variety of functional brain processes such as auditory analysis and sensorimotor interaction. At the same time, internally operating forward models are assumed to enable the organism to discriminate the sensory outcomes of self-initiated actions from other sensory events by deriving predictions from efference copies of motor commands about forthcoming sensory consequences. As a consequence, sensory responses to stimuli that are triggered by a self-initiated motor act are suppressed relative to the same but externally-initiated stimuli, a phenomenon referred to as motor-induced suppression (MIS of sensory cortical feedback. Moreover, MIS in the auditory domain has been shown to be modulated by the predictability of certain properties such as frequency or stimulus onset. The present study compares auditory processing of predictable and unpredictable self-initiated zero-delay speech sounds and piano tones between musicians and musical laymen by means of an event-related potential (ERP and topographic pattern analysis (microstate analysis or EP mapping approach. Taken together, our findings suggest that besides the known effect of MIS, internally operating forward models also facilitate early acoustic analysis of complex tones by means of faster processing time as indicated by shorter auditory N1-like microstate durations in the first ~ 200 ms after stimulus onset. In addition, musicians seem to profit from this facilitation also during the analysis of speech sounds as indicated by comparable auditory N1-like microstate duration patterns between speech and piano conditions. In contrast, non-musicians did not show such an effect.

  20. Focal dystonia in musicians: From phenomenology to therapy

    Directory of Open Access Journals (Sweden)

    Hans-Christian Jabusch

    2006-01-01

    Full Text Available Background: Musician's dystonia is a task-specific movement disorder which manifests itself as a loss of voluntary motor control in extensively trained movements. In many cases, the disorder terminates the careers of affected musicians. Approximately 1% of all professional musicians are affected.Etiology and Pathophysiology: The pathophysiology of the disorder is still unclear. Findings include (a reduced inhibition in different levels of the central nervous system, (b maladaptive plasticity, e.g. in the somatosensory cortex and in the basal ganglia, and (c alterations in sensorimotor processing. Epidemiological data demon-strated a higher risk for those musicians who play instruments requiring maximal fine-motorskills. For instruments where workload differs across hands, focal dystonia appears more often in the more intensely used hand. In psychological studies, musicians with dystonia had more perfectionist tendencies than healthy musicians. These findings streng then the assumption that behavioral factors may be involved in the etiology of musician's dystonia. Hereditary factors may play a greater role than previously assumed. Preliminary findings suggest a genetic contributiont o focal task-specific dystonia with phenotypic variations including musician's dystonia.Treatment: Treatment options for musician's dystonia include pharmacological interventions such as administration of Trihexyphenidyl or Botulinum Toxin-A as well as retraining programs and ergonomic changes in the instrument. A long-term follow-up study was performed in 144 patients with musician's dystonia. The outcome was revealed on average 8.4 years after onset of symptoms. Outcome was assessed by patients' subjective rating of cumulative treatmentresponse and response to individual therapies. Seventy-seven patients (54% reported an alleviation of symptoms: 33% of the patients with Trihexyphenidyl, 49% with Botulinum Toxin, 50% with pedagogical retraining, 56% with unmonitored

  1. [Contact allergies in musicians].

    Science.gov (United States)

    Gasenzer, E R; Neugebauer, E A M

    2012-12-01

    During the last years, the problem of allergic diseases has increased. Allergies are errant immune responses to a normally harmless substance. In musicians the allergic contact dermatitis to exotic woods is a special problem. Exotic rosewood contains new flavonoids, which trigger an allergic reaction after permanent contact with the instrument. High quality woodwind instruments such as baroque flute or clarinets are made in ebony or palisander because of its great sound. Today instruments for non-professional players are also made in these exotic materials and non-professionals may have the risk to develop contact dermatitis, too. Brass-player has the risk of an allergic reaction to the different metals contained in the metal sheets of modern flutes and brass instruments. Specially nickel and brass alloys are used to product flute tubes or brass instruments. Special problem arises in children: patients who are allergic to plants or foods have a high risk to develop contact dermatitis. Parents don't know the materials of low-priced instruments for beginners. Often unknown cheap woods from exotic areas are used. Low-priced brass instruments contain high amount of brass and other cheap metals. Physicians should advice musician-patients or parents about the risks of the different materials and look for the reason of eczema on mouth, face, or hands.

  2. The sound of music: Differentiating musicians using a fast, musical multi-feature mismatch negativity paradigm

    DEFF Research Database (Denmark)

    Vuust, Peter; Brattico, Elvira; Seppänen, Miia

    2012-01-01

    to the other deviants in jazz musicians and left lateralization of the MMN to timbre in classical musicians. These findings indicate that the characteristics of the style/genre of music played by musicians influence their perceptual skills and the brain processing of sound features embedded in a musical......Musicians' skills in auditory processing depend highly on instrument, performance practice, and on level of expertise. Yet, it is not known though whether the style/genre of music might shape auditory processing in the brains of musicians. Here, we aimed at tackling the role of musical style....../genre on modulating neural and behavioral responses to changes in musical features. Using a novel, fast and musical sounding multi-feature paradigm, we measured the mismatch negativity (MMN), a pre-attentive brain response, to six types of musical feature change in musicians playing three distinct styles of music...

  3. Musical training, individual differences and the cocktail party problem.

    Science.gov (United States)

    Swaminathan, Jayaganesh; Mason, Christine R; Streeter, Timothy M; Best, Virginia; Kidd, Gerald; Patel, Aniruddh D

    2015-06-26

    Are musicians better able to understand speech in noise than non-musicians? Recent findings have produced contradictory results. Here we addressed this question by asking musicians and non-musicians to understand target sentences masked by other sentences presented from different spatial locations, the classical 'cocktail party problem' in speech science. We found that musicians obtained a substantial benefit in this situation, with thresholds ~6 dB better than non-musicians. Large individual differences in performance were noted particularly for the non-musically trained group. Furthermore, in different conditions we manipulated the spatial location and intelligibility of the masking sentences, thus changing the amount of 'informational masking' (IM) while keeping the amount of 'energetic masking' (EM) relatively constant. When the maskers were unintelligible and spatially separated from the target (low in IM), musicians and non-musicians performed comparably. These results suggest that the characteristics of speech maskers and the amount of IM can influence the magnitude of the differences found between musicians and non-musicians in multiple-talker "cocktail party" environments. Furthermore, considering the task in terms of the EM-IM distinction provides a conceptual framework for future behavioral and neuroscientific studies which explore the underlying sensory and cognitive mechanisms contributing to enhanced "speech-in-noise" perception by musicians.

  4. Vestibular Findings in Military Band Musicians

    Directory of Open Access Journals (Sweden)

    Zeigelboim, Bianca Simone

    2014-04-01

    Full Text Available Introduction Exposure to music is the subject of many studies because it is related to an individual's professional and social activities. Objectives Evaluate the vestibular behavior in military band musicians. Methods A retrospective cross-sectional study was performed. Nineteen musicians with ages ranging from 21 to 46 years were evaluated (average = 33.7 years and standard deviation = 7.2 years. They underwent anamnesis and vestibular and otolaryngologic evaluation through vectoelectronystagmography. Results The most evident otoneurologic symptoms in the anamnesis were tinnitus (84.2%, hearing difficulties (47.3%, dizziness (36.8%, headache (26.3%, intolerance to intense sounds (21.0%, and earache (15.7%. Seven musicians (37.0% showed vestibular abnormality, which occurred in the caloric test. The abnormality was more prevalent in the peripheral vestibular system, and there was a predominance of irritative peripheral vestibular disorders. Conclusion The alteration in vestibular exam occurred in the caloric test (37.0%. There were changes in the prevalence of peripheral vestibular system with a predominance of irritative vestibular dysfunction. Dizziness was the most significant symptom for the vestibular test in correlation with neurotologic symptoms. The present study made it possible to verify the importance of the labyrinthine test, which demonstrates that this population should be better studied because the systematic exposure to high sound pressure levels may cause major vestibular alterations.

  5. Task-irrelevant auditory feedback facilitates motor performance in musicians

    Directory of Open Access Journals (Sweden)

    Virginia eConde

    2012-05-01

    Full Text Available An efficient and fast auditory–motor network is a basic resource for trained musicians due to the importance of motor anticipation of sound production in musical performance. When playing an instrument, motor performance always goes along with the production of sounds and the integration between both modalities plays an essential role in the course of musical training. The aim of the present study was to investigate the role of task-irrelevant auditory feedback during motor performance in musicians using a serial reaction time task (SRTT. Our hypothesis was that musicians, due to their extensive auditory–motor practice routine during musical training, have a superior performance and learning capabilities when receiving auditory feedback during SRTT relative to musicians performing the SRTT without any auditory feedback. Here we provide novel evidence that task-irrelevant auditory feedback is capable to reinforce SRTT performance but not learning, a finding that might provide further insight into auditory-motor integration in musicians on a behavioral level.

  6. The Role of Personality in Musicians' Information Seeking for Creativity

    Science.gov (United States)

    Kostagiolas, Petros; Lavranos, Charilaos; Martzoukou, Konstantina; Papadatos, Joseph

    2017-01-01

    Introduction: This paper explores the relationship between musicians' information seeking behaviour and their personality traits within the context of musical creativity. Although previous research has addressed different socio-technological and behavioral aspects of music information seeking, the role of personality characteristics around…

  7. Context effects on pitch perception in musicians and nonmusicians

    DEFF Research Database (Denmark)

    Brattico, E; Naatanen, R; Tervaniemi, M

    2001-01-01

    Behavioral evidence indicates that musical context facilitates pitch discrimination. In the present study, we sought to determine whether pitch context and its familiarity might affect brain responses to pitch change even at the preattentive level. Ten musicians and 10 nonmusicians, while...

  8. Words and melody are intertwined in perception of sung words: EEG and behavioral evidence.

    Directory of Open Access Journals (Sweden)

    Reyna L Gordon

    Full Text Available Language and music, two of the most unique human cognitive abilities, are combined in song, rendering it an ecological model for comparing speech and music cognition. The present study was designed to determine whether words and melodies in song are processed interactively or independently, and to examine the influence of attention on the processing of words and melodies in song. Event-Related brain Potentials (ERPs and behavioral data were recorded while non-musicians listened to pairs of sung words (prime and target presented in four experimental conditions: same word, same melody; same word, different melody; different word, same melody; different word, different melody. Participants were asked to attend to either the words or the melody, and to perform a same/different task. In both attentional tasks, different word targets elicited an N400 component, as predicted based on previous results. Most interestingly, different melodies (sung with the same word elicited an N400 component followed by a late positive component. Finally, ERP and behavioral data converged in showing interactions between the linguistic and melodic dimensions of sung words. The finding that the N400 effect, a well-established marker of semantic processing, was modulated by musical melody in song suggests that variations in musical features affect word processing in sung language. Implications of the interactions between words and melody are discussed in light of evidence for shared neural processing resources between the phonological/semantic aspects of language and the melodic/harmonic aspects of music.

  9. Words and melody are intertwined in perception of sung words: EEG and behavioral evidence.

    Science.gov (United States)

    Gordon, Reyna L; Schön, Daniele; Magne, Cyrille; Astésano, Corine; Besson, Mireille

    2010-03-31

    Language and music, two of the most unique human cognitive abilities, are combined in song, rendering it an ecological model for comparing speech and music cognition. The present study was designed to determine whether words and melodies in song are processed interactively or independently, and to examine the influence of attention on the processing of words and melodies in song. Event-Related brain Potentials (ERPs) and behavioral data were recorded while non-musicians listened to pairs of sung words (prime and target) presented in four experimental conditions: same word, same melody; same word, different melody; different word, same melody; different word, different melody. Participants were asked to attend to either the words or the melody, and to perform a same/different task. In both attentional tasks, different word targets elicited an N400 component, as predicted based on previous results. Most interestingly, different melodies (sung with the same word) elicited an N400 component followed by a late positive component. Finally, ERP and behavioral data converged in showing interactions between the linguistic and melodic dimensions of sung words. The finding that the N400 effect, a well-established marker of semantic processing, was modulated by musical melody in song suggests that variations in musical features affect word processing in sung language. Implications of the interactions between words and melody are discussed in light of evidence for shared neural processing resources between the phonological/semantic aspects of language and the melodic/harmonic aspects of music.

  10. Scoliosis in musicians and dancers.

    Science.gov (United States)

    Bird, H A; Pinto, Sofia Ornellas

    2013-04-01

    Scoliosis, although often considered a condition of athletes, is very common as a cause of symptoms in performing artists. Three typical case histories are presented with a physiotherapy review. Surprisingly, scoliosis is often more of a problem in musicians than in dancers.

  11. Musicians working in community contexts

    NARCIS (Netherlands)

    Rineke Smilde

    2012-01-01

    This paper will explore types of learning, which takes place when musicians work in situations where they have to connect to community contexts. It will first address musicians’ changing professional roles in the changing sociocultural landscape and the need for lifelong learning and emergence of

  12. Audiograms of symphony orchestra musicians

    DEFF Research Database (Denmark)

    Obeling, Lise; Poulsen, Torben

    1998-01-01

    The audiograms of fifty-seven musicians from four Danish symphony orchestras were determined. The fifty-seven persons (26 females and 31 males) were in the age range from 22 to 65 years. The subjects were interviewed and participated voluntarily in the investigation.Measurements of sound level were...... performed during rehearsal and during concerts in the four orchestras with a sound level meter placed in various instrument groups. At the same time a noise dose meter was used to evaluate the dose perceived by specific orchestra members.The average audiogram showed a decrease at higher frequencies similar...... that musicians cannot be expected to get pronounced hearing losses from playing in a symphony orchestra. It should be noted, though, that the data material is limited, and that the subjects have not been selected in a systematical or representative way....

  13. Sound Exposure of Symphony Orchestra Musicians

    DEFF Research Database (Denmark)

    Schmidt, Jesper Hvass; Pedersen, Ellen Raben; Juhl, Peter Møller;

    2011-01-01

    Background: Assessment of sound exposure by noise dosimetry can be challenging especially when measuring the exposure of classical orchestra musicians where sound originate from many different instruments. A new measurement method of bilateral sound exposure of classical musicians was developed...... and used to characterize sound exposure of the left and right ear simultaneously in two different symphony orchestras.Objectives: To measure binaural sound exposure of professional classical musicians and to identify possible exposure risk factors of specific musicians.Methods: Sound exposure was measured...

  14. Towards wearable support for nomadic musicians

    NARCIS (Netherlands)

    Kock, S.V.; Bouwer, A.

    2011-01-01

    This article presents the design of the Boogynoma system, which aims to support musicians on the go. The system is designed to capture musical ideas which would normally require a guitar, bass, or drum kit and recording equipment. To inform the design of the system, four emiprofessional musicians, w

  15. Musicians as lifelong learners: 32 biographies

    NARCIS (Netherlands)

    Rineke Smilde

    2009-01-01

    Within the study ‘Musicians as Lifelong Learners: Discovery through Biography’, biographical research was used to examine key developments in the professional lives of musicians, focusing on the relationship between their life, educational and career span ant their learning styles. This resulted in

  16. Musical hallucinations in a musician.

    Science.gov (United States)

    Warren, J D; Schott, G D

    2006-08-01

    The experience of music is difficult to study objectively. Here we describe a detailed analysis of musical hallucinations developing after a probable brainstem stroke in an 83 year old musician who was able to describe and notate the hallucinations. The hallucinations comprised simple, repetitive melodic and rhythmic motifs that were combined apparently randomly without definite tonality, large-scale structure, or timbre. This observation is consistent with the proposal that musical hallucinations represent abnormal spontaneous activity in auditory cortical areas beyond the primary auditory cortex. This activity may generate novel musical motifs.

  17. Musician Map: visualizing music collaborations over time

    Science.gov (United States)

    Yim, Ji-Dong; Shaw, Chris D.; Bartram, Lyn

    2009-01-01

    In this paper we introduce Musician Map, a web-based interactive tool for visualizing relationships among popular musicians who have released recordings since 1950. Musician Map accepts search terms from the user, and in turn uses these terms to retrieve data from MusicBrainz.org and AudioScrobbler.net, and visualizes the results. Musician Map visualizes relationships of various kinds between music groups and individual musicians, such as band membership, musical collaborations, and linkage to other artists that are generally regarded as being similar in musical style. These relationships are plotted between artists using a new timeline-based visualization where a node in a traditional node-link diagram has been transformed into a Timeline-Node, which allows the visualization of an evolving entity over time, such as the membership in a band. This allows the user to pursue social trend queries such as "Do Hip-Hop artists collaborate differently than Rock artists".

  18. Acquisition and reacquisition of motor coordination in musicians.

    Science.gov (United States)

    Furuya, Shinichi; Altenmüller, Eckart

    2015-03-01

    Precise control of movement timing plays a key role in musical performance. This motor skill requires coordination across multiple joints and muscles, which is acquired through extensive musical training from childhood. However, extensive training has a potential risk of causing neurological disorders that impair fine motor control, such as task-specific tremor and focal dystonia. Recent technological advances in measurement and analysis of biological data, as well as noninvasive manipulation of neuronal activities, have promoted the understanding of computational and neurophysiological mechanisms underlying acquisition, loss, and reacquisition of dexterous movements through musical practice and rehabilitation. This paper aims to provide an overview of the behavioral and neurophysiological basis of motor virtuosity and disorder in musicians, representative extremes of human motor skill. We also report novel evidence of effects of noninvasive neurorehabilitation that combined transcranial direct-current stimulation and motor rehabilitation over multiple days on musician's dystonia, which offers a promising therapeutic means.

  19. Accurate guitar tuning by cochlear implant musicians.

    Science.gov (United States)

    Lu, Thomas; Huang, Juan; Zeng, Fan-Gang

    2014-01-01

    Modern cochlear implant (CI) users understand speech but find difficulty in music appreciation due to poor pitch perception. Still, some deaf musicians continue to perform with their CI. Here we show unexpected results that CI musicians can reliably tune a guitar by CI alone and, under controlled conditions, match simultaneously presented tones to electric analysis, showed that accurate tuning was achieved by listening to beats rather than discriminating pitch, effectively turning a spectral task into a temporal discrimination task.

  20. Musician earplugs: Appreciation and protection

    Directory of Open Access Journals (Sweden)

    Annelies Bockstael

    2015-01-01

    Full Text Available Recreational music exposure is a potential risk factor for noise-induced hearing loss (NIHL. Augmented hearing protectors have been designed with modified attenuation characteristics to combine hearing protection and listening comfort. However, to date, only a few independent studies have assessed the performance of those augmented protectors in realistic exposure conditions. This study compares the listening experience and temporary effects on cochlear status with different types of earplugs after exposure to contemporary club music. Five different types of commercially available hearing protectors were worn, all commonly used during leisure-time music exposure. Four of them were augmented premolded earplugs and the fifth type was an inexpensive, standard earplug frequently distributed for free at music events. During five different test sessions of 30 min each, participants not professionally involved in music wore one particular type of protector. Contemporary club music was played at sound pressure levels (SPLs representative of concerts and bars. After each listening session, a questionnaire on sound quality and general appreciation was completed. In addition, otoacoustic emissions (OAEs were measured directly before and after music exposure. The reported appreciation clearly differed depending on the addressed characteristics and the specific earplug type. In this test group, the reported appreciation mainly depended on comfort and looks, while differences in sound quality were less noticeable. The changes in OAE amplitude before and after noise exposure were small in terms of clinical standards. Nevertheless, the observed temporary shifts differed systematically for the different types of hearing protectors, with two types of musician earplug showing a more systematic decline than the others. Further research with respect to actual use and achieved protection for real, unsupervised music exposure is warranted.

  1. The Development of Metacognition in Musicians: Implication for Education

    OpenAIRE

    Hallam, S.

    2001-01-01

    Recent research on musical practice has focused on metacognition and the strategies that musicians adopt in their preparations for performance. This study explored the development of metacognition and performance planning strategies in musicians from novice to professional level. 22 professional musicians and 55 novices were interviewed about their practising. The novices were also tape recorded learning and performing a short piece. The professional musicians demonstrated extensive metacogni...

  2. Career Trajectories of Dutch Pop Musicians: A Longitudinal Study

    Science.gov (United States)

    Zwaan, Koos; ter Bogt, Tom F. M.; Raaijmakers, Quinten

    2010-01-01

    Systematic studies of artistic careers are scarce and this is the first large-scale study on the career development of pop musicians. Using a prospective longitudinal approach we followed a sample of aspiring pop musicians in the Netherlands (N=369) over a three-year period. First we identified four groups of pop musicians with different career…

  3. Lateralization of Components of Melodic Stimuli: Musicians versus Nonmusicians.

    Science.gov (United States)

    Baumagarte, Roger; Franklin, Elda

    1981-01-01

    Using dichotic listening methodology, 25 musicians and 25 nonmusicians were compared on four cerebral lateralization tasks: melodies, tonal patterns, rhythm patterns, and verbal stimuli. Musicians demonstrated superior performance on the music tasks. Results are interpreted in terms of superior cognitive strategies of musicians as a function of…

  4. Lateralization of Components of Melodic Stimuli: Musicians versus Nonmusicians.

    Science.gov (United States)

    Baumagarte, Roger; Franklin, Elda

    1981-01-01

    Using dichotic listening methodology, 25 musicians and 25 nonmusicians were compared on four cerebral lateralization tasks: melodies, tonal patterns, rhythm patterns, and verbal stimuli. Musicians demonstrated superior performance on the music tasks. Results are interpreted in terms of superior cognitive strategies of musicians as a function of…

  5. The influence of music and stress on musicians' hearing

    Science.gov (United States)

    Kähäri, Kim; Zachau, Gunilla; Eklöf, Mats; Möller, Claes

    2004-10-01

    Hearing and hearing disorders among classical and rock/jazz musicians was investigated. Pure tone audiometry was done in 140 classical and 139 rock/jazz musicians. The rock/jazz musicians answered a questionnaire concerning hearing disorders and psychosocial exposure. All results were compared to age appropriate reference materials. Hearing thresholds showed a notch configuration in both classical and rock/jazz musicians indicating the inclusion of high sound levels but an overall well-preserved hearing thresholds. Female musicians had significantly better hearing thresholds in the high-frequency area than males. Rock/jazz musicians showed slight worse hearing thresholds as compared to classical musicians. When assessing hearing disorders, a large number of rock/jazz musicians suffered from different hearing disorders (74%). Hearing loss, tinnitus and hyperacusis were the most common disorders and were significantly more frequent in comparison with different reference populations. Among classical musicians, no extended negative progress of the pure tone hearing threshold values was found in spite of the continued 16 years of musical noise exposure. In rock/jazz musicians, there was no relationships between psychosocial factors at work and hearing disorders. The rock/jazz musicians reported low stress and high degree of energy. On the average, the rock/jazz musicians reported higher control, lower stress and higher energy than a reference material of white-collar workers.

  6. Career Trajectories of Dutch Pop Musicians: A Longitudinal Study

    Science.gov (United States)

    Zwaan, Koos; ter Bogt, Tom F. M.; Raaijmakers, Quinten

    2010-01-01

    Systematic studies of artistic careers are scarce and this is the first large-scale study on the career development of pop musicians. Using a prospective longitudinal approach we followed a sample of aspiring pop musicians in the Netherlands (N=369) over a three-year period. First we identified four groups of pop musicians with different career…

  7. An Exploration of Personality Traits in Older Adult Amateur Musicians

    Science.gov (United States)

    Coffman, Don D.

    2007-01-01

    The primary research question for the study was, "Will older adult amateur musicians' personality profiles reflect the traits found in professional musicians?" Participants (N = 58, ages 52 to 79) recruited from a New Horizons Institute "band camp" for older adult amateur musicians completed a musical background questionnaire and the Cattell…

  8. Musician enhancement for speech-in-noise.

    Science.gov (United States)

    Parbery-Clark, Alexandra; Skoe, Erika; Lam, Carrie; Kraus, Nina

    2009-12-01

    To investigate the effect of musical training on speech-in-noise (SIN) performance, a complex task requiring the integration of working memory and stream segregation as well as the detection of time-varying perceptual cues. Previous research has indicated that, in combination with lifelong experience with musical stream segregation, musicians have better auditory perceptual skills and working memory. It was hypothesized that musicians would benefit from these factors and perform better on speech perception in noise than age-matched nonmusician controls. The performance of 16 musicians and 15 nonmusicians was compared on clinical measures of speech perception in noise-QuickSIN and Hearing-In-Noise Test (HINT). Working memory capacity and frequency discrimination were also assessed. All participants had normal hearing and were between the ages of 19 and 31 yr. To be categorized as a musician, participants needed to have started musical training before the age of 7 yr, have 10 or more years of consistent musical experience, and have practiced more than three times weekly within the 3 yr before study enrollment. Nonmusicians were categorized by the failure to meet the musician criteria, along with not having received musical training within the 7 yr before the study. Musicians outperformed the nonmusicians on both QuickSIN and HINT, in addition to having more fine-grained frequency discrimination and better working memory. Years of consistent musical practice correlated positively with QuickSIN, working memory, and frequency discrimination but not HINT. The results also indicate that working memory and frequency discrimination are more important for QuickSIN than for HINT. Musical experience appears to enhance the ability to hear speech in challenging listening environments. Large group differences were found for QuickSIN, and the results also suggest that this enhancement is derived in part from musicians' enhanced working memory and frequency discrimination. For HINT

  9. Complex-tone pitch representations in the human auditory system

    DEFF Research Database (Denmark)

    Bianchi, Federica; Dau, Torsten; Santurette, Sébastien;

    , specifically those showing enhanced pitch cues (i.e., musicians) and those typically having disrupted pitch cues (i.e., hearing-impaired listeners). In particular, two main topics were addressed: the relative importance of resolved and unresolved harmonics for normal-hearing (NH) and hearing-impaired (HI......) listeners and the effect of musical training for pitch discrimination of complex tones with resolved and unresolved harmonics. Concerning the first topic, behavioral and modeling results in listeners with sensorineural hearing loss (SNHL) indicated that temporal envelope cues of complex tones...... discrimination to that of NH listeners. In the second part of this work, behavioral and objective measures of pitch discrimination were carried out in musicians and non-musicians. Musicians showed an increased pitch-discrimination performance relative to non-musicians for both resolved and unresolved harmonics...

  10. Musicians as lifelong learners: discovery through biography

    NARCIS (Netherlands)

    Smilde, Rineke

    2009-01-01

    Today musicians face major changes in their professional life, confronted with questions of how to function flexibly and exploit opportunities in the rapidly changing cultural context. To this end, the concept of lifelong learning is being investigated within this study. Biographical research into

  11. Musicians as lifelong learners: discovery through biography

    NARCIS (Netherlands)

    Rineke Smilde

    2009-01-01

    Today musicians face major changes in their professional life, confronted with questions of how to function flexibly and exploit opportunities in the rapidly changing cultural context. To this end, the concept of lifelong learning is being investigated within this study. Biographical research into

  12. The Musician, the Researcher and the Psychologist

    DEFF Research Database (Denmark)

    Uddholm, Mats

    2013-01-01

    The Musician, the Researcher and the Psychologist The aim of this presentation is to illuminate and discuss some connections between the therapeutic profession and development of music pedagogic theory. A topic that initially emerged as a result of a sub-study in my PhD -project about professiona...

  13. Abordagem ecológica para avaliação dos determinantes de comportamentos preventivos: proposta de inventário aplicado aos músicos Ecological approach to evaluate of preventive behavior: proposal of an inventory applied to musicians

    Directory of Open Access Journals (Sweden)

    Thaís Branquinho Oliveira Fragelli

    2012-06-01

    Full Text Available O presente trabalho teve por objetivo construir um inventário para avaliar os determinantes do comportamento saudável presente nos ambientes social e físico, relacionado à prevenção de lesões ocupacionais em músicos. O processo de construção do inventário baseou-se nas diretrizes para construção de instrumentos psicológicos preconizadas por PASQUALI (1999 e na conceituação formulada pela perspectiva ecológica. A partir desse referencial propõe-se um modelo para analisar o comportamento preventivo fundamentado em três componentes: a as crenças de profissionais da música sobre o comportamento preventivo; b uma avaliação das condições de trabalho disponibilizadas nos espaços para a prática musical; c e a influência social no meio musical.This study aimed at developing an inventory to assess social and physical environments determinants that influence the healthy behavior related to prevention of occupational injuries in musicians. The process of constructing the inventory is based on the guidelines for construction of psychological instruments by PASQUALI (1999 and the concept formulated by the ecological perspective. From this theoretical standpoint it is proposed a model to examine the preventive behavior based on three components: a the beliefs of musicians on preventive behavior, b an assessment of working conditions available in space for music practice, c and social influence in the musical environment.

  14. A motion capture study to measure the feeling of synchrony in romantic couples and in professional musicians

    Directory of Open Access Journals (Sweden)

    Delphine Preissmann

    2016-10-01

    Full Text Available The feeling of synchrony is fundamental for most social activities and prosocial behaviors. However, little is known about the behavioral correlates of this feeling and its modulation by intergroup differences. We previously showed that the subjective feeling of synchrony in subjects involved in a mirror imitation task was modulated by objective behavioral measures, as well as contextual factors such as task difficulty and duration of the task performance. In the present study, we extended our methodology to investigate possible interindividual differences. We hypothesized that being in a romantic relationship or being a professional musician can modulate both implicit and explicit synchronisation and the feeling of synchrony as well as the ability to detect synchrony from a third person perspective. Contrary to our hypothesis, we did not find significant differences between people in a romantic relationship and control subjects. However, we observed differences between musicians and control subjects. For the implicit synchrony (spontaneous synchronization during walking, the results revealed that musicians that had never met before spontaneously synchronized their movements earlier among themselves than control subjects, but not better than people sharing a romantic relationship. Moreover, in explicit behavioral synchronisation tasks (mirror game, musicians reported earlier feeling of synchrony and had less speed errors than control subjects. This was in interaction with tasks difficulty as these differences appeared only in tasks with intermediate difficulty. Finally, when subjects had to judge synchrony from a third person perspective, musicians had a better performance to identify if they were present or not in the videos. Taken together, our results suggest that being a professional musician can play a role in the feeling of synchrony and its underlying mechanisms.

  15. A Motion Capture Study to Measure the Feeling of Synchrony in Romantic Couples and in Professional Musicians.

    Science.gov (United States)

    Preissmann, Delphine; Charbonnier, Caecilia; Chagué, Sylvain; Antonietti, Jean-Philippe; Llobera, Joan; Ansermet, Francois; Magistretti, Pierre J

    2016-01-01

    The feeling of synchrony is fundamental for most social activities and prosocial behaviors. However, little is known about the behavioral correlates of this feeling and its modulation by intergroup differences. We previously showed that the subjective feeling of synchrony in subjects involved in a mirror imitation task was modulated by objective behavioral measures, as well as contextual factors such as task difficulty and duration of the task performance. In the present study, we extended our methodology to investigate possible interindividual differences. We hypothesized that being in a romantic relationship or being a professional musician can modulate both implicit and explicit synchronization and the feeling of synchrony as well as the ability to detect synchrony from a third person perspective. Contrary to our hypothesis, we did not find significant differences between people in a romantic relationship and control subjects. However, we observed differences between musicians and control subjects. For the implicit synchrony (spontaneous synchronization during walking), the results revealed that musicians that had never met before spontaneously synchronized their movements earlier among themselves than control subjects, but not better than people sharing a romantic relationship. Moreover, in explicit behavioral synchronization tasks (mirror game), musicians reported earlier feeling of synchrony and had less speed errors than control subjects. This was in interaction with tasks difficulty as these differences appeared only in tasks with intermediate difficulty. Finally, when subjects had to judge synchrony from a third person perspective, musicians had a better performance to identify if they were present or not in the videos. Taken together, our results suggest that being a professional musician can play a role in the feeling of synchrony and its underlying mechanisms.

  16. A Motion Capture Study to Measure the Feeling of Synchrony in Romantic Couples and in Professional Musicians

    KAUST Repository

    Preissmann, Delphine

    2016-10-27

    The feeling of synchrony is fundamental for most social activities and prosocial behaviors. However, little is known about the behavioral correlates of this feeling and its modulation by intergroup differences. We previously showed that the subjective feeling of synchrony in subjects involved in a mirror imitation task was modulated by objective behavioral measures, as well as contextual factors such as task difficulty and duration of the task performance. In the present study, we extended our methodology to investigate possible interindividual differences. We hypothesized that being in a romantic relationship or being a professional musician can modulate both implicit and explicit synchronization and the feeling of synchrony as well as the ability to detect synchrony from a third person perspective. Contrary to our hypothesis, we did not find significant differences between people in a romantic relationship and control subjects. However, we observed differences between musicians and control subjects. For the implicit synchrony (spontaneous synchronization during walking), the results revealed that musicians that had never met before spontaneously synchronized their movements earlier among themselves than control subjects, but not better than people sharing a romantic relationship. Moreover, in explicit behavioral synchronization tasks (mirror game), musicians reported earlier feeling of synchrony and had less speed errors than control subjects. This was in interaction with tasks difficulty as these differences appeared only in tasks with intermediate difficulty. Finally, when subjects had to judge synchrony from a third person perspective, musicians had a better performance to identify if they were present or not in the videos. Taken together, our results suggest that being a professional musician can play a role in the feeling of synchrony and its underlying mechanisms. © 2016 Preissmann, Charbonnier, Chagué, Antonietti, Llobera, Ansermet and Magistretti.

  17. Musical Training, Bilingualism, and Executive Function: A Closer Look at Task Switching and Dual-Task Performance

    Science.gov (United States)

    Moradzadeh, Linda; Blumenthal, Galit; Wiseheart, Melody

    2015-01-01

    This study investigated whether musical training and bilingualism are associated with enhancements in specific components of executive function, namely, task switching and dual-task performance. Participants (n = 153) belonging to one of four groups (monolingual musician, bilingual musician, bilingual non-musician, or monolingual non-musician)…

  18. Differentiation of Classical Music Requires Little Learning but Rhythm

    Science.gov (United States)

    Dalla Bella, S.; Peretz, I.

    2005-01-01

    Detecting distinctions between the styles of classical music (e.g. Baroque and Romantic) is often viewed as the privilege of musicians. However, this elite perspective underestimates the abilities of non-musicians. We report that Western musicians and non-musicians, and non-Westerners (i.e. Chinese participants) rated pairs of excerpts presented…

  19. Amplified induced neural oscillatory activity predicts musicians' benefits in categorical speech perception.

    Science.gov (United States)

    Bidelman, Gavin M

    2017-04-21

    Event-related brain potentials (ERPs) reveal musical experience refines neural encoding and confers stronger categorical perception (CP) and neural organization for speech sounds. In addition to evoked brain activity, the human EEG can be decomposed into induced (non-phase-locked) responses whose various frequency bands reflect different mechanisms of perceptual-cognitive processing. Here, we aimed to clarify which spectral properties of these neural oscillations are most prone to music-related neuroplasticity and which are linked to behavioral benefits in the categorization of speech. We recorded electrical brain activity while musicians and nonmusicians rapidly identified speech tokens from a sound continuum. Time-frequency analysis parsed evoked and induced EEG into alpha- (∼10Hz), beta- (∼20Hz), and gamma- (>30Hz) frequency bands. We found that musicians' enhanced behavioral CP was accompanied by improved evoked speech responses across the frequency spectrum, complementing previously observed enhancements in evoked potential studies (i.e., ERPs). Brain-behavior correlations implied differences in the underlying neural mechanisms supporting speech CP in each group: modulations in induced gamma power predicted the slope of musicians' speech identification functions whereas early evoked alpha activity predicted behavior in nonmusicians. Collectively, findings indicate that musical training tunes speech processing via two complementary mechanisms: (i) strengthening the formation of auditory object representations for speech signals (gamma-band) and (ii) improving network control and/or the matching of sounds to internalized memory templates (alpha/beta-band). Both neurobiological enhancements may be deployed behaviorally and account for musicians' benefits in the perceptual categorization of speech. Copyright © 2017 IBRO. Published by Elsevier Ltd. All rights reserved.

  20. University-Level Group Piano Instruction and Professional Musicians

    Science.gov (United States)

    Young, Margaret Mary

    2013-01-01

    Group piano courses for undergraduate music majors have been charged with developing the piano skills used by professional musicians; however, the only information available on the use of piano skills by professional musicians has been limited to one profession: public school music teachers. No one has attempted to identify the piano skills used…

  1. Distributed Practice and Procedural Memory Consolidation in Musicians' Skill Learning

    Science.gov (United States)

    Simmons, Amy L.

    2012-01-01

    This research was designed to determine whether musicians' learning is affected by the time intervals interposed between practice sessions. Twenty-nine non-pianist musicians learned a 9-note sequence on a piano keyboard in three practice sessions that were separated by 5 min, 6 hr, or 24 hr. Significant improvements in performance accuracy were…

  2. Making Mavericks: Preparing Musicians for Independent Artistic Culture

    Science.gov (United States)

    Canham, Nicole L.

    2016-01-01

    This essay explores the role that maverick qualities--"independent or unorthodox behaviour" ("The Oxford Dictionary," 2015)--play in developing and sustaining musician employability. Whilst career education for musicians often highlights new career models (Bridgstock, 2005), there is limited evidence of how these concepts work…

  3. Measuring and enhancing proprioception in musicians and dancers.

    Science.gov (United States)

    Smitt, Myrim Sillevis; Bird, H A

    2013-04-01

    Proprioception is important to many musicians and all dancers. Methods of measuring proprioception in the hands of musicians and globally in dancers are reviewed. Their uses in defining proprioception in performers and thereby reducing the risk of injury as well as enhancing performance are discussed.

  4. University-Level Group Piano Instruction and Professional Musicians

    Science.gov (United States)

    Young, Margaret Mary

    2013-01-01

    Group piano courses for undergraduate music majors have been charged with developing the piano skills used by professional musicians; however, the only information available on the use of piano skills by professional musicians has been limited to one profession: public school music teachers. No one has attempted to identify the piano skills used…

  5. Thoracic outlet syndrome in musicians - an approach to treatment.

    Science.gov (United States)

    Campbell, R M

    1996-01-01

    Thoracic outlet syndrome (TOS) can affect the skill of instrumental musicians. This paper details the way in which symptomatic TOS affects the musician and describes two cases of symptomatic TOS in a drummer and a violinist. Evaluation tools and treatment techniques are described.

  6. The prevalence of chronic pain in orchestra musicians

    Directory of Open Access Journals (Sweden)

    Gasenzer, Elena R.

    2017-01-01

    Full Text Available Background: The study investigated the incidence of chronic pain as well as causes and mechanisms of pain chronification in orchestra musicians. Aims: Chronic pain is a serious problem in the study group due to very specific playing techniques and body positions while playing, with a high impact on professional and private life. Methods: 8,645 professional musicians from 132 German cultural orchestras were contacted and asked about chronic pain via an online questionnaire. The study group comprised orchestra musicians suffering from pain. The control group consisted of musicians playing the same type of instruments (same working conditions who reported to be free of pain. Results: The response rate was 8.6% (740 musicians. 66.2% (n=490 out of 740 musicians who completed the questionnaire reported chronic pain. The most frequently reported localizations of pain were the body parts which are mostly involved in instrumental playing such as back (70%, shoulders (67.8%, neck (64.1%, hands and wrists (39.8%. 27.4% of the investigated musicians suffered from pain with a high degree of impairment. Conclusions: These results appear conclusive and indicate a need to continue research into chronic pain in musicians.

  7. The prevalence of chronic pain in orchestra musicians.

    Science.gov (United States)

    Gasenzer, Elena R; Klumpp, Marie-Juliana; Pieper, Dawid; Neugebauer, Edmund A M

    2017-01-01

    Background: The study investigated the incidence of chronic pain as well as causes and mechanisms of pain chronification in orchestra musicians. Aims: Chronic pain is a serious problem in the study group due to very specific playing techniques and body positions while playing, with a high impact on professional and private life. Methods: 8,645 professional musicians from 132 German cultural orchestras were contacted and asked about chronic pain via an online questionnaire. The study group comprised orchestra musicians suffering from pain. The control group consisted of musicians playing the same type of instruments (same working conditions) who reported to be free of pain. Results: The response rate was 8.6% (740 musicians). 66.2% (n=490) out of 740 musicians who completed the questionnaire reported chronic pain. The most frequently reported localizations of pain were the body parts which are mostly involved in instrumental playing such as back (70%), shoulders (67.8%), neck (64.1%), hands and wrists (39.8%). 27.4% of the investigated musicians suffered from pain with a high degree of impairment. Conclusions: These results appear conclusive and indicate a need to continue research into chronic pain in musicians.

  8. Musicians and Tone-Language Speakers Share Enhanced Brainstem Encoding but Not Perceptual Benefits for Musical Pitch

    Science.gov (United States)

    Bidelman, Gavin M.; Gandour, Jackson T.; Krishnan, Ananthanarayan

    2011-01-01

    Behavioral and neurophysiological transfer effects from music experience to language processing are well-established but it is currently unclear whether or not linguistic expertise (e.g., speaking a tone language) benefits music-related processing and its perception. Here, we compare brainstem responses of English-speaking musicians/non-musicians…

  9. Home recording for musicians for dummies

    CERN Document Server

    Strong, Jeff

    2008-01-01

    Invaluable advice that will be music to your ears! Are you thinking of getting started in home recording? Do you want to know the latest home recording technologies? Home Recording For Musicians For Dummies will get you recording music at home in no time. It shows you how to set up a home studio, record and edit your music, master it, and even distribute your songs. With this guide, you?ll learn how to compare studio-in-a-box, computer-based, and stand-alone recording systems and choose what you need. You?ll gain the skills to manage your sound, take full advantage of MIDI, m

  10. Modulated neural processing of Western harmony in folk musicians.

    Science.gov (United States)

    Brattico, Elvira; Tupala, Tiina; Glerean, Enrico; Tervaniemi, Mari

    2013-07-01

    A chord deviating from the conventions of Western tonal music elicits an early right anterior negativity (ERAN) in inferofrontal brain regions. Here, we tested whether the ERAN is modulated by expertise in more than one music culture, as typical of folk musicians. Finnish folk musicians and nonmusicians participated in electroencephalography recordings. The cadences consisted of seven chords. In incongruous cadences, the third, fifth, or seventh chord was a Neapolitan. The ERAN to the Neapolitans was enhanced in folk musicians compared to nonmusicians. Folk musicians showed an enhanced P3a for the ending Neapolitan. The Neapolitan at the fifth position was perceived differently and elicited a late enhanced ERAN in folk musicians. Hence, expertise in more than one music culture seems to modify chord processing by enhancing the ERAN to ambivalent chords and the P3a to incongruous chords, and by altering their perceptual attributes.

  11. Hearing loss and tinnitus in rock musicians: A Norwegian survey

    Directory of Open Access Journals (Sweden)

    Carl Christian Lein Størmer

    2015-01-01

    Full Text Available Our focus in this study was to assess hearing thresholds and the prevalence and characteristics of tinnitus in a large group of rock musicians based in Norway. A further objective was to assess related factors such as exposure, instrument category, and the preventive effect of hearing protection. The study was a cross-sectional survey of rock musicians selected at random from a defined cohort of musicians. A random control group was included for comparison. We recruited 111 active musicians from the Oslo region, and a control group of 40 nonmusicians from the student population at the University of TromsØ. The subjects were investigated using clinical examination, pure tone audiometry, tympanometry, and a questionnaire. We observed a hearing loss in 37.8% of the rock musicians. Significantly poorer hearing thresholds were seen at most pure-tone frequencies in musicians than controls, with the most pronounced threshold shift at 6 kHz. The use of hearing protection, in particular custom-fitted earplugs, has a preventive effect but a minority of rock musicians apply them consistently. The degree of musical performance exposure was inversely related to the degree of hearing loss in our sample. Bass and guitar players had higher hearing thresholds than vocalists. We observed a 20% prevalence of chronic tinnitus but none of the affected musicians had severe tinnitus symptomatology. There was no statistical association between permanent tinnitus and hearing loss in our sample. We observed an increased prevalence of hearing loss and tinnitus in our sample of Norwegian rock musicians but the causal relationship between musical exposure and hearing loss or tinnitus is ambiguous. We recommend the use of hearing protection in rock musicians.

  12. Hearing loss and tinnitus in rock musicians: A Norwegian survey.

    Science.gov (United States)

    Størmer, Carl Christian Lein; Laukli, Einar; Høydal, Erik Harry; Stenklev, Niels Christian

    2015-01-01

    Our focus in this study was to assess hearing thresholds and the prevalence and characteristics of tinnitus in a large group of rock musicians based in Norway. A further objective was to assess related factors such as exposure, instrument category, and the preventive effect of hearing protection. The study was a cross-sectional survey of rock musicians selected at random from a defined cohort of musicians. A random control group was included for comparison. We recruited 111 active musicians from the Oslo region, and a control group of 40 nonmusicians from the student population at the University of TromsØ. The subjects were investigated using clinical examination, pure tone audiometry, tympanometry, and a questionnaire. We observed a hearing loss in 37.8% of the rock musicians. Significantly poorer hearing thresholds were seen at most pure-tone frequencies in musicians than controls, with the most pronounced threshold shift at 6 kHz. The use of hearing protection, in particular custom-fitted earplugs, has a preventive effect but a minority of rock musicians apply them consistently. The degree of musical performance exposure was inversely related to the degree of hearing loss in our sample. Bass and guitar players had higher hearing thresholds than vocalists. We observed a 20% prevalence of chronic tinnitus but none of the affected musicians had severe tinnitus symptomatology. There was no statistical association between permanent tinnitus and hearing loss in our sample. We observed an increased prevalence of hearing loss and tinnitus in our sample of Norwegian rock musicians but the causal relationship between musical exposure and hearing loss or tinnitus is ambiguous. We recommend the use of hearing protection in rock musicians.

  13. ABOUT METHODOLOGICAL TRAINING OF TEACHER-MUSICIANS

    Directory of Open Access Journals (Sweden)

    Y. A. Bodina

    2014-01-01

    Full Text Available The paper considers the need for reinterpretation of the content and functions of methodological training of teacher-musicians in the higher school; the above problem being raised as the result of the massive penetration of information technologies, intensification of knowledge updates, rejection of narrow specializations, and propagation of the postmodern culture. The author focuses on modernization of methodology training of teachermusicians with the emphasis on general features of the modern musical environment affecting students’ personality. The proper methodology training of the future teacher-musicians, based on the culture-adequate knowledge and accompanied by the actual project activity forms, is capable to counteract the influence of the second-rate common musical tastes and negative world perception. In conclusion, the author highlights the need for intensification of the ontological and personal worldview orientation of methodology training and further development of professional tools. The paper is addressed to the higher school teachers and students, music school teachers, and additional education teachers.

  14. Inhibitory control in bilinguals and musicians: event related potential (ERP evidence for experience-specific effects.

    Directory of Open Access Journals (Sweden)

    Sylvain Moreno

    Full Text Available Bilinguals and musicians exhibit behavioral advantages on tasks with high demands on executive functioning, particularly inhibitory control, but the brain mechanisms supporting these differences are unclear. Of key interest is whether these forms of experience influence cognition through similar or distinct information processing mechanisms. Here, we recorded event-related potentials (ERPs in three groups - bilinguals, musicians, and controls - who completed a visual go-nogo task that involved the withholding of key presses to rare targets. Participants in each group achieved similar accuracy rates and responses times but the analysis of cortical responses revealed significant differences in ERP waveforms. Success in withholding a prepotent response was associated with enhanced stimulus-locked N2 and P3 wave amplitude relative to go trials. For nogo trials, there were altered timing-specific ERP differences and graded amplitude differences observed in the neural responses across groups. Specifically, musicians showed an enhanced early P2 response accompanied by reduced N2 amplitude whereas bilinguals showed increased N2 amplitude coupled with an increased late positivity wave relative to controls. These findings demonstrate that bilingualism and music training have differential effects on the brain networks supporting executive control over behavior.

  15. Inhibitory Control in Bilinguals and Musicians: Event Related Potential (ERP) Evidence for Experience-Specific Effects

    Science.gov (United States)

    Moreno, Sylvain; Wodniecka, Zofia; Tays, William; Alain, Claude; Bialystok, Ellen

    2014-01-01

    Bilinguals and musicians exhibit behavioral advantages on tasks with high demands on executive functioning, particularly inhibitory control, but the brain mechanisms supporting these differences are unclear. Of key interest is whether these forms of experience influence cognition through similar or distinct information processing mechanisms. Here, we recorded event-related potentials (ERPs) in three groups – bilinguals, musicians, and controls – who completed a visual go-nogo task that involved the withholding of key presses to rare targets. Participants in each group achieved similar accuracy rates and responses times but the analysis of cortical responses revealed significant differences in ERP waveforms. Success in withholding a prepotent response was associated with enhanced stimulus-locked N2 and P3 wave amplitude relative to go trials. For nogo trials, there were altered timing-specific ERP differences and graded amplitude differences observed in the neural responses across groups. Specifically, musicians showed an enhanced early P2 response accompanied by reduced N2 amplitude whereas bilinguals showed increased N2 amplitude coupled with an increased late positivity wave relative to controls. These findings demonstrate that bilingualism and music training have differential effects on the brain networks supporting executive control over behavior. PMID:24743321

  16. The Effect of Music on Hearing of String Musicians

    OpenAIRE

    Parisa Mirhaj; Ghasem Mohammad Khani; Mahin Sedaie; Soghrat Faghihzadeh

    2006-01-01

    Background and Aim: Hearing sensitivity is so vital for musicians as loud music can cause hearing loss. The aim of this study was to assess hearing sensitivity of musicians in order to determine the effects of music exposure on hearing organ. Materials and Methods: This case-control study was conducted on 15 string musicians with musicianship history of more than 10 years and 15 normal hearing subjects. They all were male and 20-30 years old. TEOAE and DPOAE performed and after otoscopy, immi...

  17. Musicians differ from nonmusicians in brain activation despite performance matching.

    Science.gov (United States)

    Gaab, Nadine; Schlaug, Gottfried

    2003-11-01

    Brain activation patterns in a group of musicians and a group of nonmusicians (matched in performance score to the musician group) were compared during a pitch memory task using a sparse-temporal sampling functional magnetic resonance imaging experiment. Both groups showed bilateral activaton (left more than right) of the superior temporal gyrus, supramarginal gyrus, posterior middle and inferior frontal gyrus, and superior parietal lobe. Musicians showed greater right posterior temporal and supramarginal activation, whereas nonmusicians had greater activation of the left secondary auditory cortex.

  18. Life Expectancy and Cause of Death in Popular Musicians: Is the Popular Musician Lifestyle the Road to Ruin?

    Science.gov (United States)

    Kenny, Dianna T; Asher, Anthony

    2016-03-01

    Does a combination of lifestyle pressures and personality, as reflected in genre, lead to the early death of popular musicians? We explored overall mortality, cause of death, and changes in patterns of death over time and by music genre membership in popular musicians who died between 1950 and 2014. The death records of 13,195 popular musicians were coded for age and year of death, cause of death, gender, and music genre. Musician death statistics were compared with age-matched deaths in the US population using actuarial methods. Although the common perception is of a glamorous, free-wheeling lifestyle for this occupational group, the figures tell a very different story. Results showed that popular musicians have shortened life expectancy compared with comparable general populations. Results showed excess mortality from violent deaths (suicide, homicide, accidental death, including vehicular deaths and drug overdoses) and liver disease for each age group studied compared with population mortality patterns. These excess deaths were highest for the under-25-year age group and reduced chronologically thereafter. Overall mortality rates were twice as high compared with the population when averaged over the whole age range. Mortality impacts differed by music genre. In particular, excess suicides and liver-related disease were observed in country, metal, and rock musicians; excess homicides were observed in 6 of the 14 genres, in particular hip hop and rap musicians. For accidental death, actual deaths significantly exceeded expected deaths for country, folk, jazz, metal, pop, punk, and rock.

  19. Hearing ability in Danish symphony orchestra musicians

    DEFF Research Database (Denmark)

    Obeling, Lise; Poulsen, Torben

    1999-01-01

    equipment placed in various instrument groups. The average audiogram showed a decrease at higher frequencies similar to an age-related hearing loss. Each audiogram was corrected for the age of the person by means of the median from ISO 7029 and the average audiogram from these age-corrected individual...... audiograms showed no signs of hearing loss. The audiograms were also compared to the expected audiograms from ISO 1999, which takes account of the number of years at work, the number of playing hours per week, and the average sound level in the orchestra for the instrument group. In almost all cases...... the measured audiograms looked better than the predictions from ISO 1999. It may be concluded from this investigation that musicians cannot be expected to get pronounced audiometric hearing losses from playing in a symphony orchestra. It should be noted, though, that the data material is limited...

  20. Musicians have enhanced audiovisual multisensory binding: experience-dependent effects in the double-flash illusion.

    Science.gov (United States)

    Bidelman, Gavin M

    2016-10-01

    Musical training is associated with behavioral and neurophysiological enhancements in auditory processing for both musical and nonmusical sounds (e.g., speech). Yet, whether the benefits of musicianship extend beyond enhancements to auditory-specific skills and impact multisensory (e.g., audiovisual) processing has yet to be fully validated. Here, we investigated multisensory integration of auditory and visual information in musicians and nonmusicians using a double-flash illusion, whereby the presentation of multiple auditory stimuli (beeps) concurrent with a single visual object (flash) induces an illusory perception of multiple flashes. We parametrically varied the onset asynchrony between auditory and visual events (leads and lags of ±300 ms) to quantify participants' "temporal window" of integration, i.e., stimuli in which auditory and visual cues were fused into a single percept. Results show that musically trained individuals were both faster and more accurate at processing concurrent audiovisual cues than their nonmusician peers; nonmusicians had a higher susceptibility for responding to audiovisual illusions and perceived double flashes over an extended range of onset asynchronies compared to trained musicians. Moreover, temporal window estimates indicated that musicians' windows (audiovisual binding. Collectively, findings indicate a more refined binding of auditory and visual cues in musically trained individuals. We conclude that experience-dependent plasticity of intensive musical experience extends beyond simple listening skills, improving multimodal processing and the integration of multiple sensory systems in a domain-general manner.

  1. Music performance anxiety: New insights from young musicians

    Directory of Open Access Journals (Sweden)

    Margaret S. Osborne

    2006-01-01

    Full Text Available Music performance anxiety (MPA is a relatively neglected psychological phenomenon that rarely appears in mainstream psychological journals or textbooks. To date, this field of inquiry has focused primarily on professional and amateur adult musicians or college level music students. With the exception of a small number of recent additions to the literature, there have been few studies examining the experience of MPA in younger musicians. In this paper, we review our work on MPA in general, and summarize our recent work with young musicians. We argue that the experience of MPA may begin early in a musical career and that the characteristics of this experience are qualitatively similar to those experienced by adult musicians. There are therefore compelling reasons to address MPA early and to take a strong preventive focus on a condition that to date shows persistence over time and only modest response to available treatments.

  2. Auditory and visual memory in musicians and nonmusicians

    Science.gov (United States)

    Evans, Karla K.; Horowitz, Todd S.; Wolfe, Jeremy M.

    2014-01-01

    Numerous studies have shown that musicians outperform nonmusicians on a variety of tasks. Here we provide the first evidence that musicians have superior auditory recognition memory for both musical and nonmusical stimuli, compared to nonmusicians. However, this advantage did not generalize to the visual domain. Previously, we showed that auditory recognition memory is inferior to visual recognition memory. Would this be true even for trained musicians? We compared auditory and visual memory in musicians and nonmusicians using familiar music, spoken English, and visual objects. For both groups, memory for the auditory stimuli was inferior to memory for the visual objects. Thus, although considerable musical training is associated with better musical and nonmusical auditory memory, it does not increase the ability to remember sounds to the levels found with visual stimuli. This suggests a fundamental capacity difference between auditory and visual recognition memory, with a persistent advantage for the visual domain. PMID:21374094

  3. Mutual benefits of collaborations between instrument makers, musicians and acousticians

    OpenAIRE

    Sharp, David,

    2012-01-01

    International audience; Effective collaboration between instrument makers, musicians and acousticians can be of great benefit to all parties, leading to improved instrument designs, greater understanding of an instrument’s playing characteristics, and an improved knowledge of the physical processes that occur within an instrument. As a working relationship develops between an instrument maker, a musician and an acoustician, the trust that builds up can facilitate increasingly more detailed in...

  4. Mental rotation and working memory in musicians' dystonia.

    Science.gov (United States)

    Erro, Roberto; Hirschbichler, Stephanie T; Ricciardi, Lucia; Ryterska, Agata; Antelmi, Elena; Ganos, Christos; Cordivari, Carla; Tinazzi, Michele; Edwards, Mark J; Bhatia, Kailash P

    2016-11-01

    Mental rotation of body parts engages cortical-subcortical areas that are actually involved in the execution of a movement. Musicians' dystonia is a type of focal hand dystonia that is grouped together with writer's cramp under the rubric of "occupational dystonia", but it is unclear to which extent these two disorders share common pathophysiological mechanisms. Previous research has demonstrated patients with writer's cramp to have deficits in mental rotation of body parts. It is unknown whether patients with musicians' dystonia would display similar deficits, reinforcing the concept of shared pathophysiology. Eight patients with musicians' dystonia and eight healthy musicians matched for age, gender and musical education, performed a number of tasks assessing mental rotation of body parts and objects as well as verbal and spatial working memories abilities. There were no differences between patients and healthy musicians as to accuracy and reaction times in any of the tasks. Patients with musicians' dystonia have intact abilities in mentally rotating body parts, suggesting that this disorder relies on a highly selective disruption of movement planning and execution that manifests only upon playing a specific instrument. We further demonstrated that mental rotation of body parts and objects engages, at least partially, different cognitive networks. Copyright © 2016 Elsevier Inc. All rights reserved.

  5. Creativity and personality in classical, jazz and folk musicians

    Science.gov (United States)

    Benedek, Mathias; Borovnjak, Barbara; Neubauer, Aljoscha C.; Kruse-Weber, Silke

    2014-01-01

    The music genre of jazz is commonly associated with creativity. However, this association has hardly been formally tested. Therefore, this study aimed at examining whether jazz musicians actually differ in creativity and personality from musicians of other music genres. We compared students of classical music, jazz music, and folk music with respect to their musical activities, psychometric creativity and different aspects of personality. In line with expectations, jazz musicians are more frequently engaged in extracurricular musical activities, and also complete a higher number of creative musical achievements. Additionally, jazz musicians show higher ideational creativity as measured by divergent thinking tasks, and tend to be more open to new experiences than classical musicians. This study provides first empirical evidence that jazz musicians show particularly high creativity with respect to domain-specific musical accomplishments but also in terms of domain-general indicators of divergent thinking ability that may be relevant for musical improvisation. The findings are further discussed with respect to differences in formal and informal learning approaches between music genres. PMID:24895472

  6. Creativity and personality in classical, jazz and folk musicians.

    Science.gov (United States)

    Benedek, Mathias; Borovnjak, Barbara; Neubauer, Aljoscha C; Kruse-Weber, Silke

    2014-06-01

    The music genre of jazz is commonly associated with creativity. However, this association has hardly been formally tested. Therefore, this study aimed at examining whether jazz musicians actually differ in creativity and personality from musicians of other music genres. We compared students of classical music, jazz music, and folk music with respect to their musical activities, psychometric creativity and different aspects of personality. In line with expectations, jazz musicians are more frequently engaged in extracurricular musical activities, and also complete a higher number of creative musical achievements. Additionally, jazz musicians show higher ideational creativity as measured by divergent thinking tasks, and tend to be more open to new experiences than classical musicians. This study provides first empirical evidence that jazz musicians show particularly high creativity with respect to domain-specific musical accomplishments but also in terms of domain-general indicators of divergent thinking ability that may be relevant for musical improvisation. The findings are further discussed with respect to differences in formal and informal learning approaches between music genres.

  7. Playing-Related Musculoskeletal Disorders of Professional Orchestra Musicians from the North of Portugal: Comparing String and Wind Musicians

    Directory of Open Access Journals (Sweden)

    Cláudia Maria Sousa

    2017-04-01

    Conclusion: Future studies focusing on working-related problems among professional orchestra musicians in Portugal would be useful to better describe the problem of occupational diseases among performing artist.

  8. Neural correlates of absolute pitch differ between blind and sighted musicians.

    Science.gov (United States)

    Gaab, Nadine; Schulze, Katrin; Ozdemir, Elif; Schlaug, Gottfried

    2006-12-18

    Several reports have indicated a higher incidence of absolute pitch in blind than in sighted musicians. Employing a pitch memory task, we examined whether a blind absolute pitch musician would rely on different neural correlates than a group of sighted absolute pitch musicians. The blind musician showed significantly more activation of bihemispheric visual association areas, lingual gyrus, parietal and frontal areas than the sighted musicians. Sighted musicians showed more activation of the right primary auditory cortex and the cerebellum when compared with the blind musician. These differences in the activation pattern suggest the use of a different neural network including visual association areas while performing pitch categorization and identification in this blind musician in comparison with sighted musicians.

  9. Vocal accuracy and neural plasticity following micromelody-discrimination training.

    Directory of Open Access Journals (Sweden)

    Jean Mary Zarate

    Full Text Available BACKGROUND: Recent behavioral studies report correlational evidence to suggest that non-musicians with good pitch discrimination sing more accurately than those with poorer auditory skills. However, other studies have reported a dissociation between perceptual and vocal production skills. In order to elucidate the relationship between auditory discrimination skills and vocal accuracy, we administered an auditory-discrimination training paradigm to a group of non-musicians to determine whether training-enhanced auditory discrimination would specifically result in improved vocal accuracy. METHODOLOGY/PRINCIPAL FINDINGS: We utilized micromelodies (i.e., melodies with seven different interval scales, each smaller than a semitone as the main stimuli for auditory discrimination training and testing, and we used single-note and melodic singing tasks to assess vocal accuracy in two groups of non-musicians (experimental and control. To determine if any training-induced improvements in vocal accuracy would be accompanied by related modulations in cortical activity during singing, the experimental group of non-musicians also performed the singing tasks while undergoing functional magnetic resonance imaging (fMRI. Following training, the experimental group exhibited significant enhancements in micromelody discrimination compared to controls. However, we did not observe a correlated improvement in vocal accuracy during single-note or melodic singing, nor did we detect any training-induced changes in activity within brain regions associated with singing. CONCLUSIONS/SIGNIFICANCE: Given the observations from our auditory training regimen, we therefore conclude that perceptual discrimination training alone is not sufficient to improve vocal accuracy in non-musicians, supporting the suggested dissociation between auditory perception and vocal production.

  10. Is there addiction to loud music? Findings in a group of non-professional pop/rock musicians.

    Science.gov (United States)

    Schmuziger, Nicolas; Patscheke, Jochen; Stieglitz, Rolf; Probst, Rudolf

    2012-01-09

    Listening to loud music may be connected to addictive behavior possibly leading to damaging effects on the cochlea. We hypothesized that members of non-professional pop/rock bands with regular exposure to loud music are more likely to show an addictive-like behavior for loud music than matched control subjects. Fifty non-professional musicians and 50 matched control subjects were asked to complete the Northeastern Music Listening Survey (NEMLS) with two basic components. The first comprises an adaptation of the validated Michigan Alcohol Screening Test (MAST) to study the addictive-like behavior towards loud music. The second comprises the criteria outlined by the fourth edition of the Diagnostic and Statistical Manual of Mental Disorders (DSM-IV) of the American Psychiatric Society for the diagnosis of substance dependence. The NEMLS was scored using the same point system as used in the MAST. The DSM-IV criteria for substance dependence were met by nine of the musician group and by one control subject. Seven of these nine musicians also had a positive NEMLS score. Traits of addictive-like behavior to loud music were detected more often in members of nonprofessional pop/rock bands than in control subjects.

  11. Is there addiction to loud music? Findings in a group of non-professional pop/rock musicians

    Directory of Open Access Journals (Sweden)

    Nicolas Schmuziger

    2012-07-01

    Full Text Available Listening to loud music may be connected to addictive behavior possibly leading to damaging effects on the cochlea. We hypothesized that members of non-professional pop/rock bands with regular exposure to loud music are more likely to show an addictive-like behavior for loud music than matched control subjects. Fifty non-professional musicians and 50 matched control subjects were asked to complete the Northeastern Music Listening Survey (NEMLS with two basic components. The first comprises an adaptation of the validated Michigan Alcohol Screening Test (MAST to study the addictive-like behavior towards loud music. The second comprises the criteria outlined by the fourth edition of the Diagnostic and Statistical Manual of Mental Disorders (DSM-IV of the American Psychiatric Society for the diagnosis of substance dependence. The NEMLS was scored using the same point system as used in the MAST. The DSM-IV criteria for substance dependence were met by nine of the musician group and by one control subject. Seven of these nine musicians also had a positive NEMLS score. Traits of addictive-like behavior to loud music were detected more often in members of nonprofessional pop/rock bands than in control subjects.

  12. Functional connectivity of the dorsal striatum in female musicians

    Directory of Open Access Journals (Sweden)

    Shoji eTanaka

    2016-04-01

    Full Text Available The dorsal striatum (caudate/putamen is a node of the cortico-striato-pallido-thalamo-cortical (CSPTC motor circuit, which plays a central role in skilled motor learning, a critical feature of musical performance. The dorsal striatum receives input from a large part of the cerebral cortex, forming a hub in the cortical-subcortical network. This study sought to examine how the functional network of the dorsal striatum differs between musicians and nonmusicians.Resting state functional magnetic resonance imaging (fMRI data were acquired from female university students majoring in music and nonmusic disciplines. The data were subjected to graph theoretical analysis and functional connectivity analysis. The graph theoretical analysis of the entire brain revealed that the degree, which represents the number of connections, of the bilateral putamen was significantly lower in musicians than in nonmusicians. The functional connectivity analysis indicated that compared with nonmusicians, musicians had significantly decreased connectivity between the left putamen and bilateral frontal operculum and between the left caudate nucleus and cerebellum. In conclusion, compared with nonmusicians, female musicians have a smaller functional network of the dorsal striatum, with decreased connectivity. These data are consistent with previous anatomical studies reporting a reduced volume of the dorsal striatum in musicians and ballet dancers. To the best of our knowledge, this is the first study suggesting that long-term musical training results in a less extensive or selective functional network of the dorsal striatum.

  13. Music and its Impact on Musicians in Broadcasting Company

    Directory of Open Access Journals (Sweden)

    Mina Milani

    1999-03-01

    Full Text Available Sound is an inseparable part of human life and provides us with lovely experiences such as listening to music. Musicians from classical orchestras to rock groups are exposed to high decibel of sounds. Musicians playing percussion musical instruments are exposed to high level of impact noise and players of Brass musical instruments are highly exposed to noise peaks higher than 100dB. Woodwind players are enduring the risk of posing directly in front of Brass players. Based on the above-mentioned risks for hearing loss clinical consideration of noise induced hearing loss in musicians is highly required. In the current study we were aimed at examining hearing stratus of classic and traditional musicians by means of pure tone audiometry in Islamic Republic of Iran Broadcasting. 33 subjects were evaluated aged between 22 to 59 years old. Their musical experience was variable between 6 to 45 years. The study demonstrated that most of the musicians in this study suffered bilateral high frequency hearing loss with a notch in the frequency range of 4-8 KHz.

  14. Sensorimotor integration is enhanced in dancers and musicians.

    Science.gov (United States)

    Karpati, Falisha J; Giacosa, Chiara; Foster, Nicholas E V; Penhune, Virginia B; Hyde, Krista L

    2016-03-01

    Studying individuals with specialized training, such as dancers and musicians, provides an opportunity to investigate how intensive practice of sensorimotor skills affects behavioural performance across various domains. While several studies have found that musicians have improved motor, perceptual and sensorimotor integration skills compared to untrained controls, fewer studies have examined the effect of dance training on such skills. Moreover, no study has specifically compared the effects of dance versus music training on perceptual or sensorimotor performance. To this aim, in the present study, expert dancers, expert musicians and untrained controls were tested on a range of perceptual and sensorimotor tasks designed to discriminate performance profiles across groups. Dancers performed better than musicians and controls on a dance imitation task (involving whole-body movement), but musicians performed better than dancers and controls on a musical melody discrimination task as well as on a rhythm synchronization task (involving finger tapping). These results indicate that long-term intensive dance and music training are associated with distinct enhancements in sensorimotor skills. This novel work advances knowledge of the effects of long-term dance versus music training and has potential applications in therapies for motor disorders.

  15. Forte Fortissimo for amateur musicians: no effect on otoacoustic emissions.

    Science.gov (United States)

    Møllerløkken, Ole J; Magerøy, Nils; Bråtveit, Magne; Lind, Ola; Moen, Bente E

    2013-03-01

    Many amateur musicians are likely to be exposed to high sound levels during rehearsals. Measuring otoacoustic emissions (OAE) is an objective technique to assess hearing ability and can be used as an early predictor of hearing loss. This study aimed to record sound levels at an amateur brass band rehearsal and to examine the cochlear function of the musicians by evaluating distortion product (DP) OAE amplitudes before and after sound exposure. Twenty-four brass band musicians and 10 office workers were examined with personal noise measurements and DPOAE tests before and after a music rehearsal or one office workday, respectively. The sound levels in the brass band ranged from 92 to 100 dBA, LaEQ 96 dBA. However, the amateur brass band members had no change in DPOAEs after this exposure compared to pre-exposure levels and compared to office workers.

  16. The Effect of Conceptual Advancement in Jazz Music Selections and Jazz Experience on Musicians' Aesthetic Response

    Science.gov (United States)

    Coggiola, John C.

    2004-01-01

    This study is an investigation of what musicians consider to be their aesthetic experience with jazz music selections that vary in level of conceptual advancement (melodic complexity during improvised solos). Music major participants (N = 128) were assigned to either the jazz musician (n = 64) or nonjazz musician (n = 64) group. Data were gathered…

  17. Perceived Performance Anxiety in Advanced Musicians Specializing in Different Musical Genres

    Science.gov (United States)

    Papageorgi, Ioulia; Creech, Andrea; Welch, Graham

    2013-01-01

    Most research on musical performance anxiety has focused on musicians coming from a classical background, and performance anxiety experiences of musicians outside the western classical genre remain under-researched. The aim of this study was to investigate perceived performance anxiety experiences in undergraduate and professional musicians and to…

  18. The Effect of Conceptual Advancement in Jazz Music Selections and Jazz Experience on Musicians' Aesthetic Response

    Science.gov (United States)

    Coggiola, John C.

    2004-01-01

    This study is an investigation of what musicians consider to be their aesthetic experience with jazz music selections that vary in level of conceptual advancement (melodic complexity during improvised solos). Music major participants (N = 128) were assigned to either the jazz musician (n = 64) or nonjazz musician (n = 64) group. Data were gathered…

  19. Subcortical and cortical correlates of pitch discrimination: Evidence for two levels of neuroplasticity in musicians

    DEFF Research Database (Denmark)

    Bianchi, Federica; Hjortkjær, Jens; Santurette, Sébastien

    2017-01-01

    in pitch discrimination across all participants, but not within the musicians group alone. Only neural activity in the right auditory cortex scaled with the fine pitch-discrimination thresholds within the musicians. These findings suggest two levels of neuroplasticity in musicians, whereby training...

  20. Psychosocial stressors in the lives of great jazz musicians.

    Science.gov (United States)

    Patalano, F

    1997-02-01

    Brief biographical information on four great jazz tenor saxophone players of the past is presented to illustrate the similar psychosocial stressors these men seemed to experience, namely, severe substance abuse, haphazard working conditions, lack of acceptance of their art form in the United States, marital and family discord, and a vagabond life style. Ages at death of 80 great jazz musicians may indicate that the stressful life style of jazz musicians may be reflected in a shortened life span, but a control group is needed.

  1. Contact dermatitis and other skin conditions in instrumental musicians

    Directory of Open Access Journals (Sweden)

    Freitag Marcus

    2004-04-01

    Full Text Available Abstract Background The skin is important in the positioning and playing of a musical instrument. During practicing and performing there is a permanent more or less intense contact between the instrument and the musician's skin. Apart from aggravation of predisposed skin diseases (e.g., atopic eczema or psoriasis due to music-making, specific dermatologic conditions may develop that are directly caused by playing a musical instrument. Methods To perform a systematic review on instrument-related skin diseases in musicians we searched the PubMed database without time limits. Furthermore we studied the online bibliography "Occupational diseases of performing artist. A performing arts medicine bibliography. October, 2003" and checked references of all selected articles for relevant papers. Results The most prevalent skin disorders of instrumental musicians, in particular string instrumentalists (e.g., violinists, cellists, guitarists, woodwind players (e.g., flautists, clarinetists, and brass instrumentalists (e.g., trumpeters, include a variety of allergic contact sensitizations (e.g., colophony, nickel, and exotic woods and irritant (physical-chemical noxae skin conditions whose clinical presentation and localization are usually specific for the instrument used (e.g., "fiddler's neck", "cellist's chest", "guitar nipple", "flautist's chin". Apart from common callosities and "occupational marks" (e.g., "Garrod's pads" more or less severe skin injuries may occur in musical instrumentalists, in particular acute and chronic wounds including their complications. Skin infections such as herpes labialis seem to be a more common skin problem in woodwind and brass instrumentalists. Conclusions Skin conditions may be a significant problem not only in professional instrumentalists, but also in musicians of all ages and ability. Although not life threatening they may lead to impaired performance and occupational hazard. Unfortunately, epidemiological

  2. Musicians' and nonmusicians' short-term memory for verbal and musical sequences: comparing phonological similarity and pitch proximity.

    Science.gov (United States)

    Williamson, Victoria J; Baddeley, Alan D; Hitch, Graham J

    2010-03-01

    Language-music comparative studies have highlighted the potential for shared resources or neural overlap in auditory short-term memory. However, there is a lack of behavioral methodologies for comparing verbal and musical serial recall. We developed a visual grid response that allowed both musicians and nonmusicians to perform serial recall of letter and tone sequences. The new method was used to compare the phonological similarity effect with the impact of an operationalized musical equivalent-pitch proximity. Over the course of three experiments, we found that short-term memory for tones had several similarities to verbal memory, including limited capacity and a significant effect of pitch proximity in nonmusicians. Despite being vulnerable to phonological similarity when recalling letters, however, musicians showed no effect of pitch proximity, a result that we suggest might reflect strategy differences. Overall, the findings support a limited degree of correspondence in the way that verbal and musical sounds are processed in auditory short-term memory.

  3. Psychosocial stressors and the short life spans of legendary jazz musicians.

    Science.gov (United States)

    Patalano, F

    2000-04-01

    Mean age at death of 168 legendary jazz musicians and 100 renowned classical musicians were compared to examine whether psychosocial stressors such as severe substance abuse, haphazard working conditions, lack of acceptance of jazz as an art form in the United States, marital and family discord, and a vagabond life style may have contributed to shortened life spans for the jazz musicians. Analysis indicated that the jazz musicians died at an earlier age (57.2 yr.) than the classical musicians (73.3 yr.).

  4. Developing Identities and Attitudes in Musicians and Classroom Music Teachers

    Science.gov (United States)

    Hargreaves, David J.; Purves, Ross M.; Welch, Graham F.; Marshall, Nigel A.

    2007-01-01

    Background: The Western classical training of many secondary music specialist teachers may be inappropriate for the demands of the contemporary secondary school classroom, leading to a conflict between their self-concepts as "musicians" and as "teachers". Aims: To undertake a short-term longitudinal comparison of the developing identities and the…

  5. Faster sound stream segmentation in musicians than in nonmusicians.

    Directory of Open Access Journals (Sweden)

    Clément François

    Full Text Available The musician's brain is considered as a good model of brain plasticity as musical training is known to modify auditory perception and related cortical organization. Here, we show that music-related modifications can also extend beyond motor and auditory processing and generalize (transfer to speech processing. Previous studies have shown that adults and newborns can segment a continuous stream of linguistic and non-linguistic stimuli based only on probabilities of occurrence between adjacent syllables, tones or timbres. The paradigm classically used in these studies consists of a passive exposure phase followed by a testing phase. By using both behavioural and electrophysiological measures, we recently showed that adult musicians and musically trained children outperform nonmusicians in the test following brief exposure to an artificial sung language. However, the behavioural test does not allow for studying the learning process per se but rather the result of the learning. In the present study, we analyze the electrophysiological learning curves that are the ongoing brain dynamics recorded as the learning is taking place. While musicians show an inverted U shaped learning curve, nonmusicians show a linear learning curve. Analyses of Event-Related Potentials (ERPs allow for a greater understanding of how and when musical training can improve speech segmentation. These results bring evidence of enhanced neural sensitivity to statistical regularities in musicians and support the hypothesis of positive transfer of training effect from music to sound stream segmentation in general.

  6. Faster sound stream segmentation in musicians than in nonmusicians.

    Science.gov (United States)

    François, Clément; Jaillet, Florent; Takerkart, Sylvain; Schön, Daniele

    2014-01-01

    The musician's brain is considered as a good model of brain plasticity as musical training is known to modify auditory perception and related cortical organization. Here, we show that music-related modifications can also extend beyond motor and auditory processing and generalize (transfer) to speech processing. Previous studies have shown that adults and newborns can segment a continuous stream of linguistic and non-linguistic stimuli based only on probabilities of occurrence between adjacent syllables, tones or timbres. The paradigm classically used in these studies consists of a passive exposure phase followed by a testing phase. By using both behavioural and electrophysiological measures, we recently showed that adult musicians and musically trained children outperform nonmusicians in the test following brief exposure to an artificial sung language. However, the behavioural test does not allow for studying the learning process per se but rather the result of the learning. In the present study, we analyze the electrophysiological learning curves that are the ongoing brain dynamics recorded as the learning is taking place. While musicians show an inverted U shaped learning curve, nonmusicians show a linear learning curve. Analyses of Event-Related Potentials (ERPs) allow for a greater understanding of how and when musical training can improve speech segmentation. These results bring evidence of enhanced neural sensitivity to statistical regularities in musicians and support the hypothesis of positive transfer of training effect from music to sound stream segmentation in general.

  7. Sound exposure of professional orchestral musicians during solitary practice.

    Science.gov (United States)

    O'Brien, Ian; Driscoll, Tim; Ackermann, Bronwen

    2013-10-01

    It is broadly acknowledged that professional orchestral musicians risk noise-induced hearing pathologies due to sound exposure in rehearsal and performance. While much has been published regarding orchestral sound levels, little is known of the sound exposure these musicians experience during solitary practice, despite the many hours they spend engaged in this activity. This study aimed to determine sound exposure during solitary practice of 35 professional orchestral musicians, representing players of most orchestral instruments. To allow cross-comparison, participants were assessed playing similar repertoire in a controlled environment, recording simultaneously at each ear to determine sound exposure levels. Sound levels were recorded between 60 and 107 dB L(Aeq), with peak levels between 101 and 130 dB L(C,peak). For average reported practice durations (2.1 h per day, five days a week) 53% would exceed accepted permissible daily noise exposure in solitary practice, in addition to sound exposure during orchestral rehearsals and performances. Significant inter-aural differences were noted in violin, viola, flute/piccolo, horn, trombone, and tuba. Only 40% used hearing protection at any time while practicing. These findings indicate orchestral musicians at risk of noise-induced hearing loss in ensemble face significant additional risks during solitary practice. Data presented will enable more effective and targeted management strategies for this population.

  8. Unimodal and cross-modal prediction is enhanced in musicians.

    Science.gov (United States)

    Vassena, Eliana; Kochman, Katty; Latomme, Julie; Verguts, Tom

    2016-05-04

    Musical training involves exposure to complex auditory and visual stimuli, memorization of elaborate sequences, and extensive motor rehearsal. It has been hypothesized that such multifaceted training may be associated with differences in basic cognitive functions, such as prediction, potentially translating to a facilitation in expert musicians. Moreover, such differences might generalize to non-auditory stimuli. This study was designed to test both hypotheses. We implemented a cross-modal attentional cueing task with auditory and visual stimuli, where a target was preceded by compatible or incompatible cues in mainly compatible (80% compatible, predictable) or random blocks (50% compatible, unpredictable). This allowed for the testing of prediction skills in musicians and controls. Musicians showed increased sensitivity to the statistical structure of the block, expressed as advantage for compatible trials (disadvantage for incompatible trials), but only in the mainly compatible (predictable) blocks. Controls did not show this pattern. The effect held within modalities (auditory, visual), across modalities, and when controlling for short-term memory capacity. These results reveal a striking enhancement in cross-modal prediction in musicians in a very basic cognitive task.

  9. Memorization by a Jazz Musician: A Case Study

    Science.gov (United States)

    Noice, Helga; Jeffrey, John; Noice, Tony; Chaffin, Roger

    2008-01-01

    To investigate the memory strategies of jazz musicians, we videotaped an experienced jazz pianist as he learned a new bebop piece. He had not previously heard a recording of the selection, nor had he seen the written music. The pianist provided detailed reports of the musical structure and the types of cues he used as landmarks to guide his…

  10. Jazz Musicians as Academic Leaders: Improvisation in Higher Education

    Science.gov (United States)

    Kleinschmidt, Robert A.

    2011-01-01

    Jazz musicians are unique individuals who seek to perform from a transcendental state in which tacit knowledge, teamwork, and communication blend to produce an effective performance. Academic leaders are also unique individuals who rely on communication to generate a sense of inclusion within a complex organization that at times epitomizes…

  11. 159 THE ROLE OF MUSIC AND MUSICIANS IN PROMOTING ...

    African Journals Online (AJOL)

    User

    Some of the prerequisites for promoting social stability in a country include ... The Role of Music and Musicians in Promoting Social Stability in the Country - Eunice U. Ibekwe, PhD. 160 ..... U.S.A: Typhoon Media Corporation 2010. Umezinwa ...

  12. Musicians working in community contexts : Perspectives of learning

    NARCIS (Netherlands)

    Smilde, Rineke

    2012-01-01

    This paper will explore types of learning, which takes place when musicians work in situations where they have to connect to community contexts. It will first address musicians’ changing professional roles in the changing sociocultural landscape and the need for lifelong learning and emergence of li

  13. Memorization by a Jazz Musician: A Case Study

    Science.gov (United States)

    Noice, Helga; Jeffrey, John; Noice, Tony; Chaffin, Roger

    2008-01-01

    To investigate the memory strategies of jazz musicians, we videotaped an experienced jazz pianist as he learned a new bebop piece. He had not previously heard a recording of the selection, nor had he seen the written music. The pianist provided detailed reports of the musical structure and the types of cues he used as landmarks to guide his…

  14. Jazz Musicians as Academic Leaders: Improvisation in Higher Education

    Science.gov (United States)

    Kleinschmidt, Robert A.

    2011-01-01

    Jazz musicians are unique individuals who seek to perform from a transcendental state in which tacit knowledge, teamwork, and communication blend to produce an effective performance. Academic leaders are also unique individuals who rely on communication to generate a sense of inclusion within a complex organization that at times epitomizes…

  15. Neuroplasticity of semantic representations for musical instruments in professional musicians.

    Science.gov (United States)

    Hoenig, Klaus; Müller, Cornelia; Herrnberger, Bärbel; Sim, Eun-Jin; Spitzer, Manfred; Ehret, Günter; Kiefer, Markus

    2011-06-01

    Professional musicians constitute a model par excellence for understanding experience-dependent plasticity in the human brain, particularly in the auditory domain. Their intensive sensorimotor experience with musical instruments has been shown to entail plastic brain alterations in cortical perceptual and motor maps. It remains an important question whether this neuroplasticity might extend beyond basic perceptual and motor functions and even shape higher-level conceptualizations by which we conceive our physical and social world. Here we show using functional magnetic resonance imaging (fMRI) that conceptual processing of visually presented musical instruments activates auditory association cortex encompassing right posterior superior temporal gyrus, as well as adjacent areas in the superior temporal sulcus and the upper part of middle temporal gyrus (pSTG/MTG) only in musicians, but not in musical laypersons. These areas in and adjacent to auditory association cortex were not only recruited by conceptual processing of musical instruments during visual object recognition, but also by auditory perception of real sounds. Hence, the unique intensive experience of musicians with musical instruments establishes a link between auditory perceptual and conceptual brain systems. Experience-driven neuroplasticity in musicians is thus not confined to alterations of perceptual and motor maps, but even leads to the establishment of higher-level semantic representations for musical instruments in and adjacent to auditory association cortex. These findings highlight the eminent importance of sensory and motor experience for acquiring rich concepts.

  16. Descriptions of Improvisational Thinking by Artist-Level Jazz Musicians

    Science.gov (United States)

    Norgaard, Martin

    2011-01-01

    Thought processes of seven artist-level jazz musicians, each of whom recorded an improvised solo, were investigated. Immediately after completing their improvisations, participants listened to recordings of their playing and looked at the notation of their solos as they described in a directed interview the thinking processes that led to the…

  17. Psychological features of the professional activities of Tuvan musicians

    Directory of Open Access Journals (Sweden)

    Anna D.-B. Sandyi

    2017-06-01

    Full Text Available Article presents the study of psychological peculiarities of professional activities of Tuvan musicians. It reviews the effect of psychological characteristics on growth of value aspects of professionalism. Author analyzes the factors that retard the development of performance and improvisation skills and level of education, discerns the openness of Tuvan musicians for innovation. In 2016 musicians of the Center for Development of Traditional Tuvan Culture and Crafts, National Orchestra of the Republic of Tuva and amateur khoomei performers were interviewed. Total number of those surveyed was 31 aged from 16 to 54, all – male. Method of acmeological research was employed. Survey also relied on methods of testing, conversation, surveillance, interview, polling. Analysis revealed that performing activities of Tuvan musicians have some peculiarities. They consist of the complex of different characteristics, conditions, factors. The most important among them are the traits of national character of Tuvans, traditions of Tuvan musical culture. Professionalism of Tuvan musicians shapes by no means only through the special musical education. Self-education that one receives by traditional ways of passing the performance practices can have no less important value. Author has already conducted such a research in relation to another professional group of Tuvan ethnos – in 2015 with pedagogues, so this time she has a chance to compare the data. Author distinguishes the elements of mentality, traits of national character that characterize the either group by virtue of ethnic identification and, in some degree, affect the professionalism of both. Dampers for professional growth are inertia, low sociability, meditativeness, self- depreciation and reluctance to innovations. Nonetheless, strong traditionalism conceived as uniqueness is perceives as a factor that promotes professionalism.

  18. Musicians and music making as a model for the study of brain plasticity.

    Science.gov (United States)

    Schlaug, Gottfried

    2015-01-01

    Playing a musical instrument is an intense, multisensory, and motor experience that usually commences at an early age and requires the acquisition and maintenance of a range of sensory and motor skills over the course of a musician's lifetime. Thus, musicians offer an excellent human model for studying behavioral-cognitive as well as brain effects of acquiring, practicing, and maintaining these specialized skills. Research has shown that repeatedly practicing the association of motor actions with specific sound and visual patterns (musical notation), while receiving continuous multisensory feedback will strengthen connections between auditory and motor regions (e.g., arcuate fasciculus) as well as multimodal integration regions. Plasticity in this network may explain some of the sensorimotor and cognitive enhancements that have been associated with music training. Furthermore, the plasticity of this system as a result of long term and intense interventions suggest the potential for music making activities (e.g., forms of singing) as an intervention for neurological and developmental disorders to learn and relearn associations between auditory and motor functions such as vocal motor functions.

  19. An investigation on the effects of music training on attention and working memory in adults

    National Research Council Canada - National Science Library

    Bahar Yeşil; Süheyla Ünal

    2017-01-01

    ....14'15 In a study researching the effects of music experience on adults' executive functions, a similar Stroop test was applied and it was found that musicians performed better than non-musicians...

  20. Musical training, bilingualism, and executive function: a closer look at task switching and dual-task performance.

    Science.gov (United States)

    Moradzadeh, Linda; Blumenthal, Galit; Wiseheart, Melody

    2015-07-01

    This study investigated whether musical training and bilingualism are associated with enhancements in specific components of executive function, namely, task switching and dual-task performance. Participants (n = 153) belonging to one of four groups (monolingual musician, bilingual musician, bilingual non-musician, or monolingual non-musician) were matched on age and socioeconomic status and administered task switching and dual-task paradigms. Results demonstrated reduced global and local switch costs in musicians compared with non-musicians, suggesting that musical training can contribute to increased efficiency in the ability to shift flexibly between mental sets. On dual-task performance, musicians also outperformed non-musicians. There was neither a cognitive advantage for bilinguals relative to monolinguals, nor an interaction between music and language to suggest additive effects of both types of experience. These findings demonstrate that long-term musical training is associated with improvements in task switching and dual-task performance.

  1. Refseq(Homo sapiens): Homo sapiens arginine vasopressin receptor 1A (AVPR1A), mRNA. [RefSeq

    Lifescience Database Archive (English)

    Full Text Available g,I. TITLE AVPR1A and SLC6A4 polymorphisms in choral singers and non-musicians: a gene association study JOU...ms in choral singers and non-musicians REFERENCE 6 (bases 1 to 7844) AUTHORS Thib

  2. Special performing problems of female musicians: three case studies.

    Science.gov (United States)

    Wörz-Bilfinger, D

    2012-01-01

    Female instrumentalists can encounter serious performing problems because of their physiology that is not regarded as being significant in medical terms, but which nevertheless may seriously hinder or even prevent them from playing their instruments. Music-related medical advice is based on fundamental medical procedures, and includes taking a detailed case history, instrumental biography and, above all, player observation. Three case studies from a medical information center for professional and lay musicians show the importance of gender-specific problems in female musicians: A pianist with "pseudo short-arm syndrome" due to circumference of the abdomen as a result of pregnancy; a violinist with pain in the shoulder girdle due to heavy mammae; and a young oboist with "pseudo breathing- problems" during menstruation.

  3. A Meta-study of musicians' non-verbal interaction

    DEFF Research Database (Denmark)

    Jensen, Karl Kristoffer; Marchetti, Emanuela

    2010-01-01

    Music can be seen as a social skilled practice, since the creation of good music is the result of a group effort. According to current literature, communication through non-verbal cues is an important factor in securing a good performance, since it allows musicians to correct each other without...... the music should be played and the intention to communicate through non-verbal interaction, which allows them to achieve their desire and improve the performance on-the-fly. The BDI model has proven useful in synthesising information and it is believed that this scientific-rational model will bring benefits...... interruptions. Hence, despite the fact that the skill to engage in a non-verbal interaction is described as tacit knowledge, it is fundamental for both musicians and teachers (Davidson and Good 2002). Typical observed non-verbal cues are for example: physical gestures, modulations of sound, steady eye contact...

  4. Error management for musicians: an interdisciplinary conceptual framework

    Science.gov (United States)

    Kruse-Weber, Silke; Parncutt, Richard

    2014-01-01

    Musicians tend to strive for flawless performance and perfection, avoiding errors at all costs. Dealing with errors while practicing or performing is often frustrating and can lead to anger and despair, which can explain musicians’ generally negative attitude toward errors and the tendency to aim for flawless learning in instrumental music education. But even the best performances are rarely error-free, and research in general pedagogy and psychology has shown that errors provide useful information for the learning process. Research in instrumental pedagogy is still neglecting error issues; the benefits of risk management (before the error) and error management (during and after the error) are still underestimated. It follows that dealing with errors is a key aspect of music practice at home, teaching, and performance in public. And yet, to be innovative, or to make their performance extraordinary, musicians need to risk errors. Currently, most music students only acquire the ability to manage errors implicitly – or not at all. A more constructive, creative, and differentiated culture of errors would balance error tolerance and risk-taking against error prevention in ways that enhance music practice and music performance. The teaching environment should lay the foundation for the development of such an approach. In this contribution, we survey recent research in aviation, medicine, economics, psychology, and interdisciplinary decision theory that has demonstrated that specific error-management training can promote metacognitive skills that lead to better adaptive transfer and better performance skills. We summarize how this research can be applied to music, and survey-relevant research that is specifically tailored to the needs of musicians, including generic guidelines for risk and error management in music teaching and performance. On this basis, we develop a conceptual framework for risk management that can provide orientation for further music education and

  5. Processing of complex auditory patterns in musicians and nonmusicians.

    Science.gov (United States)

    Boh, Bastiaan; Herholz, Sibylle C; Lappe, Claudia; Pantev, Christo

    2011-01-01

    In the present study we investigated the capacity of the memory store underlying the mismatch negativity (MMN) response in musicians and nonmusicians for complex tone patterns. While previous studies have focused either on the kind of information that can be encoded or on the decay of the memory trace over time, we studied capacity in terms of the length of tone sequences, i.e., the number of individual tones that can be fully encoded and maintained. By means of magnetoencephalography (MEG) we recorded MMN responses to deviant tones that could occur at any position of standard tone patterns composed of four, six or eight tones during passive, distracted listening. Whereas there was a reliable MMN response to deviant tones in the four-tone pattern in both musicians and nonmusicians, only some individuals showed MMN responses to the longer patterns. This finding of a reliable capacity of the short-term auditory store underlying the MMN response is in line with estimates of a three to five item capacity of the short-term memory trace from behavioural studies, although pitch and contour complexity covaried with sequence length, which might have led to an understatement of the reported capacity. Whereas there was a tendency for an enhancement of the pattern MMN in musicians compared to nonmusicians, a strong advantage for musicians could be shown in an accompanying behavioural task of detecting the deviants while attending to the stimuli for all pattern lengths, indicating that long-term musical training differentially affects the memory capacity of auditory short-term memory for complex tone patterns with and without attention. Also, a left-hemispheric lateralization of MMN responses in the six-tone pattern suggests that additional networks that help structuring the patterns in the temporal domain might be recruited for demanding auditory processing in the pitch domain.

  6. Biomechanical abnormalities in musicians with occupational cramp/focal dystonia.

    Science.gov (United States)

    Wilson, F R; Wagner, C; Hömberg, V

    1993-01-01

    Occupational factors and peripheral injuries are frequently implicated in the development of hand cramps and the syndrome of persistent manual incoordination among musicians and others most commonly given a diagnosis of focal limb dystonia. In an attempt to gain insight into the character and influence of risk factors in the evolution of this disorder, the authors conducted detailed evaluations of 33 individuals who responded to a questionnaire sent to university- and conservatory-level music schools in Germany in September 1989. Response was invited from any musician with complaints of impaired hand control. Of the 33 individuals accepted for evaluation, 18 were musicians who met clinical criteria for the diagnosis of occupational cramp/focal dystonia (OC/FD). Nineteen of the original 33 subjects underwent a quantitative biochemical assessment, comparing active and passive ranges of motion at all joints below the shoulder with those for cohorts of unimpaired musicians, matched for gender and musical instrument. Of the 19 tested biomechanically, 14 had OC/FD and the remaining five had either persistent pain or nonspecific movement idiosyncracies interfering with playing. Compared with the matched groups of normals, no consistent biomechanical abnormality was found in the non-OC/FD group; in the OC/FD group two thirds had marked limitation of passive and/or active abduction range between the central digits of both hands. Based on detailed training and performance histories in these subjects, the authors conclude that a specific biomechanical condition in the hand can interfere with certain high-speed digital movements required in musical instrument performance. Unintended muscle synergies, postures, and movement patterns can develop as attempts are made to increase the speed and fluency of such movements. As rehearsal is intensified, degraded movements are stabilized ("programmed"). In this situation, OC/FD appears to represent an aberrant outcome of normal motor

  7. Processing of complex auditory patterns in musicians and nonmusicians.

    Directory of Open Access Journals (Sweden)

    Bastiaan Boh

    Full Text Available In the present study we investigated the capacity of the memory store underlying the mismatch negativity (MMN response in musicians and nonmusicians for complex tone patterns. While previous studies have focused either on the kind of information that can be encoded or on the decay of the memory trace over time, we studied capacity in terms of the length of tone sequences, i.e., the number of individual tones that can be fully encoded and maintained. By means of magnetoencephalography (MEG we recorded MMN responses to deviant tones that could occur at any position of standard tone patterns composed of four, six or eight tones during passive, distracted listening. Whereas there was a reliable MMN response to deviant tones in the four-tone pattern in both musicians and nonmusicians, only some individuals showed MMN responses to the longer patterns. This finding of a reliable capacity of the short-term auditory store underlying the MMN response is in line with estimates of a three to five item capacity of the short-term memory trace from behavioural studies, although pitch and contour complexity covaried with sequence length, which might have led to an understatement of the reported capacity. Whereas there was a tendency for an enhancement of the pattern MMN in musicians compared to nonmusicians, a strong advantage for musicians could be shown in an accompanying behavioural task of detecting the deviants while attending to the stimuli for all pattern lengths, indicating that long-term musical training differentially affects the memory capacity of auditory short-term memory for complex tone patterns with and without attention. Also, a left-hemispheric lateralization of MMN responses in the six-tone pattern suggests that additional networks that help structuring the patterns in the temporal domain might be recruited for demanding auditory processing in the pitch domain.

  8. The Effect of Music on Hearing of String Musicians

    Directory of Open Access Journals (Sweden)

    Parisa Mirhaj

    2006-12-01

    Full Text Available Background and Aim: Hearing sensitivity is so vital for musicians as loud music can cause hearing loss. The aim of this study was to assess hearing sensitivity of musicians in order to determine the effects of music exposure on hearing organ. Materials and Methods: This case-control study was conducted on 15 string musicians with musicianship history of more than 10 years and 15 normal hearing subjects. They all were male and 20-30 years old. TEOAE and DPOAE performed and after otoscopy, immittance and pure tone audiometry in octave frequencies between 250 to 16000 Hz. Results: There is not significant difference between pure tone thresholds of two groups for all frequencies. A significant difference of TEOAE is found between two groups for total response and amplitudes of TEOAE .DPOAE amplitudes are not significantly different between two groups. Conclusion: Musicianship may affect TEOAE amplitudes , but cannot affect results of PTA and DPOAE. Therefore this can be useful to detect cochlear lesions secondary to music exposure and also as a tool in hearing protection program.

  9. Performing, Representing, and Archiving Belief: Religious Expressions among Jazz Musicians

    Directory of Open Access Journals (Sweden)

    Vaughn A. Booker

    2016-08-01

    Full Text Available The archives of African American jazz musicians demonstrate rich sites for studying expressions of religious belief and daily religious practice in public and private arenas, in professional and personal capacities. Highlighting print material from the archives of Edward Kennedy “Duke” Ellington (1899–1974 and Mary Lou Williams (1910–1981, this article examines the ways that these musicians worked to articulate their beliefs in print and to make meaning of their routine practices. Ellington and Williams produced written records of their aspirations for non-clerical religious authority and leadership, novel notions of religious community, and conceptions of quotidian writing tasks as practices with devotional value in the middle decades of the twentieth century. In preparation for his Sacred Concert tours of American and Western European religious congregations, Ellington theologized about the nature of God and the proper language to address God through private hotel stationery. Following her conversion to Roman Catholicism, Williams managed a Harlem thrift shop and worked to create the Bel Canto Foundation for musicians struggling with substance abuse and unemployment. This study of the religious subjectivity of African Americans with status as race representatives employs archival historical methods in the effort to vividly approximate complex religious interiority.

  10. Sleep Difficulties and Insomnia Symptoms in Norwegian Musicians Compared to the General Population and Workforce.

    Science.gov (United States)

    Vaag, Jonas; Saksvik-Lehouillier, Ingvild; Bjørngaard, Johan Håkon; Bjerkeset, Ottar

    2016-01-01

    Sleep problems are reported as common among performing artists and musicians. However, epidemiological research comparing musicians to different groups of the general population is lacking. For this study, 4,168 members of the Norwegian Musician's Union were invited to an online survey regarding work and health. Of the 2,121 (51%) respondents, 1,607 were active performing musicians. We measured prevalence of insomnia symptoms using the Bergen Insomnia Scale (BIS), and compared this sample to a representative sample of the general Norwegian population (n = 2,645). Overall, musicians had higher prevalence of insomnia symptoms compared to the general population (Prevalence Difference 6.9, 95% Confidence Interval 3.9-10.0). Item response analysis showed that this difference was mainly explained by nonrestorative sleep and dissatisfaction with sleep among musicians. An additional analysis, comparing musicians to the general Norwegian workforce (n = 8,518) on sleep difficulties, confirmed this tendency (Prevalence Difference 6.2, 95% Confidence Interval 4.3-8.1). Musicians performing classical, contemporary, rock, and country music reported the highest prevalence of insomnia, and these genres might be of special interest when developing preventative measures, treatment strategies, and further research on sleep difficulties among musicians.

  11. Error management for musicians: an interdisciplinary conceptual framework

    Directory of Open Access Journals (Sweden)

    Silke eKruse-Weber

    2014-07-01

    Full Text Available Musicians tend to strive for flawless performance and perfection, avoiding errors at all costs. Dealing with errors while practicing or performing is often frustrating and can lead to anger and despair, which can explain musicians’ generally negative attitude toward errors and the tendency to aim for errorless learning in instrumental music education. But even the best performances are rarely error-free, and research in general pedagogy and psychology has shown that errors provide useful information for the learning process. Research in instrumental pedagogy is still neglecting error issues; the benefits of risk management (before the error and error management (during and after the error are still underestimated. It follows that dealing with errors is a key aspect of music practice at home, teaching, and performance in public. And yet, to be innovative, or to make their performance extraordinary, musicians need to risk errors. Currently, most music students only acquire the ability to manage errors implicitly - or not at all. A more constructive, creative and differentiated culture of errors would balance error tolerance and risk-taking against error prevention in ways that enhance music practice and music performance. The teaching environment should lay the foundation for the development of these abilities. In this contribution, we survey recent research in aviation, medicine, economics, psychology, and interdisciplinary decision theory that has demonstrated that specific error-management training can promote metacognitive skills that lead to better adaptive transfer and better performance skills. We summarize how this research can be applied to music, and survey relevant research that is specifically tailored to the needs of musicians, including generic guidelines for risk and error management in music teaching and performance. On this basis, we develop a conceptual framework for risk management that can provide orientation for further

  12. Visually Impaired Musicians' Insights: Narratives of Childhood, Lifelong Learning and Musical Participation

    Science.gov (United States)

    Baker, David

    2014-01-01

    With the support of the Royal National Institute of Blind People (RNIB), the life histories of five visually impaired (VI) musicians were collected and analysed between November 2011 and August 2012. This research was conducted as a pilot for a two-year, national investigation of VI musical participation, "Visually-impaired musicians'…

  13. Influences on the Talent Development Process of Non-Classical Musicians: Psychological, Social and Environmental Influences

    Science.gov (United States)

    Kamin, Sara; Richards, Hugh; Collins, Dave

    2007-01-01

    Twelve professional, non-classical musicians were interviewed about the impact of internal and external factors on their development as musicians. The data were qualitatively analyzed, and observations concerning psychological characteristics of developing excellence (PCDEs), social and environmental influences are reported. The insights of the…

  14. Noise induced hearing loss and other hearing complaints among musicians of symphony orchestras

    NARCIS (Netherlands)

    Jansen, E.J.M.; Helleman, H.W.; Dreschler, W.A.; de Laat, J.A.P.M.

    2009-01-01

    OBJECTIVES: An investigation of the hearing status of musicians of professional symphony orchestras. Main questions are: (1) Should musicians be treated as a special group with regard to hearing, noise, and noise related hearing problems (2) Do patterns of hearing damage differ for different instrum

  15. Examining the Political: Materiality, Ideology and Power in the Lives of Professional Musicians

    Science.gov (United States)

    Vaugeois, Lise

    2007-01-01

    It is important to create a framework in the education of professional musicians, whether these musicians are students of music education, performance, composition, musicology, ethnomusicology, or conducting, in which the political dimensions of their lives can be critically examined. Lise Vaugeois argues that creating such a framework would…

  16. The Influence of Body Mapping on Student Musicians' Performance Experiences

    Science.gov (United States)

    Buchanan, Heather J.; Hays, Terrence

    2014-01-01

    This qualitative study examines student musicians' perceptions of their performance and development resulting from Body Mapping (BMG) technique. BMG is a somatic (mind-body) education technique designed to teach musicians skills in self-evaluation and change for performing with sensory-motor integrity. A qualitative study guided by an…

  17. Auditory profiles of classical, jazz, and rock musicians: Genre-specific sensitivity to musical sound features

    Directory of Open Access Journals (Sweden)

    Mari eTervaniemi

    2016-01-01

    Full Text Available When compared with individuals without explicit training in music, adult musicians have facilitated neural functions in several modalities. They also display structural changes in various brain areas, these changes corresponding to the intensity and duration of their musical training. Previous studies have focused on investigating musicians with training in Western classical music. However, musicians involved in different musical genres may display highly differentiated auditory profiles according to the demands set by their genre, i.e. varying importance of different musical sound features. This hypothesis was tested in a novel melody paradigm including deviants in tuning, timbre, rhythm, melody transpositions, and melody contour. Using this paradigm while the participants were watching a silent video and instructed to ignore the sounds, we compared classical, jazz, and rock musicians’ and non-musicians’ accuracy of neural encoding of the melody. In all groups of participants, all deviants elicited an MMN response, which is a cortical index of deviance discrimination. The strength of the MMN and the subsequent attentional P3a responses reflected the importance of various sound features in each music genre: these automatic brain responses were selectively enhanced to deviants in tuning (classical musicians, timing (classical and jazz musicians, transposition (jazz musicians, and melody contour (jazz and rock musicians. Taken together, these results indicate that musicians with different training history have highly specialized cortical reactivity to sounds which violate the neural template for melody content.

  18. Forty lives in the bebop business: mental health in a group of eminent jazz musicians.

    Science.gov (United States)

    Wills, Geoffrey I

    2003-09-01

    Above-average levels of psychopathology have been demonstrated convincingly in groups of outstanding individuals working in the arts. Currently, jazz musicians have not been studied in this regard. To investigate any evidence of psychopathology in a group of eminent jazz musicians. Biographical material relating to 40 eminent American modern jazz musicians was reviewed and an attempt was made to formulate diagnoses using DSM-IV. Evidence was provided of levels of psychopathology in the sample of jazz musicians similar to those found in other previously investigated creative groups, with the exception of substance related problems. An interesting connection between creativity and sensation-seeking was highlighted. The link between psychopathology and creativity in the arts was given further weight. Future studies of jazz musicians using larger samples and making comparison with groups from different eras of music would give greater clarification to this area.

  19. Perception of orchestral musicians about work environment and conditions

    Directory of Open Access Journals (Sweden)

    Clarissa Stefani Teixeira

    2014-04-01

    Full Text Available The objective of this study was to investigate the perception of 11 orchestral string (viola and violin musicians of both genders with respect to their work environment and conditions. We applied a questionnaire with demographic information and the scale Profile of Work Environment and Working Conditions by Nahas et al. (2009, which analyzes the following components: physical environment, social environment, development and professional achievement, salary and benefits, and social relevance. The social environment component presented the highest score - 8.00 (1.50 points, followed by professional achievement - 7.11 (1.96 points, and physical environment - 6.89 (0.93 points. The salary and benefits provided by the orchestra presented the lowest score - 6.78 (1.56 points. In general, the musicians showed positive perceptions of the components related to work environment and working conditions. However, remuneration and social relevance are work bases that could contribute to improve the working conditions of these professionals.

  20. Overuse syndrome in musicians--100 years ago. An historical review.

    Science.gov (United States)

    Fry, H J

    Overuse syndrome in musicians was extensively reported 100 years ago. The clinical features and results of treatment, which were recorded in considerable detail, match well the condition that is described today. The medical literature that is reviewed here extends from 1830 to 1911 and includes 21 books and 54 articles from the English language literature, apart from two exceptions; however, the writers of the day themselves reviewed French, German and Italian literature on the subject. The disorder was said to result from the overuse of the affected parts. Two theories of aetiology, not necessarily mutually exclusive, were argued. The central theory regarded the lesion as being in the central nervous system, the peripheral theory implied a primary muscle disorder. No serious case was put forward for a psychogenic origin, though emotional factors were believed to aggravate the condition. Advances in musical instrument manufacture--particularly the development of the concert piano and the clarinet--may have played a part in the prevalence of overuse syndrome in musicians. Total rest from the mechanical use of the hand was the only effective treatment recorded.

  1. Music performance anxiety in young musicians: comparison of playing classical or popular music.

    Science.gov (United States)

    Nusseck, Manfred; Zander, Mark; Spahn, Claudia

    2015-03-01

    Music performance anxiety (MPA) is an issue frequently experienced by musicians. It occurs not only in experienced musicians but also in children and adolescents. Furthermore, most research on MPA has been done with musicians who specialized in classical music. This study investigated the development of MPA across the ages in young musicians focusing on the classical and popular genres. In a cross-sectional survey, 239 students at German music schools, aged between 7 and 20 yrs, were asked about their perceived MPA and musical background. The data were analyzed according to musical genre and age. Multiple regression analyses were performed to investigate the influences of musical experiences on MPA. The analyses yielded high levels of MPA for classical musicians between 7 and 16 yrs, which was reduced in older students; for popular musicians, low MPA was seen in the younger (7-11 yrs) and high MPA in the older (16+ yrs) musicians. MPA was influenced by gender and the number of performances in the classical music group and only by gender and age in the popular music group. The results showed clear different trends for the development of MPA between musical genres that should be taken into account for educational aspects in musical training.

  2. Sound Practice– Improving occupational health and safety for professional orchestral musicians in Australia

    Directory of Open Access Journals (Sweden)

    Bronwen Jane Ackermann

    2014-09-01

    Full Text Available The Sound Practice Project is a five-year study involving baseline evaluation, development and implementation of musician-specific work health and safety initiatives. A cross-sectional population physical and psychological survey and physical assessment were conducted at the same time, with an auditory health assessment conducted later. The results were used to guide the development of a series of targeted interventions, encompassing physical, psychological and auditory health components. This paper provides an overview of the project but focuses on the health findings arising from the cross-sectional survey.377 musicians from the eight professional symphony orchestras in Australia took part in the cross-sectional study (about 70% of eligible musicians. Eighty-four percent (84% of musicians reported past performance-related musculoskeletal disorder (PRMD episodes; 50% were suffering a current PRMD. Of the 63% who returned hearing surveys, 43% believed they had hearing loss, and 64% used earplugs at least intermittently. Noise exposure was found to be high in private practice, although awareness of risk and earplug use in this environment was lower than in orchestral settings. Improved strategic approaches, acoustic screens and recently developed active earplugs were found to provide effective new options for hearing protection. With respect to psychosocial screening, female musicians reported significantly more trait anxiety, music performance anxiety, social anxiety, and other forms of anxiety and depression than male musicians. The youngest musicians were significantly more anxious compared with the oldest musicians. Thirty-three percent (33% of musicians may meet criteria for a diagnosis of social phobia; 32% returned a positive depression screen and 22% for post-traumatic stress disorder. PRMDs and trigger point discomfort levels were strongly associated with increasing severity of psychological issues such as depression and music

  3. On the Heritage and Development of Musician Law of the Musician Emperor Wu of the Southern Dynasty%论南朝音乐家梁武帝对乐律的传承与发展

    Institute of Scientific and Technical Information of China (English)

    葛恩专

    2012-01-01

    梁武帝是南朝伟大的音乐家,他的贡献表现在正乐、创造清商曲、创作佛曲音乐、发明四通十二笛及"八十四调"理论。梁武帝早年深受传统儒、道思想影响,晚年潜入佛门,其音乐创作及音乐思想受其行为观念影响,尤其在正乐及佛曲创作中,他将佛乐融入传统雅乐、燕乐中,为我国雅乐俗化做出巨大贡献。%The emperor of Liang Dynasty, is a great musician, his contribution to performance in positive music, created Qingshang music, music video, the invention four through twelve flute and" eighty-four"theory. The emperor was deeply affected by the traditional Confucianism, Taoism, Buddhism later dive, its music and musical thought was influenced by his behavior idea, especially in music and video, will be integrated into traditional music, music for our country to make enormous contribution to popularization. Through its music theory, is put forward in this paper, the emperor was the first person to the " eighty-four" theory in detail of the musician's point of view.

  4. Dense amnesia in a professional musician following herpes simplex virus encephalitis.

    Science.gov (United States)

    Wilson, B A; Baddeley, A D; Kapur, N

    1995-10-01

    We describe the memory functioning of C, a professional musician who became amnesic following herpes simplex encephalitis in 1985. Although transient amnesia in a professional musician has previously been described, this is the first reported case of chronic amnesia in a highly talented professional musician. C is unusual in three respects. First, his amnesia is particularly severe. Second, his amnesia includes semantic as well as episodic memory deficits. Third, he believes he has just woken up and his preoccupation with this state of 'just wakening' has persisted for over 9 years. This appears to be the result of a delusion rather than the consequence of his amnesia.

  5. The correspondence between Miodrag Vasiljević and Bulgarian Musicians

    Directory of Open Access Journals (Sweden)

    Jovanović Jelena L.

    2002-01-01

    Full Text Available The Serbian ethnomusicologist and music pedagogue Miodrag A. Vasiljević corresponded with colleagues from neighboring Bulgaria between 1934 and 1962. This exchange of letters went through three phases. The first phase was linked with his stay in Skopje until the breakout of World War II; during the second phase - in the course of the 1940's - he was active in the Department for Folk Music at Radio Belgrade and he founded his method of music teaching on traditional Serbian music; in the third phase (the 1950's and beginning of 1960's Vasiljević aimed at a closer cooperation with Bulgarian musicians. All the phases are characterized by his pronounced interest in the folk music heritage of Balkan peoples. At the beginning that interest was focused on popularizing art music that was based on folk music. Later, he enthusiastically carried out his reforms of music teaching in Serbia, as well as improvements of methods in Serbian ethnomusicology.

  6. Geochemistry of the lava and its implications in Musicians Seamounts

    Institute of Scientific and Technical Information of China (English)

    LI Chuanshun; PAN Yucheng; LI Anchun; Rodey Batiza

    2008-01-01

    Chemical and isotopic data of the lava samples dredged in the southern Bach Ridge and the northern Italian Ridge of the Musicians Seamounts province, northeast of Hawaii. Although most of the samples analyzed are generally altered, a few are fresh. The latter exhibits similar geochemical and isotopic characteristics to normal MORB (Mid-Ocean Ridge Basalts). There are systematic geochemical trends from hotspot to mid-ocean ridge in the province. Incompatible element and isotopic variations suggest that the flow field had at least two distinct parental magmas, one with higher and one with lower MgO concentrations. The two parental magmas could be related by a magma mixing model. The major and trace element modeling shows that the two parental magmas could not have been produced by different degrees of melting of a homogeneous mantle source, but they are consistent with melting of a generally depleted mantle containing variable volumes of embedded enriched heterogeneity enriched interbeds.

  7. Neurological problems of famous musicians: the classical genre.

    Science.gov (United States)

    Newmark, Jonathan

    2009-08-01

    Neurological histories of great musicians allow for a unique perspective on music physiology. Bedrich Smetana's autobiographical string quartet ends with the musical equivalent of tinnitus in the fourth movement, rendering the youthful and passionate themes of earlier movements moot as the piece ends depicting his ultimately fatal disease, neurosyphilis. Dmitri Shostakovich survived the censorship of Joseph Stalin's apparatchiks but suffered a prolonged form of paralysis attributable to slowly progressive motor neuron disease, although the viola sonata he wrote on his deathbed has become standard repertoire. Glenn Gould was a hypochondriacal pianist with obsessive-compulsive disorder and suspected Asperger syndrome. Vissarion Shebalin and (Ira) Randall Thompson had strokes followed by aphasia without amusia. Domenico Scarlatti provides an example of how even great composers must alter their technical expectations depending upon the skills and body habitus of their chief patrons. The focal dystonia afflicting Leon Fleisher and Gary Graffman catalyzed the discipline of performing arts medicine.

  8. Distortion product otoacoustic emission fine structure of symphony orchestra musicians

    DEFF Research Database (Denmark)

    Reuter, Karen; Hammershøi, Dorte

    2006-01-01

    Otoacoustic emissions (OAE) are sounds produced by the healthy inner ear. They can be measured as low-level signals in the ear canal and are used to monitor the functioning of outer hair cells. Many studies indicate that OAE might be a more sensitive measure to detect early noise-induced haring...... losses than pure-tone audiometry. The distortion product otoacoustic emission (DPOAE) fine structure is obtained when the ear is stiumulated by dual tone stimuli using a high frequency resolution. It is characterized by quasi-periodic variations across frequency, as it can be observed in the hearing...... threshold microstructure also. In this study the DPOAE fine structure is obtained for symphony orchestra musicians both for left and right ears and before and after the orchestra rehearsal. The DPOAE fine structure is analyzed in order to investigate, whether it contains more information about the state...

  9. Distortion product otoacoustic emission fine structure of symphony orchestra musicians

    DEFF Research Database (Denmark)

    Reuter, Karen; Hammershøi, Dorte

    Otoacoustic emissions (OAE) are sounds produced by the healthy inner ear. They can be measured as low-level signals in the ear canal and are used to monitor the functioning of outer hair cells.Several studies indicate that OAE might be a more sensitive measure to detect early noise-induced hearing...... losses than puretone audiometry. The distortion product otoacoustic emission (DPOAE) fine structure is obtained when the ear is stimulated by dual tone stimuli using a high frequency resolution. It is characterized by quasi-periodic variations across frequency, as it can be observed in the hearing...... threshold microstructure also. In this study DPOAE fine structures and hearing thresholds are obtained for symphony orchestra musicians both for left and right ears and before and after the orchestra rehearsal. DPOAE fine structures are analyzed with an automatic classification algorithm, which describes...

  10. Heart Rate Response of Professional Musicians When Playing Music.

    Science.gov (United States)

    Vellers, Heather L; Irwin, Conor; Lightfoot, J T

    2015-06-01

    The primary aim was to determine the level of physiological stress evoked while playing music in a standing position as indicated by heart rate (HR) response. A secondary aim was to analyze the effect of music genre (classic rock, western, contemporary Christian, and metal rock) on the relative HR response. Lastly, we considered potential physiological initiators of the music-playing-induced HR response. HR response was monitored in 27 professional musicians (3 women, 24 men) between the ages of 21 and 67 yrs old during rehearsal and public performances. The percent maximal HR (%MHR) evoked was determined by taking a percentage of the age-predicted maximal HR for each musician and comparing the average %MHR in each genre during public and rehearsal events. The role of the potential initiators of these responses (e.g., number of years playing in public, event type, instrument type, tempo, etc.) was determined using multiple regression analyses. The overall average %MHR responses were 52 ± 5% and 59 ± 5% during rehearsal and public performances, respectively, with genre type having a significant effect on the HR response (p=0.01). Body mass index and tempo were each found to be significant contributors to the HR response while playing music (r²=0.506, p=0.001). Playing music professionally evokes considerable increases in HR response, with music genre influencing the level of the physiological response. We concluded that 50% of the HR response while playing music was associated with body mass index, music tempo, and instrument type.

  11. The effect of music performance on the transcriptome of professional musicians

    National Research Council Canada - National Science Library

    Kanduri, Chakravarthi; Kuusi, Tuire; Ahvenainen, Minna; Philips, Anju K; Lähdesmäki, Harri; Järvelä, Irma

    2015-01-01

    .... Here, we investigated the effect of music performance on the genome-wide peripheral blood transcriptome of professional musicians by analyzing the transcriptional responses after a 2-hr concert...

  12. [Musculoskeletal diseases among musicians of the "teatro dell'Opera" of Rome].

    Science.gov (United States)

    Monaco, Edoardo; Vicaro, Vincenzo; Catarinozzi, Elena; Rossi, Marina; Prestigiacomo, Claudio

    2012-01-01

    Musculo-skeletal injuries represent a significant medical problem in professional musicians for which was coined the following acronym PRMDs (that stands for Playing Related Musculoskeletal disorders). A little osteo-articular problem in the professional musicians can impact on a real decreasing performance activity. The purpose of this study is to quantify prevalence of PRMDs syntoms among the professional musicians and to verify their relative impact on quality lives. This study has investigated the orchestral staff of the principal lyric theatre of Rome to which it was distributed DASH OUTCOME and SF-36 questionnaires to identify the presence of musculoskeletal complaints for cervical brachial syndrome and the general quality of life respectively. The employment of the above methodology furnish statistically significant results, pointing out that the musicians quality life suffering from musculo-skeletal symptomatology (DASH SF > or = 15) was lower than ones without a clinical symptomatology. Subsequently these results were compared with the Italian population benchmarking values.

  13. Job-Related Stressors of Classical Instrumental Musicians: A Systematic Qualitative Review.

    Science.gov (United States)

    Vervainioti, A; Alexopoulos, E C

    2015-12-01

    Epidemiological studies among performing artists have found elevated stress levels and health effects, but scarcely the full range of stressors has been reported. We review here the existing literature on job-related stressors of classical instrumental musicians (orchestra musicians). PubMed, Google Scholar and JSTOR databases were screened for relevant papers indexed up to August 2012. A total of 122 papers was initially identified which, after exclusion of duplicates and those not meeting eligibility criteria, yielded 67 articles for final analysis. We identified seven categories of stressors affecting musicians in their everyday working lives: public exposure, personal hazards, repertoire, competition, job context, injury/illness, and criticism, but with interrelated assigned factors. The proposed categories provide a framework for future comprehensive research on the impact and management of musician stressors.

  14. Psychophysiological Mechanisms of Coordination Component of Psychomotor Abilities of the Musicians

    Directory of Open Access Journals (Sweden)

    Korlyakova S.G.

    2017-08-01

    Full Text Available Psychomotor abilities of the musician are implemented in performing technique and include muscle strength, endurance, speed of movements, coordination, motor memory. The article presents the materials of a theoretical study aimed to identify the level character of the coordination component of psychomotor abilities of musicians formation, to define the psychophysiological mechanisms that contribute to the effective development of musical-performing technique. The process of coordination component of psychomotor abilities of musicians formation reviewed in the light of N.. Bernstein theory on construction of movements, which most fully represents the interrelation of physiological and psychological mechanisms of a man motor activity. On the example of musical- performing activity of trained pianists the processes of intermuscular, spatial, sensory-motor (visual-motor, auditory-motor, tactile-motor coordination formation are reviewed and in general – psychomotor coordination processes involved in musicians performing technique development.

  15. Profiling the Location and Extent of Musicians' Pain Using Digital Pain Drawings.

    Science.gov (United States)

    Cruder, Cinzia; Falla, Deborah; Mangili, Francesca; Azzimonti, Laura; Araújo, Liliana S; Williamon, Aaron; Barbero, Marco

    2017-05-02

    According to existing literature, musicians are at risk of experiencing a range of painful musculoskeletal conditions. Recently, a novel digital technology was developed to investigate pain location and pain extent. The aim of this study was to describe pain location and pain extent in musicians using a digital method for pain drawing (PD) analysis. Additionally, the association between PD variables and clinical features were explored in musicians with pain. One hundred and fifty-eight musicians (90 women and 68 men; aged 22.4 ± 3.6 years) were recruited from Swiss and U.K. conservatories. Participants were asked to complete a survey including both background musical information and clinical features, the QuickDASH (QD) questionnaire, and the digital PDs. Of the 158 participants, 126 musicians (79.7%) reported having pain, with higher prevalence in the areas of the neck and shoulders, the lower back, and the right arm. The mean percentage of pain extent was 3.1% ± 6.5%. The mean QD score was higher for musicians with pain than for those without pain. Additionally, the results indicated a positive correlation between the QD score and pain extent, and there were significant correlations between age and pain intensity, as well as between pain extent and pain intensity. The high prevalence of pain among musicians has been confirmed using a digital technique for PD acquisition and analysis. In addition, positive correlations between pain extent and upper limb disability have been demonstrated. Our findings highlight the need for effective prevention and treatment strategies for musicians. © 2017 World Institute of Pain.

  16. A Distributed Architecture for Facilitating the Integration of Blind Musicians in Symphonic Orchestras

    OpenAIRE

    Bajo Pérez, Javier; Sánchez, Miguel A.; Alonso, Vidal; Berjón, Roberto; Fraile Nieto, Juan Agustín; Corchado Rodríguez, Juan Manuel

    2010-01-01

    [EN] The emergence of new technologies is providing opportunities to develop novel solutions that facilitate the integration of visually impaired peaple in different activities of our daily life. This paper presents a distributed intelligent architecture, called DIAMI, focused on facilitating the integration of blind musicians into orchestras. The DIAMI architecture provides a distributes, ubiquitous system aimed at providing a way for blind musicians to receive instructions from the orchestr...

  17. Prevalence of Musculoskeletal Pain and Generalised Joint Hypermobility among Jazz Musicians in Swedish Big Bands

    OpenAIRE

    2015-01-01

    Aims: The aim of this study was to investigate the prevalence of musculoskeletal pain and generalised joint hypermobility (GJH) among professional jazz musicians in Swedish big bands and to investigate possible associations between GJH and pain.Methods: An existing health questionnaire developed for professional orchestra musicians, including the 5-part questionnaire for GJH [1], the standardised Nordic questionnaire for musculoskeletal pain disorders [2] and additional specific questions abo...

  18. Prolonged use of wind or brass instruments does not alter lung function in musicians.

    Science.gov (United States)

    Fuhrmann, Anita G; Franklin, Peter J; Hall, Graham L

    2011-05-01

    Respiratory function impacts on musical expression for wind/brass (W/B) musicians. Investigation of musicians' respiratory health to date has rarely progressed further than assessments of flow limitation through spirometry. This study aimed to compare W/B musicians' respiratory function to a non-wind/brass (NW/B) group with a comprehensive respiratory function assessment. Non-smoking, non-asthmatic participants aged 18-60 years completed a respiratory health questionnaire followed by spirometry, static lung volumes, respiratory mechanics, using forced oscillations, gas transfer and airway responsiveness (AR). Measurements were compared between participant groups using T-tests and linear regression modelling. Data from 102 participants (55 W/B musicians and 47 NW/B subjects) were included in the analysis. There were no differences between the two groups for any spirometry or lung volume outcomes, with the exception of RV/TLC which was decreased among W/B musicians (p=0.03). Measures of gas transfer and AR were similar between participant groups. Resistance at 6 Hz, measured by forced oscillation, was increased among W/B musicians compared to NW/B musicians (p=0.02) but reactance at 6 Hz was similar between the groups (p=0.10). The results suggest that W/B musicians' do not have altered respiratory function when compared to a non-musical control group. However, increased R(rs6) may indicate inflammatory, remodelling or other pathophysiological processes associated with W/B playing. Although the difference between groups was small it warrants further investigation. Copyright © 2011 Elsevier Ltd. All rights reserved.

  19. Pitch Memory in Nonmusicians and Musicians: Revealing Functional Differences Using Transcranial Direct Current Stimulation

    OpenAIRE

    Schaal, N.K.; Krause, V; Lange, K.; Banissy, M. J.; Williamson, V.; Pollok, B.

    2017-01-01

    For music and language processing, memory for relative pitches is highly important. Functional imaging studies have shown activation of a complex neural system for pitch memory. One region that has been shown to be causally involved in the process for nonmusicians is the supramarginal gyrus (SMG). The present study aims at replicating this finding and at further examining the role of the SMG for pitch memory in musicians. Nonmusicians and musicians received cathodal transcranial direct curren...

  20. Music Belongs to Everyone: Moments of Progress in Community Music Therapy with Musicians with Severe Disabilities

    OpenAIRE

    Luca Tiszai

    2016-01-01

    The article describes novel and successful projects involving musicians with severe disabilities and adolescent music students. The Nádizumzuzum Orchestra consists of adult members of a nursing home. They are able to play music with a newly developed method called Consonate. The young musicians are students of the Zoltán Kodály Hungarian Choir School. This article presents the historical and socio-political background of the project to illustrate how music therapy grows from particular cultur...

  1. Syphilis in composers and musicians--Mozart, Beethoven, Paganini, Schubert, Schumann, Smetana.

    Science.gov (United States)

    Franzen, C

    2008-12-01

    In the pre-antibiotics era, syphilis was an extremely common disease. The first well-recorded European outbreak of what is now known as syphilis occurred in 1494, when it appeared among French troops besieging Naples. Thereafter, the disease spread all over Europe and, in the 18th and 19th centuries, many artists became victims of syphilis, among them poets, painters, philosophers, and musicians and composers. This review presents biographies of several musicians and composers that probably suffered from syphilis.

  2. Musicians change their tune: how hearing loss alters the neural code.

    Science.gov (United States)

    Parbery-Clark, Alexandra; Anderson, Samira; Kraus, Nina

    2013-08-01

    Individuals with sensorineural hearing loss have difficulty understanding speech, especially in background noise. This deficit remains even when audibility is restored through amplification, suggesting that mechanisms beyond a reduction in peripheral sensitivity contribute to the perceptual difficulties associated with hearing loss. Given that normal-hearing musicians have enhanced auditory perceptual skills, including speech-in-noise perception, coupled with heightened subcortical responses to speech, we aimed to determine whether similar advantages could be observed in middle-aged adults with hearing loss. Results indicate that musicians with hearing loss, despite self-perceptions of average performance for understanding speech in noise, have a greater ability to hear in noise relative to nonmusicians. This is accompanied by more robust subcortical encoding of sound (e.g., stimulus-to-response correlations and response consistency) as well as more resilient neural responses to speech in the presence of background noise (e.g., neural timing). Musicians with hearing loss also demonstrate unique neural signatures of spectral encoding relative to nonmusicians: enhanced neural encoding of the speech-sound's fundamental frequency but not of its upper harmonics. This stands in contrast to previous outcomes in normal-hearing musicians, who have enhanced encoding of the harmonics but not the fundamental frequency. Taken together, our data suggest that although hearing loss modifies a musician's spectral encoding of speech, the musician advantage for perceiving speech in noise persists in a hearing-impaired population by adaptively strengthening underlying neural mechanisms for speech-in-noise perception.

  3. Perception of pitch height in lexical and musical tones by English-speaking musicians and nonmusicians.

    Science.gov (United States)

    Lee, Chao-Yang; Lekich, Allison; Zhang, Yu

    2014-03-01

    The purpose of this study was to explore the music-speech relationship by examining pitch height perception in lexical and musical tones. English-speaking musicians and nonmusicians identified multispeaker Taiwanese level tones without typical cues for speaker normalization. The musicians also identified note names of piano, viola, and pure tones without a reference pitch. In the Taiwanese task, both the musicians and nonmusicians were able to identify tone height above chance, but only for tones at the extremes of the speakers' overall vocal range. The musicians only had a slight advantage over the nonmusicians. In the music task, none of the musicians met the criterion for absolute pitch. Timbre did not affect how accurately the musical tones were identified. No correlations were found between performance in the Taiwanese task and that in the music task. It was concluded that musicians' advantage in lexical tone perception arose from the ability to track F0 contours. The ability to identify pitch height in lexical tones appears to involve calibrating acoustic input according to gender-specific, internally stored pitch templates.

  4. Musicians and music making as a model for the study of brain plasticity

    Science.gov (United States)

    Schlaug, Gottfried

    2015-01-01

    Playing a musical instrument is an intense, multisensory, and motor experience that usually commences at an early age and requires the acquisition and maintenance of a range of sensory and motor skills over the course of a musician’s lifetime. Thus, musicians offer an excellent human model for studying behavioral-cognitive as well as brain effects of acquiring, practicing, and maintaining these specialized skills. Research has shown that repeatedly practicing the association of motor actions with specific sound and visual patterns (musical notation), while receiving continuous multisensory feedback will strengthen connections between auditory and motor regions (e.g., arcuate fasciculus) as well as multimodal integration regions. Plasticity in this network may explain some of the sensorimotor and cognitive enhancements that have been associated with music training. Furthermore, the plasticity of this system as a result of long term and intense interventions suggest the potential for music making activities (e.g., forms of singing) as an intervention for neurological and developmental disorders to learn and relearn associations between auditory and motor functions such as vocal motor functions. PMID:25725909

  5. Music education and musicians: Expectations, course and outcomes

    Directory of Open Access Journals (Sweden)

    Bogunović Blanka

    2012-01-01

    Full Text Available Considering the long-term talent development, from the moment of its recognition to the moment when an adult is confronted with the necessity of integration in the professional music and life streams, we wonder whether education satisfies the needs of talents and provides, in the long run, the necessary knowledge and skills. The aim of this research was to investigate: (1 the initial motivation for learning music and expectations from music education; (2 the course of development of young musicians (the degree of self-actualisation, developmental perspectives, evaluation of music education and (3 outcomes of music education and development of the professional career. The sample (N=487 consisted of five subsamples: music kindergarten pupils, students of primary music schools, students of secondary music schools, university students of music and teachers at music schools and universities. The paper analyses psychological, educational and professional aspects of education of musically gifted pupils and students, as well as music teachers in five successive age groups. The results indicate that with an increase in age there is a considerable increase in the variety and scope of expectations and a higher aspiration towards personal, educational and professional lifelong improvement, while, at the same time, there is a considerable decrease in the level of fulfilment of expectations and the level of assessment of self-actualisation. This is indicative of a continuously present feeling of “hidden underachievement” in the group of (relatively successful young musicians and professionals. Analysis of respondents’ answers points out to the existence of still traditional system of music education, which lacks flexibility and innovation and fails to provide a sufficient level of transferable knowledge and skills. The findings point out to a whole cluster of controversies demanding further reconsideration and (redesigning of the curriculum of (high

  6. What Classical Musicians Can Learn from Working with Actors: Conceptual and Pedagogic Foundations and Outcomes of Bringing Musicians to Integrate in a Drama Training Environment

    Science.gov (United States)

    Rea, Ken

    2015-01-01

    Effective teaching in a music conservatoire needs a continual quest to find new and better ways of delivering excellence. The challenge is to keep the work innovative. In this article I argue that, for a classical musician the communication of personality is a vital component of excellence in performance and I give reasons why an authentic,…

  7. Simultaneous EEG and EMG biofeedback for peak performance in musicians.

    Science.gov (United States)

    Markovska-Simoska, Silvana; Pop-Jordanova, Nada; Georgiev, Dejan

    2008-07-01

    The aim of this study was to determine the effects of alpha neurofeedback and EMG biofeedback protocols for improvement of musical performance in violinists. The sample consisted of 12 music students (10 violinists and 2 viola players) from the Faculty of Music, Skopje (3 males, mean age of 20 +/- 0 and 9 females, mean age = 20.89 +/- 2.98). Six of them had a low alpha peak frequency (APF) ( 10 Hz). The sample was randomized in two groups. The students from the experimental group participated in 20 sessions of biofeedback (alpha/EMG), combined with music practice, while the students from the control group did only music practice. Average absolute power, interhemispheric coherence in the alpha band, alpha peak frequency (APF), individual alpha band width (IABW), amount of alpha suppression (AAS) and surface forehead integrated EMG power (IEMG), as well as a score on musical performance and inventories measuring anxiety, were assessed. Alpha-EEG/EMG-biofeedback was associated with a significant increase in average alpha power, APF and IABW in all the participants and with decreases in IEMG only in high-APF musicians. The biofeedback training success was positively correlated with the alpha power, IcoH, APF, IABW and baseline level of APF and IABW. Alpha-EEG/EMG biofeedback is capable of increasing voluntary self-regulation and the quality of musical performance. The efficiency of biofeedback training depends on the baseline EEG alpha activity status, in particular the APF.

  8. Noise exposure of musicians of a ballet orchestra.

    Science.gov (United States)

    Qian, Cheng Liang; Behar, Alberto; Wong, Willy

    2011-01-01

    With over 70 dancers and its own orchestra, The National Ballet of Canada ranks amongst the world's top dance companies. It performs three seasons annually: fall, winter and summer, plus many shows of Tchaikovsky's Nutcracker. The 70-strong orchestra plays an average of 360 hours/year including rehearsals and performances. Rehearsals are held at two locations: one in a ballet rehearsal room with little or no absorption, and the other in an acoustically treated location. Performances are held in the Four Seasons Centre for the Performing Arts in Toronto. The present survey was done at the request of the National Ballet, since the musicians complained of excessive sound levels and were concerned about possible hearing losses. The survey was performed using five dosimeters Quest Mod 300 during 10 performances of the ballet Romeo and Juliet by Sergei Prokofiev, deemed as the noisiest in the whole repertoire. Results of the survey indicate that the noise exposure levels from only the orchestra's activities do not present risk of hearing loss. Exposure due to other musical activities was, however, not included.

  9. Noise exposure of musicians of a ballet orchestra

    Directory of Open Access Journals (Sweden)

    Cheng Liang Qian

    2011-01-01

    Full Text Available With over 70 dancers and its own orchestra, The National Ballet of Canada ranks amongst the world′s top dance companies. It performs three seasons annually: fall, winter and summer, plus many shows of Tchaikovsky′s Nutcracker. The 70-strong orchestra plays an average of 360 hours/year including rehearsals and performances. Rehearsals are held at two locations: one in a ballet rehearsal room with little or no absorption, and the other in an acoustically treated location. Performances are held in the Four Seasons Centre for the Performing Arts in Toronto. The present survey was done at the request of the National Ballet, since the musicians complained of excessive sound levels and were concerned about possible hearing losses. The survey was performed using five dosimeters Quest Mod 300 during 10 performances of the ballet Romeo and Juliet by Sergei Prokofiev, deemed as the noisiest in the whole repertoire. Results of the survey indicate that the noise exposure levels from only the orchestra′s activities do not present risk of hearing loss. Exposure due to other musical activities was, however, not included.

  10. Structural neuroplasticity in expert pianists depends on the age of musical training onset.

    Science.gov (United States)

    Vaquero, Lucía; Hartmann, Karl; Ripollés, Pablo; Rojo, Nuria; Sierpowska, Joanna; François, Clément; Càmara, Estela; van Vugt, Floris Tijmen; Mohammadi, Bahram; Samii, Amir; Münte, Thomas F; Rodríguez-Fornells, Antoni; Altenmüller, Eckart

    2016-02-01

    In the last decade, several studies have investigated the neuroplastic changes induced by long-term musical training. Here we investigated structural brain differences in expert pianists compared to non-musician controls, as well as the effect of the age of onset (AoO) of piano playing. Differences with non-musicians and the effect of sensitive periods in musicians have been studied previously, but importantly, this is the first time in which the age of onset of music-training was assessed in a group of musicians playing the same instrument, while controlling for the amount of practice. We recruited a homogeneous group of expert pianists who differed in their AoO but not in their lifetime or present amount of training, and compared them to an age-matched group of non-musicians. A subset of the pianists also completed a scale-playing task in order to control for performance skill level differences. Voxel-based morphometry analysis was used to examine gray-matter differences at the whole-brain level. Pianists showed greater gray matter (GM) volume in bilateral putamen (extending also to hippocampus and amygdala), right thalamus, bilateral lingual gyri and left superior temporal gyrus, but a GM volume shrinkage in the right supramarginal, right superior temporal and right postcentral gyri, when compared to non-musician controls. These results reveal a complex pattern of plastic effects due to sustained musical training: a network involved in reinforcement learning showed increased GM volume, while areas related to sensorimotor control, auditory processing and score-reading presented a reduction in the volume of GM. Behaviorally, early-onset pianists showed higher temporal precision in their piano performance than late-onset pianists, especially in the left hand. Furthermore, early onset of piano playing was associated with smaller GM volume in the right putamen and better piano performance (mainly in the left hand). Our results, therefore, reveal for the first time in

  11. Yoga ameliorates performance anxiety and mood disturbance in young professional musicians.

    Science.gov (United States)

    Khalsa, Sat Bir S; Shorter, Stephanie M; Cope, Stephen; Wyshak, Grace; Sklar, Elyse

    2009-12-01

    Yoga and meditation can alleviate stress, anxiety, mood disturbance, and musculoskeletal problems, and can enhance cognitive and physical performance. Professional musicians experience high levels of stress, performance anxiety, and debilitating performance-related musculoskeletal disorders (PRMDs). The goal of this controlled study was to evaluate the benefits of yoga and meditation for musicians. Young adult professional musicians who volunteered to participate in a 2-month program of yoga and meditation were randomized to a yoga lifestyle intervention group (n = 15) or to a group practicing yoga and meditation only (n = 15). Additional musicians were recruited to a no-practice control group (n = 15). Both yoga groups attended three Kripalu Yoga or meditation classes each week. The yoga lifestyle group also experienced weekly group practice and discussion sessions as part of their more immersive treatment. All participants completed baseline and end-program self-report questionnaires that evaluated music performance anxiety, mood, PRMDs, perceived stress, and sleep quality; many participants later completed a 1-year followup assessment using the same questionnaires. Both yoga groups showed a trend towards less music performance anxiety and significantly less general anxiety/tension, depression, and anger at end-program relative to controls, but showed no changes in PRMDs, stress, or sleep. Similar results in the two yoga groups, despite psychosocial differences in their interventions, suggest that the yoga and meditation techniques themselves may have mediated the improvements. Our results suggest that yoga and meditation techniques can reduce performance anxiety and mood disturbance in young professional musicians.

  12. Neuroarchitecture of verbal and tonal working memory in nonmusicians and musicians.

    Science.gov (United States)

    Schulze, Katrin; Zysset, Stefan; Mueller, Karsten; Friederici, Angela D; Koelsch, Stefan

    2011-05-01

    Working memory (WM) for auditory information has been thought of as a unitary system, but whether WM for verbal and tonal information relies on the same or different functional neuroarchitectures has remained unknown. This fMRI study examines verbal and tonal WM in both nonmusicians (who are trained in speech, but not in music) and highly trained musicians (who are trained in both domains). The data show that core structures of WM are involved in both tonal and verbal WM (Broca's area, premotor cortex, pre-SMA/SMA, left insular cortex, inferior parietal lobe), although with significantly different structural weightings, in both nonmusicians and musicians. Additionally, musicians activated specific subcomponents only during verbal (right insular cortex) or only during tonal WM (right globus pallidus, right caudate nucleus, and left cerebellum). These results reveal the existence of two WM systems in musicians: A phonological loop supporting rehearsal of phonological information, and a tonal loop supporting rehearsal of tonal information. Differences between groups for tonal WM, and between verbal and tonal WM within musicians, were mainly related to structures involved in controlling, programming and planning of actions, thus presumably reflecting differences in action-related sensorimotor coding of verbal and tonal information. Copyright © 2010 Wiley-Liss, Inc.

  13. The fate of sounds in conductors' brains: an ERP study.

    Science.gov (United States)

    Nager, Wido; Kohlmetz, Christine; Altenmüller, Eckart; Rodriguez-Fornells, Antoni; Münte, Thomas F

    2003-06-01

    Professional music conductors are required to home in on a particular musician but at the same time have to monitor the entire orchestra. It was hypothesized that this unique experience should be reflected by superior auditory spatial processing. Event-related brain potentials were obtained, while conductors, professional pianists, and non-musicians listened to sequences of bandpass-filtered noise-bursts presented in random order from six speakers, three located in front and three to the right of the subjects. In different runs, subjects either attended the centermost or the most peripheral speaker in order to detect slightly deviant noise-bursts. For centrally located speakers, the ERPs showed a typical Nd attention effect for the relevant location with a steep decline for the neighboring speakers in all subject groups. For peripheral speakers, only the conductors showed attentional selectivity, while the Nd effect was of similar size for all three peripheral speakers in the other two groups. These ERP effects were paralleled by an enhanced behavioral selectivity in peripheral auditory space in conductors. Moreover, the pre-attentive monitoring of the entire auditory scene indexed by the mismatch negativity was superior in musicians compared to non-musicians. In conductors, the MMN was followed by a positivity suggesting an attention shift towards the deviant stimuli in this group only.

  14. Hiperacusia em músicos de banda militar Hyperacusis in military band musicians

    Directory of Open Access Journals (Sweden)

    Maiara Santos Gonçalves

    2007-12-01

    ído ambiental incômodo e presença de zumbido.PURPOSE: To identify the presence of hyperacusis and to investigate the characteristics of uncomfortable sounds, as well as the behaviors triggered by the discomfort in musicians of a Military Band. METHODS: Twenty seven musicians of the Military Band of the Santa Maria Airbase (RS were studied. Their ages ranged from 22 to 50 years old and military work time from four to 26 years, with daily occupational noise exposure time from two to eight hours. All subjects were submitted to a basic audiological evaluation, sound discomfort threshold test and application of a questionnaire. It was considered presence of hyperacusis when the average of the obtained values on the discomfort threshold in 250, 500, 1000, 2000, 4000 Hertz was less than or equal to 90 decibels, associated with hearing discomfort complaint. RESULTS: It was verified presence of hyperacusis in 37% of the musicians. From these, 50% presented normal hearing and 50% had normal hearing with notch; 80% of them felt the discomfort daily and 20% only after band practice; 70% of the musicians had already avoided some activities, believing that the activity noise would be distressing; 70% of them used ear plugs regularly and 90% referred presence of tinnitus. The sounds that were considered to be distressing by hyperacusics were, predominantly, high intensity sounds. The most common emotional responses towards a distressing sound were tension, anxiety and the urge of repelling from it. CONCLUSION: According to the criteria used in this study, 37% of the studied individuals were classified as hyperacusics, which considered predominantly high intensity sounds to be unpleasant. The main emotional responses before these sounds were: tension, anxiety and the need to repel from the sound. The common characteristics among the subjects classified as hyperacusics were: normal hearing, use of ear plugs, avoidance of activities fearing the discomfort caused by the noise, and the presence

  15. Perception, production, and imitation of time ratios by skilled musicians.

    Science.gov (United States)

    Sternberg, S; Knoll, R L

    1984-01-01

    We have described our exploration of the judgment, production, and imitation of fractions of a beat by skilled musicians, illustrating our findings with data from violinist and conductor Paul Zukofsky. For small fractions we found systematic and substantial errors. In the judgment task small stimulus fractions are associated with names that are too large (overestimation). In both production and imitation tasks the fractions produced were too large (overproduction, overimitation). A summary of our findings and of the expectations they violate is provided in Figure 7. The temporal patterns we used are perhaps the simplest that qualify as rhythms, incorporating just a beat interval and a fraction. The phenomena we discovered in relation to these simple patterns, and their implications for underlying mechanisms, must be considered in attempts to understand the perception and production of more complex rhythms, as in actual music. We explored and rejected several plausible explanations for the overestimation and overproduction of small fractions. Although we have as yet no satisfactory explanations of the errors themselves, relations among the errors have powerful implications for human timing mechanisms. The relation between the errors in judgment and production requires us to reject a feedback model of production, in which a subject uses the same processes as in the judgment task to evaluate and adjust his performance in the production task. An explanation of the inconsistency between judgment and production seems most likely to lie in a change in time perception induced by the production task. Together with the existence of systematic errors in judgment, the equality of the errors in production and imitation argues that imitation is not accomplished by concatenating all the processes used in judgment and production. Our results are instead consistent with a model containing four internal transformation processes, in which judgment and production share no process, but

  16. Is Playing in the Pit Really the Pits?: Pain, Strength, Music Performance Anxiety, and Workplace Satisfaction in Professional Musicians in Stage, Pit, and Combined Stage/Pit Orchestras.

    Science.gov (United States)

    Kenny, Dianna T; Driscoll, Tim; Ackermann, Bronwen J

    2016-03-01

    Typically, Australian orchestral musicians perform on stage, in an orchestra pit, or in a combination of both workplaces. This study explored a range of physical and mental health indicators in musicians who played in these different orchestra types to ascertain whether orchestra environment was a risk factor affecting musician wellbeing. Participants comprised 380 full-time orchestral musicians from the eight major state orchestras in Australia comprised of two dedicated pit orchestras, three stage-only symphonic orchestras, and three mixed stage/pit orchestras. Participants completed a physical assessment and a range of self-report measures assessing performance-related musculoskeletal disorders (PRMD), physical characteristics including strength and perceived exertion, and psychological health, including music performance anxiety (MPA), workplace satisfaction, and bullying. Physical characteristics and performance-related musculoskeletal profiles were similar for most factors on the detailed survey completed by orchestra members. The exceptions were that pit musicians demonstrated greater shoulder and elbow strength, while mixed-workload orchestra musicians had greater flexibility Significantly more exertion was reported by pit musicians when rehearsing and performing. Stage/pit musicians reported less physical exertion when performing in the pit compared with performing on stage. Severity of MPA was significantly greater in pit musicians than mixed orchestra musicians. Pit musicians also reported more frequent bullying and lower job satisfaction compared with stage musicians. There were few differences in the objective physical measures between musicians in the different orchestra types. However, pit musicians appear more psychologically vulnerable and less satisfied with their work than musicians from the other two orchestra types. The physical and psychological characteristics of musicians who perform in different orchestra types have not been adequately

  17. Differential parietal and temporal contributions to music perception in improvising and score-dependent musicians, an fMRI study

    NARCIS (Netherlands)

    Harris, Robert; de Jong, Bauke M.

    2015-01-01

    Using fMRI, cerebral activations were studied in 24 classically-trained keyboard performers and 12 musically unskilled control subjects. Two groups of musicians were recruited: improvising (n=12) and score-dependent (non-improvising) musicians (n=12). While listening to both familiar and unfamiliar

  18. Differential parietal and temporal contributions to music perception in improvising and score-dependent musicians, an fMRI study

    NARCIS (Netherlands)

    Harris, Robert; de Jong, Bauke M.

    2015-01-01

    Using fMRI, cerebral activations were studied in 24 classically-trained keyboard performers and 12 musically unskilled control subjects. Two groups of musicians were recruited: improvising (n=12) and score-dependent (non-improvising) musicians (n=12). While listening to both familiar and unfamiliar

  19. The Effect of Tactile Cues on Auditory Stream Segregation Ability of Musicians and Nonmusicians

    DEFF Research Database (Denmark)

    Slater, Kyle D.; Marozeau, Jeremy

    2016-01-01

    Difficulty perceiving music is often cited as one of the main problems facing hearing-impaired listeners. It has been suggested that musical enjoyment could be enhanced if sound information absent due to impairment is transmitted via other sensory modalities such as vision or touch. In this study......, we test whether tactile cues can be used to segregate 2 interleaved melodies. Twelve musicians and 12 nonmusicians were asked to detect changes in a 4-note repeated melody interleaved with a random melody. In order to perform this task, the listener must be able to segregate the target melody from...... the random melody. Tactile cues were applied to the listener’s fingers on half of the blocks. Results showed that tactile cues can significantly improve the melodic segregation ability in both musician and nonmusician groups in challenging listening conditions. Overall, the musician group performance...

  20. Musician's hand problems: looking at individuality: a review of points of departure.

    Science.gov (United States)

    Wagner, Christoph

    2012-06-01

    Various strategies on how to uncover the causation of musicians' hand problems have been outlined. Little attention, however, has been paid to the interaction of the numerous biomechanical factors involved and the extent of their inter- and intra-individual variation. A systematic biomechanical analysis is presented considering three basic elements: a) size and shape of the hand, b) resistance of the joints involved, and c) muscle forces acting on these joints. Results of the individual hand measurement are summarized as a "Hand Profile." It shows the instrumentalist's biomechanical constellation in comparison with a control group of healthy professional musicians, serving as a base to advise musicians from a medical perspective and/or with regard to playing technique. From hand research as a whole, we may recognize that there is in fact little reason for generalizing manual abilities.

  1. Enhanced phase synchrony in the electroencephalograph γ band for musicians while listening to music

    Science.gov (United States)

    Bhattacharya, Joydeep; Petsche, Hellmuth

    2001-07-01

    Multichannel electroencephalograph signals from two broad groups, 10 musicians and 10 nonmusicians, recorded in different states (in resting states or no task condition, with eyes opened and eyes closed, and with two musical tasks, listening to two different pieces of music) were studied. Degrees of phase synchrony in various frequency bands were assessed. No differences in the degree of synchronization in any frequency band were found between the two groups in resting conditions. Yet, while listening to music, significant increases of synchronization were found only in the γ-frequency range (>30 Hz) over large cortical areas for the group of musicians. This high degree of synchronization elicited by music in the group of musicians might be due to their ability to host long-term memory representations of music and mediate access to these stored representations.

  2. Action in Perception: Prominent Visuo-Motor Functional Symmetry in Musicians during Music Listening.

    Directory of Open Access Journals (Sweden)

    Iballa Burunat

    Full Text Available Musical training leads to sensory and motor neuroplastic changes in the human brain. Motivated by findings on enlarged corpus callosum in musicians and asymmetric somatomotor representation in string players, we investigated the relationship between musical training, callosal anatomy, and interhemispheric functional symmetry during music listening. Functional symmetry was increased in musicians compared to nonmusicians, and in keyboardists compared to string players. This increased functional symmetry was prominent in visual and motor brain networks. Callosal size did not significantly differ between groups except for the posterior callosum in musicians compared to nonmusicians. We conclude that the distinctive postural and kinematic symmetry in instrument playing cross-modally shapes information processing in sensory-motor cortical areas during music listening. This cross-modal plasticity suggests that motor training affects music perception.

  3. Playing-related musculoskeletal disorders in musicians: a systematic review of incidence and prevalence.

    Science.gov (United States)

    Zaza, C

    1998-04-21

    Work-related musculoskeletal disorders cause pain, disability and loss of employment for many workers, including musicians. Although performing arts medicine is a growing field, the health problems of musicians remain under-recognized and under-researched. Therefore, the author undertook a systematic review of published information on the incidence and prevalence of playing-related musculoskeletal disorders (PRMDs) in classical musicians. Seven databases were searched for the period 1980 to 1996. The main textbook and performing arts medicine journals were searched manually, as were reference lists of all relevant papers. The author also contacted individuals familiar with the literature of performing arts medicine. Studies were included for review if they reported PRMD incidence or prevalence in classical musicians. Of the 24 studies identified, 18 cross-sectional surveys and cohort studies were reviewed. The author subjectively assessed the studies using criteria modified from an existing evaluation scale and used 4 criteria for data combination. On the basis of prevalence values from the eligible studies, chi 2 tests for heterogeneity were performed. Only one study estimated PRMD incidence. Ten of the 17 prevalence studies were ineligible for data combination, because of low response rates and other methodological problems. In the 7 eligible studies, PRMD point prevalence ranged from 39% to 87% in adult musicians and from 34% to 62% in secondary school music students. The best estimates of PRMD prevalence were derived from the 3 studies that excluded mild complaints; these studies indicated that PRMD prevalence was 39% and 47% in adults and 17% in secondary school music students respectively. Statistical combination of data across studies within each demographic category was not possible. Available data indicate that the prevalence of PRMD in adult classical musicians is comparable to the prevalence of work-related musculoskeletal disorders reported for other

  4. Working on a Dream: Careers of Pop Musicians in the Netherlands

    NARCIS (Netherlands)

    Zwaan, A.J.

    2009-01-01

    The studies presented in this dissertation are concerned with the question why a musician’s career can become a failure or a success. The central research question within this thesis is: What are the determinants of career success for Dutch pop musicians? The first study presents findings from a qua

  5. Hybrid Spaces and Hyphenated Musicians: Secondary Students' Musical Engagement in a Songwriting and Technology Course

    Science.gov (United States)

    Tobias, Evan S.

    2012-01-01

    This case study investigates how secondary students (three individuals and three groups) engaged with music and acted as musicians in a Songwriting and Technology Class (STC), a course involving the creation, performance, recording and production of original music with instruments and music technology. The following research question guided the…

  6. Communities of Practice in the Conservatory: Learning with a Professional Musician

    Science.gov (United States)

    Virkkula, Esa

    2016-01-01

    This article examines the sociocultural learning of popular and jazz music in communities of practice as part of secondary vocational music education in a Finnish conservatory. The research is based on performance workshops which were implemented as a joint effort between professional musicians and music students. These workshops are suggested as…

  7. Effects of Conductor Baton Use on Band and Choral Musicians' Perceptions of Conductor Expressivity and Clarity

    Science.gov (United States)

    Nápoles, Jessica; Silvey, Brian A.

    2017-01-01

    The purpose of this study was to examine participants' (college band and choral musicians, N = 143) perceptions of conductor clarity and expressivity after viewing band and choral directors conducting with or without a baton. One band and one choral conductor each prepared and conducted two excerpts of Guy Forbes's "O Nata Lux", a piece…

  8. Cerebral Activations Related to Audition-Driven Performance Imagery in Professional Musicians

    NARCIS (Netherlands)

    Harris, Robert; de Jong, BM

    2014-01-01

    Functional Magnetic Resonance Imaging (fMRI) was used to study the activation of cerebral motor networks during auditory perception of music in professional keyboard musicians (n = 12). The activation paradigm implied that subjects listened to two-part polyphonic music, while either critically

  9. Embracing the digital in instrument making: Towards a musician-tailored mouthpiece by 3D printing

    NARCIS (Netherlands)

    Lorenzoni, V.; Doubrovski, E.L.; Verlinden, J.C.

    2013-01-01

    At present, the manufacturing of musical instruments still strongly relies on the tacit knowledge of experienced handcrafts while is commonly based on standard machining or casting techniques. This limits the musician-tailoredness to a small group of players, while others take compromises by employi

  10. Preferred and Minimum Acceptable Listening Levels for Musicians while Using Floor and In-Ear Monitors

    Science.gov (United States)

    Federman, Jeremy; Ricketts, Todd

    2008-01-01

    Purpose: This study examined the impact that changing on-stage music and crowd noise levels during musical performance had on preferred listening levels (PLLs) and minimum acceptable listening levels (MALLs) across both floor and in-ear monitors. Method: Participants for this study were 23- to 48-year-old musicians, with and without hearing loss,…

  11. Musicians' Memory for Verbal and Tonal Materials under Conditions of Irrelevant Sound

    Science.gov (United States)

    Williamson, Victoria J.; Mitchell, Tom; Hitch, Graham J.; Baddeley, Alan D.

    2010-01-01

    Studying short-term memory within the framework of the working memory model and its associated paradigms (Baddeley, 2000; Baddeley & Hitch, 1974) offers the chance to compare similarities and differences between the way that verbal and tonal materials are processed. This study examined amateur musicians' short-term memory using a newly adapted…

  12. Trauma-Related Dissociation as a Factor Affecting Musicians' Memory for Music: Some Possible Solutions

    Science.gov (United States)

    Swart, Inette; van Niekerk, Caroline; Hartman, Woltemade

    2010-01-01

    An investigation of the influence of trauma on musicians revealed concentration and memory problems as two of the most common symptoms hampering the performance of affected individuals. In many instances where the causes of these problems were related to trauma sequelae, these could clearly be linked to dissociative symptoms. The following…

  13. Pitch Memory in Nonmusicians and Musicians: Revealing Functional Differences Using Transcranial Direct Current Stimulation.

    Science.gov (United States)

    Schaal, N K; Krause, V; Lange, K; Banissy, M J; Williamson, V J; Pollok, B

    2015-09-01

    For music and language processing, memory for relative pitches is highly important. Functional imaging studies have shown activation of a complex neural system for pitch memory. One region that has been shown to be causally involved in the process for nonmusicians is the supramarginal gyrus (SMG). The present study aims at replicating this finding and at further examining the role of the SMG for pitch memory in musicians. Nonmusicians and musicians received cathodal transcranial direct current stimulation (tDCS) over the left SMG, right SMG, or sham stimulation, while completing a pitch recognition, pitch recall, and visual memory task. Cathodal tDCS over the left SMG led to a significant decrease in performance on both pitch memory tasks in nonmusicians. In musicians, cathodal stimulation over the left SMG had no effect, but stimulation over the right SMG impaired performance on the recognition task only. Furthermore, the results show a more pronounced deterioration effect for longer pitch sequences indicating that the SMG is involved in maintaining higher memory load. No stimulation effect was found in both groups on the visual control task. These findings provide evidence for a causal distinction of the left and right SMG function in musicians and nonmusicians. © The Author 2014. Published by Oxford University Press. All rights reserved. For Permissions, please e-mail: journals.permissions@oup.com.

  14. Effects of Excerpt Tempo and Duration on Musicians' Ratings of High-Level Piano Performances

    Science.gov (United States)

    Wapnick, Joel; Ryan, Charlene; Campbell, Louise; Deek, Patricia; Lemire, Renata; Darrow, Alice-Ann

    2005-01-01

    The purpose of this study was to determine how judgments of solo performances recorded at an international piano competition might be affected by excerpt duration (20 versus 60 seconds) and tempo (slow versus fast). Musicians rated performances on six test items. Results indicated that piano majors rated slow excerpts higher than they rated fast…

  15. The Effects of Orchestration on Musicians' and Nonmusicians' Perception of Musical Tension

    Science.gov (United States)

    Silvey, Brian A.

    2011-01-01

    The purpose of this study was to examine the effects of orchestration on musicians' and nonmusicians' (N = 40) perception of musical tension. Participants were asked to register their perceptions of tension using the Continuous Response Digital Interface dial while listening to three orchestrations (full orchestra, brass quintet, and solo piano)…

  16. Assessment of hearing and hearing disorders in rock/jazz musicians.

    Science.gov (United States)

    Kähärit, Kim; Zachau, Gunilla; Eklöf, Mats; Sandsjö, Leif; Möller, Claes

    2003-07-01

    The aim of this study was to assess hearing and hearing disorders among rock/jazz musicians. One hundred and thirty-nine (43 women and 96 men) musicians participated. The results are based on pure-tone audiometry and questionnaire responses. According to our definition of hearing loss, tinnitus, hyperacusis, distortion and/or diplacusis as hearing disorders, we found disorders in 74%, of the rock/jazz musicians studied. Hearing loss, tinnitus and hyperacusis were most common, and the latter two were found significantly more frequently than in different reference populations. The women showed bilateral, significantly better hearing thresholds at 3-6 kHz than the men. Hyperacusis, and the combination of both hyperacusis and tinnitus, were found to be significantly more frequent among women than among men. Hearing loss and tinnitus were significantly more common among men than among women. It is important to evaluate all kinds of hearing problems (other than hearing loss) in musicians, since they represent an occupational group especially dependent on optimal, functional hearing. On the basis of our results, we suggest that hearing problems such as tinnitus, hyperacusis, distortion and/or diplacusis should, in addition to hearing loss, be defined as hearing disorders.

  17. Immediate effects of Tuina techniques on working-related musculoskeletal disorder of professional orchestra musicians

    Institute of Scientific and Technical Information of China (English)

    Cludia Maria Sousa; Luis Moreira; Daniela Coimbra; Jorge Machado; Henry J Greten

    2015-01-01

    BACKGROUND:Musicians are a prone group to suffer from working-related musculoskeletal disorder (WRMD). Conventional solutions to control musculoskeletal pain include pharmacological treatment and rehabilitation programs but their efifciency is sometimes disappointing. OBJECTIVE:The aim of this research is to study the immediate effects of Tuina techniques on WRMD of professional orchestra musicians from the north of Portugal. DESIGN, SETTING, PARTICIPANTS AND INTERVENTIONS:We performed a prospective, controled, single-blinded, randomized study. Professional orchestra musicians with a diagnosis of WRMD were randomly distributed into the experimental group (n=39) and the control group (n=30). During an individual interview, Chinese diagnosis took place and treatment points were chosen. Real acupoints were treated by Tuina techniques into the experimental group and non-speciifc skin points were treated into the control group. Pain was measured by verbal numerical scale before and immediately after intervention. RESULTS:After one treatment session, pain was reduced in 91.8% of the cases for the experimental group and 7.9% for the control group. CONCLUSION:Although results showed that Tuina techniques are effectively reducing WRMD in professional orchestra musicians of the north of Portugal, further investigations with stronger measurements, double-blinding designs and bigger simple sizes are needed.

  18. Embracing the digital in instrument making: Towards a musician-tailored mouthpiece by 3D printing

    NARCIS (Netherlands)

    Lorenzoni, V.; Doubrovski, E.L.; Verlinden, J.C.

    2013-01-01

    At present, the manufacturing of musical instruments still strongly relies on the tacit knowledge of experienced handcrafts while is commonly based on standard machining or casting techniques. This limits the musician-tailoredness to a small group of players, while others take compromises by employi

  19. Cerebral Activations Related to Audition-Driven Performance Imagery in Professional Musicians

    NARCIS (Netherlands)

    Harris, Robert; de Jong, BM

    2014-01-01

    Functional Magnetic Resonance Imaging (fMRI) was used to study the activation of cerebral motor networks during auditory perception of music in professional keyboard musicians (n = 12). The activation paradigm implied that subjects listened to two-part polyphonic music, while either critically appra

  20. The occurrence of musculoskeletal complaints among professional musicians : a systematic review

    NARCIS (Netherlands)

    Kok, Laura M.; Huisstede, Bionka M A; Voorn, Veronique M A; Schoones, Jan W.; Nelissen, Rob G H H

    2016-01-01

    Purpose: This study gives a systematic overview of the literature on the occurrence of musculoskeletal complaints in professional instrumental musicians. Methods: A systematic review. Nine literature databases were searched without time limits on June 25, 2015, also the complete index of the journal

  1. Hearing loss in relation to sound exposure of professional symphony orchestra musicians

    DEFF Research Database (Denmark)

    Schmidt, J. H.; Pedersen, E. R.; Paarup, H. M.

    2014-01-01

    B compared with the 238 ears with lowest exposure. The observed hearing loss of musicians was smaller compared with the noise-induced permanent threshold shift (NIPTS) predicted from ISO1999. A remaining confounding effect of age after ISO7029 age corrections could be observed to explain the difference...

  2. The occurrence of musculoskeletal complaints among professional musicians : a systematic review

    NARCIS (Netherlands)

    Kok, Laura M.; Huisstede, Bionka M A; Voorn, Veronique M A; Schoones, Jan W.; Nelissen, Rob G H H

    2016-01-01

    Purpose: This study gives a systematic overview of the literature on the occurrence of musculoskeletal complaints in professional instrumental musicians. Methods: A systematic review. Nine literature databases were searched without time limits on June 25, 2015, also the complete index of the journal

  3. A Gendered Study of the Working Patterns of Classical Musicians: Implications for Practice

    Science.gov (United States)

    Bennett, Dawn

    2008-01-01

    Despite an increase in participation at all levels of the music profession, women continue to experience fewer opportunities to forge careers in music and are less likely than men to apply for leadership positions. This article presents results from a study in which 152 instrumental musicians reflected upon their professional practice and career…

  4. Embracing the digital in instrument making: Towards a musician-tailored mouthpiece by 3D printing

    NARCIS (Netherlands)

    Lorenzoni, V.; Doubrovski, E.L.; Verlinden, J.C.

    2013-01-01

    At present, the manufacturing of musical instruments still strongly relies on the tacit knowledge of experienced handcrafts while is commonly based on standard machining or casting techniques. This limits the musician-tailoredness to a small group of players, while others take compromises by

  5. Music Therapy as a Caring Intervention: Swedish Musicians Learning a New Professional Field

    Science.gov (United States)

    Petersson, Gunnar; Nystrom, Maria

    2011-01-01

    The question of competence in providing music therapy has rarely been the focus of interest in empirical research, as most music therapy research aims at measuring outcomes. Therefore, the aim of this study is to analyse and describe musicians' learning processes when they study music therapy as a caring intervention. An initial presumption is…

  6. Music Therapy as a Caring Intervention: Swedish Musicians Learning a New Professional Field

    Science.gov (United States)

    Petersson, Gunnar; Nystrom, Maria

    2011-01-01

    The question of competence in providing music therapy has rarely been the focus of interest in empirical research, as most music therapy research aims at measuring outcomes. Therefore, the aim of this study is to analyse and describe musicians' learning processes when they study music therapy as a caring intervention. An initial presumption is…

  7. Musicians Crossing Musical Instrument Gender Stereotypes: A Study of Computer-Mediated Communication

    Science.gov (United States)

    Abeles, Harold F.; Hafeli, Mary; Sears, Colleen

    2014-01-01

    This study examined computer-mediated communication (CMC) -- blogs and responses to YouTube postings -- to better understand how CMCs reflect adolescents' attitudes towards musicians playing instruments that cross gender stereotypes. Employing purposive sampling, we used specific search terms, such as "girl drummer", to identify a…

  8. Differential parietal and temporal contributions to music perception in improvising and score-dependent musicians, an fMRI study.

    Science.gov (United States)

    Harris, Robert; de Jong, Bauke M

    2015-10-22

    Using fMRI, cerebral activations were studied in 24 classically-trained keyboard performers and 12 musically unskilled control subjects. Two groups of musicians were recruited: improvising (n=12) and score-dependent (non-improvising) musicians (n=12). While listening to both familiar and unfamiliar music, subjects either (covertly) appraised the presented music performance or imagined they were playing the music themselves. We hypothesized that improvising musicians would exhibit enhanced efficiency of audiomotor transformation reflected by stronger ventral premotor activation. Statistical Parametric Mapping revealed that, while virtually 'playing along׳ with the music, improvising musicians exhibited activation of a right-hemisphere distribution of cerebral areas including posterior-superior parietal and dorsal premotor cortex. Involvement of these right-hemisphere dorsal stream areas suggests that improvising musicians recruited an amodal spatial processing system subserving pitch-to-space transformations to facilitate their virtual motor performance. Score-dependent musicians recruited a primarily left-hemisphere pattern of motor areas together with the posterior part of the right superior temporal sulcus, suggesting a relationship between aural discrimination and symbolic representation. Activations in bilateral auditory cortex were significantly larger for improvising musicians than for score-dependent musicians, suggesting enhanced top-down effects on aural perception. Our results suggest that learning to play a music instrument primarily from notation predisposes musicians toward aural identification and discrimination, while learning by improvisation involves audio-spatial-motor transformations, not only during performance, but also perception. Copyright © 2015 The Authors. Published by Elsevier B.V. All rights reserved.

  9. Brain processing of consonance/dissonance in musicians and controls: a hemispheric asymmetry revisited.

    Science.gov (United States)

    Proverbio, Alice Mado; Orlandi, Andrea; Pisanu, Francesca

    2016-09-01

    It was investigated to what extent musical expertise influences the auditory processing of harmonicity by recording event-related potentials. Thirty-four participants (18 musicians and 16 controls) were asked to listen to hundreds of chords, differing in their degree of consonance, their complexity (from two to six composing sounds) and their range (distance of two adjacent pitches, from quartertones to more than 18 semitone steps). The task consisted of detecting rare targets. An early auditory N1 was observed that was modulated by chord dissonance in both groups. The response was generated in the right medial temporal gyrus (MTG) for consonant chords but in the left MTG for dissonant chords according to swLORETA reconstruction performed. An anterior negativity (N2) was enhanced only in musicians in response to chords featuring quartertones, thus suggesting a greater pitch sensitivity for simultaneous pure tones in the skilled brain. The P300 was affected by the frequency range only in musicians, who also showed a greater sensitivity to sound complexity. A strong left hemispheric specialization for processing quartertones in the left temporal cortex of musicians was observed at N2 level (250-350 ms), which was observed on the right side in controls. Additionally, in controls, widespread activity of the right limbic area was associated with listening to close frequencies causing disturbing beats, possibly suggesting a negative aesthetic appreciation for these stimuli. Overall, the data show a finer and more tuned neural representation of pitch intervals in musicians, linked to a marked specialization of their left temporal cortex (BA21/38). © 2016 Federation of European Neuroscience Societies and John Wiley & Sons Ltd.

  10. Life-long music practice and executive control in older adults: An event-related potential study.

    Science.gov (United States)

    Moussard, Aline; Bermudez, Patrick; Alain, Claude; Tays, William; Moreno, Sylvain

    2016-07-01

    Recent research has indicated that music practice can influence cognitive processing across the lifespan. Although extensive musical experience may have a mitigating effect on cognitive decline in older adults, the nature of changes to brain functions underlying performance benefits remains underexplored. The present study was designed to investigate the underlying neural mechanisms that may support apparent beneficial effects of life-long musical practice on cognition. We recorded event-related potentials (ERPs) in older musicians (N=17; average age=69.2) and non-musicians (N=17; average age=69.9), matched for age and education, while they completed an executive control task (visual go/no-go). Whereas both groups showed similar response speed and accuracy on go trials, older musicians showed fewer no-go errors. ERP recordings revealed the typical N2/P3 complex, but the nature of these responses differed between groups in that (1) older musicians showed larger N2 and P3 effects ('no-go minus go' amplitude), with the N2 amplitude being correlated with behavioral accuracy for no-go trials and (2) the topography of the P3 response was more anterior in musicians. Moreover, P3 amplitude was correlated with measures of musical experience in musicians. In our discussion of these results, we propose that music practice may have conferred an executive control advantage for musicians in later life. Copyright © 2016 Elsevier B.V. All rights reserved.

  11. Prevalence and consequences of musculoskeletal symptoms in symphony orchestra musicians vary by gender: a cross-sectional study

    DEFF Research Database (Denmark)

    Paarup, Helene M.; Baelum, Jesper; Holm, Jonas W

    2011-01-01

    ABSTRACT: BACKGROUND: Musculoskeletal symptoms are common in the neck, back, and upper limbs amongst musicians. Playing-related musculoskeletal disorders have been found to range from 32% to 87% with a tendency for female musicians to have more problems than males. Studies of musculoskeletal...... longer than in the general workforce. This applied to both genders. CONCLUSIONS: Within the last year most symphony orchestra musicians experienced musculoskeletal symptoms in the neck, back or upper extremities. The symptoms impacted on their level of function in and outside work and were reflected...

  12. Exposure to music and noise-induced hearing loss (NIHL) among professional pop/rock/jazz musicians

    OpenAIRE

    Halevi-Katz, Dana N.; Erez Yaakobi; Hanna Putter-Katz

    2015-01-01

    Noise-induced hearing loss (NIHL) has been extensively studied in industrial work environments. With the advent of new technologies, loud music has been increasingly affecting listeners outside of the industrial setting. Most research on the effects of music and hearing loss has focused on classical musicians. The purpose of the current study was to examine the relationship between the amount of experience a professional pop/rock/jazz musician has and objective and subjective variables of the...

  13. Musicianship and teaching : aspects of musculoskeletal disorders, physical and psychosocial work factors in musicians with focus on music teachers

    OpenAIRE

    Fjellman-Wiklund, Anncristine

    2003-01-01

    Musculoskeletal disorders are common among musicians at all levels of performance. Since music teachers train our future musicians it is important to understand their work environment. By creating good examples of a healthy work environment, they can teach their students how to stay healthy and to prevent pain. The aim of this thesis was to study the work environment of music teachers at municipal music schools, with regard to physical and psychosocial factors and musculoskeletal disorders wi...

  14. Is the audiologic status of professional musicians a reflection of the noise exposure in classical orchestral music?

    Science.gov (United States)

    Emmerich, Edeltraut; Rudel, Lars; Richter, Frank

    2008-07-01

    The sound in classical orchestral music is louder than noise emissions allowed by national rules in industry. We wanted to assess the audiologic status of professional musicians at different ages of their careers and to look for a coherence of declined hearing ability and the sound emissions in order to substantiate advices for hearing protection and occupational medicine in musicians. Data from questionnaires (anamnestic data on sound exposure in profession and leisure times, use of hearing protection, self-evaluation of hearing function and hearing deficits), audiometric data and amplitudes of OAE were evaluated from 109 professional musicians aged 30-69 years from three major German orchestras and from 110 students of an academy of music (aged 11-19 years). Sound emissions of the whole orchestra and of single instruments/instrument groups were measured at the orchestra stages and pits during rehearsals and performances. None of the musicians was engaged in noisy hobbies and only a few used hearing protectors regularly. More than 50% of the musicians had a hearing loss of 15 dB(A) and more. Highest losses were found among the strings and the brass players. DPOAE amplitudes coincidently declined with the duration of performing music in the orchestras. Professional musicians aged older than 60 years had a significantly greater hearing loss at 4 and 6 kHz than those aged 30-39 years. Among the strings in one orchestra a dominant hearing deficit in the left ears was observed. Musicians need the same health care for their hearing as workers in noisy industry. A better education on the hearing hazards (use of hearing protectors) as well as sound protection in the rehearsal rooms is necessary. Hearing loss in professional musicians should be accepted as an occupational disease.

  15. A Mozart is not a Pavarotti: singers outperform instrumentalists on foreign accent imitation

    Directory of Open Access Journals (Sweden)

    Markus eChristiner

    2015-08-01

    Full Text Available Recent findings have shown that people with higher musical aptitude were also better in oral language imitation tasks. However, whether singing capacity and instrument playing contribute differently to the imitation of speech has been ignored so far. Research has just recently started to understand that instrumentalists develop quite distinct skills when compared to vocalists. In the same vein the role of the vocal motor system in language acquisition processes has poorly been investigated as most investigations (neurobiological and behavioral favor to examine speech perception. We set out to test whether the vocal motor system can influence an ability to learn, produce and perceive new languages by contrasting instrumentalists and vocalists. Therefore, we investigated 96 participants, twenty-seven instrumentalists, thirty-three vocalists and thirty-six non-musicians/non-singers. They were tested for their abilities to imitate foreign speech: unknown language (Hindi, second language (English and their musical aptitude. Results revealed that both instrumentalists and vocalists have a higher ability to imitate unintelligible speech and foreign accents than non-musicians/non-singers. Within the musician group, vocalists outperformed instrumentalists significantly. Conclusion: first, adaptive plasticity for speech imitation is not reliant on audition alone but also on vocal-motor induced processes. Second, vocal flexibility of singers goes together with higher speech imitation aptitude. Third, vocal motor training, as of singers, may speed up foreign language acquisition processes.

  16. A Mozart is not a Pavarotti: singers outperform instrumentalists on foreign accent imitation.

    Science.gov (United States)

    Christiner, Markus; Reiterer, Susanne Maria

    2015-01-01

    Recent findings have shown that people with higher musical aptitude were also better in oral language imitation tasks. However, whether singing capacity and instrument playing contribute differently to the imitation of speech has been ignored so far. Research has just recently started to understand that instrumentalists develop quite distinct skills when compared to vocalists. In the same vein the role of the vocal motor system in language acquisition processes has poorly been investigated as most investigations (neurobiological and behavioral) favor to examine speech perception. We set out to test whether the vocal motor system can influence an ability to learn, produce and perceive new languages by contrasting instrumentalists and vocalists. Therefore, we investigated 96 participants, 27 instrumentalists, 33 vocalists and 36 non-musicians/non-singers. They were tested for their abilities to imitate foreign speech: unknown language (Hindi), second language (English) and their musical aptitude. Results revealed that both instrumentalists and vocalists have a higher ability to imitate unintelligible speech and foreign accents than non-musicians/non-singers. Within the musician group, vocalists outperformed instrumentalists significantly. First, adaptive plasticity for speech imitation is not reliant on audition alone but also on vocal-motor induced processes. Second, vocal flexibility of singers goes together with higher speech imitation aptitude. Third, vocal motor training, as of singers, may speed up foreign language acquisition processes.

  17. Injury and the orchestral environment: part III. the role of psychosocial factors in the experience of musicians undertaking rehabilitation.

    Science.gov (United States)

    Rickert, Dale Ll; Barrett, Margaret S; Ackermann, Bronwen J

    2014-09-01

    Workplace rehabilitation in the orchestral setting poses a number of challenges that arise in part due to a poor fit between generic injury insurance and medical care and the elite performance requirements of professional musicians. Currently, the orchestral profession lacks information and strategies to best deal with the unique challenges of this complex rehabilitation environment. In order to inform future directions for research and suggest possible changes of practice, the researchers conducted a qualitative case-study aimed at understanding the injury and rehabilitation experiences of professional musicians. In-depth semi-structured interviews were undertaken with three chronically injured professional cellists from a single Australian orchestra. After initial data analysis, further interviews were undertaken with a set of five orchestral management staff as a means of data triangulation. All data were analysed using a themes-based analysis-of-narrative approach. The findings indicate that injury concealment played a considerable role in the development of chronic injuries for these musicians, and management staff felt that this concealment may be the norm amongst orchestral musicians. The musicians in this study suffered emotional and psychological trauma as the result of their injuries, and two participants felt socially marginalised. During rehabilitation, the musicians in this study encountered difficulties with medical staff not understanding the elite performance requirements of orchestral work. The article proposes recommendations that may assist in dealing with the complex challenges of injury rehabilitation in the orchestral environment.

  18. Musicians' Enhanced Neural Differentiation of Speech Sounds Arises Early in Life: Developmental Evidence from Ages 3 to 30

    Science.gov (United States)

    Strait, Dana L.; O'Connell, Samantha; Parbery-Clark, Alexandra; Kraus, Nina

    2014-01-01

    The perception and neural representation of acoustically similar speech sounds underlie language development. Music training hones the perception of minute acoustic differences that distinguish sounds; this training may generalize to speech processing given that adult musicians have enhanced neural differentiation of similar speech syllables compared with nonmusicians. Here, we asked whether this neural advantage in musicians is present early in life by assessing musically trained and untrained children as young as age 3. We assessed auditory brainstem responses to the speech syllables /ba/ and /ga/ as well as auditory and visual cognitive abilities in musicians and nonmusicians across 3 developmental time-points: preschoolers, school-aged children, and adults. Cross-phase analyses objectively measured the degree to which subcortical responses differed to these speech syllables in musicians and nonmusicians for each age group. Results reveal that musicians exhibit enhanced neural differentiation of stop consonants early in life and with as little as a few years of training. Furthermore, the extent of subcortical stop consonant distinction correlates with auditory-specific cognitive abilities (i.e., auditory working memory and attention). Results are interpreted according to a corticofugal framework for auditory learning in which subcortical processing enhancements are engendered by strengthened cognitive control over auditory function in musicians. PMID:23599166

  19. Comparing the Impact of Specific Strength Training vs General Fitness Training on Professional Symphony Orchestra Musicians

    DEFF Research Database (Denmark)

    Nygaard Andersen, Lotte; Mann, Stephanie; Juul-Kristensen, Birgit

    2017-01-01

    Musculoskeletal symptoms, especially in the upper body, are frequent among professional symphony orchestra musicians. Physical exercise may relieve pain but might also interfere with playing performance. OBJECTIVE: To evaluate the feasibility and effect of "specific strength training" (SST) versus...... "general fitness training" (GFT). METHODS: A feasibility study using randomized controlled methods. Primarily, evaluations involved self-reported impact on instrument playing and satisfaction with the interventions. Secondary evaluations included pain intensity, hand-grip strength, aerobic capacity, body...... mass index, and self-assessed physical fitness. A total of 23 professional symphony orchestra musicians were randomly allocated to either the SST (n=12) or GFT (n=11) groups. Participants conducted three 20-minutes exercise periods/wk at the workplace for 9 weeks. RESULTS: Evaluations of both...

  20. [Questionnaire survey of musician's dystonia among students of a music college].

    Science.gov (United States)

    Konaka, Kuni; Mochizuki, Hideki

    2015-01-01

    Musician's dystonia is known as a task specific dystonia. Though it is thought to occur during a long course of repetitive performance, the actual circumstances that precipitate this condition are not clear. According to factual reports this disease is not commonly known, probably because many of these patients may not have been visiting a hospital. We prepared a questionnaire and did a survey among the students of a music college. This is the first questionnaire survey aimed at finding out the prevalence of musician's dystonia among the students of music. Among the 480 participants of this survey, 29% of the students had knowledge of this disorder and 1.25% of the students had dystonia while performing music.

  1. Behavioural and electrodermal measures of lateralization for music perception in musicians and nonmusicians.

    Science.gov (United States)

    Schweiger, A; Maltzman, I

    1985-03-01

    Two groups of students, musicians and nonmusicians were tested on a dichotic listening forced choice recognition task with concurrent recording of bilateral electrodermal activity. Stimuli were excerpts of Bach 4-part chorales; probes were the soprano, bass, harmony or the chorale excerpt, with or without changed notes. Laterality effects in recognition and the GSR were obtained only in musicians as a function of the complexity of the task. It was concluded that styles of information processing assumed by the hemispheres are the consequence of an interaction between the stimulus and the state of the organism at the moment, such that the direction of laterality can change within a subject performing the same task depending upon its perceptual demand.

  2. Functional MRI/event-related potential study of sensory consonance and dissonance in musicians and nonmusicians.

    Science.gov (United States)

    Minati, Ludovico; Rosazza, Cristina; D'Incerti, Ludovico; Pietrocini, Emanuela; Valentini, Laura; Scaioli, Vidmer; Loveday, Catherine; Bruzzone, Maria Grazia

    2009-01-07

    Pleasurability of individual chords, known as sensory consonance, is widely regarded as physiologically determined and has been shown to be associated with differential activity in the auditory cortex and in several other regions. Here, we present results obtained contrasting isolated four-note chords classified as consonant or dissonant in tonal music. Using event-related functional MRI, consonant chords were found to elicit a larger haemodynamic response in the inferior and middle frontal gyri, premotor cortex and inferior parietal lobule. The effect was right lateralized for nonmusicians and less asymmetric for musicians. Using event-related potentials, the degree of sensory consonance was found to modulate the amplitude of the P1 in both groups and of the N2 in musicians only.

  3. Noise-induced hearing loss and symphony orchestra musicians: risk factors, effects, and management.

    Science.gov (United States)

    Teie, P U

    1998-01-01

    Although industrial and recreational noise have been recognized as potential causes of noise-induced hearing loss for quite some time, it is only recently that the sound levels within a symphony orchestra have been implicated as possible sources of harmful noise levels. Many studies have concluded that not only are dangerous levels of noise present within the symphony orchestra, but there is evidence of noise-induced hearing loss among symphony orchestra musicians. Although hearing protection designed for industrial use may not be appropriate for the special listening needs of professional musicians, recent advances in hearing protection design have made hearing protection practical for this population. Suggestions are made for monitoring and protecting the professional ear.

  4. Experience-dependent effects in unimanual and bimanual reaction time tasks in musicians.

    Science.gov (United States)

    Hughes, C M; Franz, E A

    2007-01-01

    Engaging in musical training has been shown to result in long-term cognitive benefits. The authors examined whether basic cognitive-motor processes differ in people with extensive musical training and in nonmusicians. Musicians (n = 20) and nonmusicians (n = 20) performed a simple reaction time (RT) task under unimanual and bimanual conditions. Musicians' RTs were faster overall than were those of nonmusicians, and those who began their musical training at an earlier age (around age 7-8 years, on average) exhibited a larger bimanual cost than did those who began later (around 12 years, on average). The authors conclude that experience-dependent changes associated with musical training can result in greater efficacy of interhemispheric connections if those changes occur during certain critical periods of brain development.

  5. Cathodal Transcranial Direct Current Stimulation Improves Focal Hand Dystonia in Musicians: A Two-Case Study

    Directory of Open Access Journals (Sweden)

    Sara Marceglia

    2017-09-01

    Full Text Available Focal hand dystonia (FHD in musicians is a movement disorder causing abnormal movements and irregularities in playing. Since weak electrical currents applied to the brain induce persistent excitability changes in humans, cathodal tDCS was proposed as a possible non-invasive approach for modulating cortical excitability in patients with FHD. However, the optimal targets and modalities have still to be determined. In this pilot study, we delivered cathodal (2 mA, anodal (2 mA and sham tDCS over the motor areas bilaterally for 20 min daily for five consecutive days in two musicians with FHD. After cathodal tDCS, both patients reported a sensation of general wellness and improved symptoms of FHD. In conclusion, our pilot results suggest that cathodal tDCS delivered bilaterally over motor-premotor (M-PM cortex for 5 consecutive days may be effective in improving symptoms in FHD.

  6. Music, musicians, and the brain: an exploration of musical genius. The 2004 presidential address.

    Science.gov (United States)

    Popp, A John

    2004-12-01

    The concept of musical genius used to frame a discussion of the "art" practiced by neurosurgeons is the focus of the 2004 Presidential Address to the American Association of Neurological Surgeons (AANS). The musical genius, in contrast to the musically talented individual, is profiled and placed in the pantheon of those who have demonstrated extraordinary creativity. Observations and speculations about the specialization and elaboration of brain structures in musicians evolve into a discussion of artificial intelligence as a foil to what constitutes the essence of humanity. Taking an inductive approach, the author juxtaposes the conclusion about "music, musicians, and the brain" with the theme of the 2004 annual meeting of the AANS, "Advancing Patient Care Through Technology and Creativity," to elaborate on the characteristics of the consummate neurosurgeon. (Note: Musical vignettes used in the address can be found in the accompanying article posted on Neurosurgical Focus http://www.aans.org/education/journal/neurosurgical).

  7. Exercise-related cognitive effects on sensory-motor control in athletes and drummers compared to non-athletes and other musicians.

    Science.gov (United States)

    Bianco, V; Berchicci, M; Perri, R L; Quinzi, F; Di Russo, F

    2017-09-30

    Both playing a musical instrument and playing sport produce brain adaptations that might affect sensory-motor functions. While the benefits of sport practice have traditionally been attributed to aerobic fitness, it is still unknown whether playing an instrument might induce similar brain adaptations, or if a specific musical instrument like drums might be associated to specific benefits because of its high energy expenditure. Since the aerobic costs of playing drums was estimated to be comparable to those of average sport activities, we hypothesized that these two groups might show both behavioral and neurocognitive similarities. To test this hypothesis, we recruited 48 young adults and divided them into four age-matched groups: 12 drummers, 12 athletes, 12 no-drummer musicians and 12 non-athletes. Participants performed a visuo-motor discriminative response task, namely the Go/No-go, and their cortical activity was recorded by means of a 64-channel electroencephalography (EEG). Behavioral performance showed that athletes and drummers were faster than the other groups. Electrophysiological results showed that the pre-stimulus motor preparation (i.e. the Bereitschaftspotential or BP) and attentional control (i.e., the prefrontal negativity or pN), and specific post-stimulus components like the P3 and the pP2 (reflecting the stimulus categorization process) were enhanced in the athletes and drummers' groups. Overall, these results suggest that playing sport and drums led to similar benefits at behavioral and cognitive level as detectable in a cognitive task. Explanations of these findings, such as on the difference between drummers and other musicians, are provided in terms of long-term neural adaptation mechanisms and increased visuo-spatial abilities. Copyright © 2017 IBRO. Published by Elsevier Ltd. All rights reserved.

  8. Cerebral Activations Related to Audition-Driven Performance Imagery in Professional Musicians

    OpenAIRE

    Robert Harris; Bauke M de Jong

    2014-01-01

    Functional Magnetic Resonance Imaging (fMRI) was used to study the activation of cerebral motor networks during auditory perception of music in professional keyboard musicians (n = 12). The activation paradigm implied that subjects listened to two-part polyphonic music, while either critically appraising the performance or imagining they were performing themselves. Two-part polyphonic audition and bimanual motor imagery circumvented a hemisphere bias associated with the convention of playing ...

  9. Rhythm synchronization performance and auditory working memory in early- and late-trained musicians.

    Science.gov (United States)

    Bailey, Jennifer A; Penhune, Virginia B

    2010-07-01

    Behavioural and neuroimaging studies provide evidence for a possible "sensitive" period in childhood development during which musical training results in long-lasting changes in brain structure and auditory and motor performance. Previous work from our laboratory has shown that adult musicians who begin training before the age of 7 (early-trained; ET) perform better on a visuomotor task than those who begin after the age of 7 (late-trained; LT), even when matched on total years of musical training and experience. Two questions were raised regarding the findings from this experiment. First, would this group performance difference be observed using a more familiar, musically relevant task such as auditory rhythms? Second, would cognitive abilities mediate this difference in task performance? To address these questions, ET and LT musicians, matched on years of musical training, hours of current practice and experience, were tested on an auditory rhythm synchronization task. The task consisted of six woodblock rhythms of varying levels of metrical complexity. In addition, participants were tested on cognitive subtests measuring vocabulary, working memory and pattern recognition. The two groups of musicians differed in their performance of the rhythm task, such that the ET musicians were better at reproducing the temporal structure of the rhythms. There were no group differences on the cognitive measures. Interestingly, across both groups, individual task performance correlated with auditory working memory abilities and years of formal training. These results support the idea of a sensitive period during the early years of childhood for developing sensorimotor synchronization abilities via musical training.

  10. Preference of reverberation time for musicians and audience of the Javanese traditional gamelan music

    Science.gov (United States)

    Suyatno; Tjokronegoro, H. A.; Merthayasa, I. G. N.; Supanggah, R.

    2016-11-01

    This paper presents results of an investigation of room acoustic parameters those are appropriated particularly to perform a Javanese gamelan. The acoustic parameters were obtained by analysing simulated sounds of performance. Those simulated sounds were obtained by sound convolution technique of a dry sound signal of Javanese gamelan performance with impulse responses rooms whose appropriated reverberation time. The reverberation time were varied between 1.0s to 1.8s, those belong to the characteristic of Pendopo Mangkunegaran Surakarta. In this case, Pendopo Mangkunegaran is assumed as one of the most suitable concert halls for Javanese gamelan performance. To obtain the acoustic parameters, we used a psycho-acoustics measurement based on paired comparison test that having different of acoustic parameters to determine the most comfortable one to majority of respondents. The respondents who have participated in this research composed of a group of professional musicians of Javanese gamelan and groups of audience who are not musician, nevertheless part of them were familiar with Javanese gamelan music. The comparison test gave results and showed majority of respondents of group of musicians had a notion sound reverberation time of 1.2s was most comfortable. This corresponds to +6.2dB, clarity and 74% definition. It means the appropriate acoustic condition allows musicians to recognize and distinguish clearly sound of each instrument being played. Meanwhile, group of audience had a notion reverberation time in a range of 1.2s - 1.6s was most comfortable. This range of reverberation time corresponds to +4dB to +6.2dB of clarity, and 66% to 74% of definition.

  11. Timing skills and expertise: discrete and continuous timed movements among musicians and athletes

    Science.gov (United States)

    Braun Janzen, Thenille; Thompson, William Forde; Ammirante, Paolo; Ranvaud, Ronald

    2014-01-01

    Introduction: Movement-based expertise relies on precise timing of movements and the capacity to predict the timing of events. Music performance involves discrete rhythmic actions that adhere to regular cycles of timed events, whereas many sports involve continuous movements that are not timed in a cyclical manner. It has been proposed that the precision of discrete movements relies on event timing (clock mechanism), whereas continuous movements are controlled by emergent timing. We examined whether movement-based expertise influences the timing mode adopted to maintain precise rhythmic actions. Materials and Method: Timing precision was evaluated in musicians, athletes and control participants. Discrete and continuous movements were assessed using finger-tapping and circle-drawing tasks, respectively, based on the synchronization-continuation paradigm. In Experiment 1, no auditory feedback was provided in the continuation phase of the trials, whereas in Experiment 2 every action triggered a feedback tone. Results: Analysis of precision in the continuation phase indicated that athletes performed significantly better than musicians and controls in the circle-drawing task, whereas musicians were more precise than controls in the finger tapping task. Interestingly, musicians were also more precise than controls in the circle-drawing task. Results also showed that the timing mode adopted was dependent on expertise and the presence of auditory feedback. Discussion: Results showed that movement-based expertise is associated with enhanced timing, but these effects depend on the nature of the training. Expertise was found to influence the timing strategy adopted to maintain precise rhythmic movements, suggesting that event and emergent timing mechanisms are not strictly tied to specific tasks, but can both be adopted to achieve precise timing. PMID:25566154

  12. Preventiva pred zdravstvenimi okvarami poklicnih glasbenikov: Prevention of occupational disorders in musicians:

    OpenAIRE

    Zupan, Damjana

    2007-01-01

    Many professional musicians have severe health problems. Most of these ailments are caused by excessive physiological and mental loads and strains (physical and psychosensory stress) resulting in malfunction of the musculoskeletal system, which may be manifested as pain syndrome of the spine and shoulder girdles, focal dystonia, occupational overuse syndrome, wrist, elbow and thoracic outlet entrapment neuropathies, hearing damage, tension headaches, depression, nervous breakdown and others. ...

  13. Timing skills and expertise: discrete and continuous timed movements among musicians and athletes

    Directory of Open Access Journals (Sweden)

    Thenille eBraun Janzen

    2014-12-01

    Full Text Available Introduction: Movement-based expertise relies on precise timing of movements and the capacity to predict the timing of events. Music performance involves discrete rhythmic actions that adhere to regular cycles of timed events, whereas many sports involve continuous movements that are not timed in a cyclical manner. It has been proposed that the precision of discrete movements relies on event timing (clock mechanism, whereas continuous movements are controlled by emergent timing. We examined whether movement-based expertise influences the timing mode adopted to maintain precise rhythmic actions. Materials and Method: Timing precision was evaluated in musicians, athletes and control participants. Discrete and continuous movements were assessed using finger-tapping and circle-drawing tasks, respectively, based on the synchronization-continuation paradigm. In Experiment 1, no auditory feedback was provided in the continuation phase of the trials, whereas in Experiment 2 every action triggered a feedback tone. Results: Analysis of precision in the continuation phase indicated that athletes performed significantly better than musicians and controls in the circle-drawing task, whereas musicians were more precise than controls in the finger tapping task. Interestingly, musicians were also more precise than controls in the circle-drawing task. Results also showed that the timing mode adopted was dependent on expertise and the presence of auditory feedback. Discussion: Results showed that movement-based expertise is associated with enhanced timing, but these effects depend on the nature of the training. Expertise was found to influence the timing strategy adopted to maintain precise rhythmic movements, suggesting that event and emergent timing mechanisms are not strictly tied to specific tasks, but can both be adopted to achieve precise timing.

  14. Integration of rehabilitation and acupuncture in the treatment of a professional musician with temporomandibular joint dysfunction.

    Science.gov (United States)

    Hunter, Emma K

    2011-12-01

    This case study describes the use of acupuncture in a professional musician with myogenic temporomandibular dysfunction. The 3-year history of symptoms was associated with persistent episodic tension-type headaches. Acupuncture was used for trigger point release, primarily of the masticatory muscles, in conjunction with exercise therapy. After 8 weekly acupuncture sessions, the patient's pain had completely resloved, headaches had resolved and the Patient-Specific Functional Scale showed significant improvements.

  15. The Processing of Pitch and Scale: An ERP Study of Musicians Trained Outside of the Western Musical System

    Directory of Open Access Journals (Sweden)

    Laura Bischoff Renninger

    2006-10-01

    Full Text Available The current study extends the efforts of Bischoff Renninger, Granot and Donchin (2003 to non-Western musical systems and focuses specifically on Event-Related Potential (ERP responses to scalar deviations within the Javanese pélog scale by groups of musicians trained within the Western and Javanese systems. The principal aim is to ascertain whether results found in previous experiments may be obtained cross-culturally. Participants include five subjects trained in the Western system only (control group and five subjects trained in both the Western and Javanese systems (experimental group. Tasks include identifying scalar deviations within the Western diatonic scale, identifying scalar deviations within the Javanese pèlog scale, and identifying target letters in a visual control task. ERP and overt behavioral responses are recorded. Results show significant differences between group responses to diatonic and Javanese scale conditions. Interesting results also arise in terms of how tones and intervals in the different scales are conceptualized by subjects in both groups. Control subjects especially tend to assimilate pélog scale intervals to intervals in the Western equal-tempered scale.

  16. Cerebral activations related to audition-driven performance imagery in professional musicians.

    Directory of Open Access Journals (Sweden)

    Robert Harris

    Full Text Available Functional Magnetic Resonance Imaging (fMRI was used to study the activation of cerebral motor networks during auditory perception of music in professional keyboard musicians (n = 12. The activation paradigm implied that subjects listened to two-part polyphonic music, while either critically appraising the performance or imagining they were performing themselves. Two-part polyphonic audition and bimanual motor imagery circumvented a hemisphere bias associated with the convention of playing the melody with the right hand. Both tasks activated ventral premotor and auditory cortices, bilaterally, and the right anterior parietal cortex, when contrasted to 12 musically unskilled controls. Although left ventral premotor activation was increased during imagery (compared to judgment, bilateral dorsal premotor and right posterior-superior parietal activations were quite unique to motor imagery. The latter suggests that musicians not only recruited their manual motor repertoire but also performed a spatial transformation from the vertically perceived pitch axis (high and low sound to the horizontal axis of the keyboard. Imagery-specific activations in controls were seen in left dorsal parietal-premotor and supplementary motor cortices. Although these activations were less strong compared to musicians, this overlapping distribution indicated the recruitment of a general 'mirror-neuron' circuitry. These two levels of sensori-motor transformations point towards common principles by which the brain organizes audition-driven music performance and visually guided task performance.

  17. Cerebral activations related to audition-driven performance imagery in professional musicians.

    Science.gov (United States)

    Harris, Robert; de Jong, Bauke M

    2014-01-01

    Functional Magnetic Resonance Imaging (fMRI) was used to study the activation of cerebral motor networks during auditory perception of music in professional keyboard musicians (n = 12). The activation paradigm implied that subjects listened to two-part polyphonic music, while either critically appraising the performance or imagining they were performing themselves. Two-part polyphonic audition and bimanual motor imagery circumvented a hemisphere bias associated with the convention of playing the melody with the right hand. Both tasks activated ventral premotor and auditory cortices, bilaterally, and the right anterior parietal cortex, when contrasted to 12 musically unskilled controls. Although left ventral premotor activation was increased during imagery (compared to judgment), bilateral dorsal premotor and right posterior-superior parietal activations were quite unique to motor imagery. The latter suggests that musicians not only recruited their manual motor repertoire but also performed a spatial transformation from the vertically perceived pitch axis (high and low sound) to the horizontal axis of the keyboard. Imagery-specific activations in controls were seen in left dorsal parietal-premotor and supplementary motor cortices. Although these activations were less strong compared to musicians, this overlapping distribution indicated the recruitment of a general 'mirror-neuron' circuitry. These two levels of sensori-motor transformations point towards common principles by which the brain organizes audition-driven music performance and visually guided task performance.

  18. Parametric method for the noise risk assessment of professional orchestral musicians.

    Science.gov (United States)

    Bo, Matteo; Clerico, Marina; Pognant, Federica

    2016-01-01

    The Occupational Health and Safety (OH&S) literature shows that noise could represent a risk factor for professional orchestral musicians. The continuative exposition to elevated noise levels and the particular nature of the activity make necessary an "atypical" OH&S approach, which was identified to be necessarily organizational. In this study, a parametric-based method for orchestral exposure assessment and management was developed. The goal was to achieve a predictive tool to involve safety in the decision making of concert season program. After setting the parameters, the project's hypothesis was defined and then validated through a yearly-scale monitoring on an important European symphonic orchestra. Moreover, workers' exposure was assessed from the parametric study by a wide measurement campaign. A general validation of the method was obtained by the verification of the main parameters' (repertoire, headcount, and disposition) significant influence on the sound pressure levels produced by the orchestra. Exposure levels comparable to the trends in literature for symphonic orchestras were observed, with criticalities among brass musicians, which was the only group exceeding the upper exposure action values. This research has emphasized that the exposure condition of musicians can be critical and requires the implementation of improvement plans. The study has shown that the predictive analysis can be performed on parameters describing the concert's emissive characteristics. The future development of research currently under study will focus on the concert's pieces and the use of parameters as indicators of the exposure context.

  19. How and why musicians are different from nonmusicians: a bibliographic review.

    Science.gov (United States)

    Dawson, William J

    2011-06-01

    Musicians differ from nonmusicians in many ways; their many special skills reflect the fact that their brains are built differently and function differently. This review of 172 references from PAMA's bibliographic database reveals that most differences occur in the neurobiological realm, in contrast to those of gross anatomy and physiology. Gross changes occur in both cerebral and cerebellar hemispheres and in both gray and white matter. Neurophysiologic differences, measured by sophisticated imaging and electrophysiological techniques, are revealed in sound processing in general, as well as in multiple parameters of music perception, processing, and performance. Most of the neurological differences, both structural and functional, seem to be related to the early age of onset, intense degree, and prolonged duration of musical training and affect multiple, widespread areas of the brain. Training-related differences extend beyond the musical realm to speech, special senses, and general mental parameters and are seen in both instrumental and vocal musicians. A small percentage of reviewed papers demonstrated no appreciable differences between musicians and nonmusicians in a few parameters.

  20. The relationship between pitch discrimination and vocal production: comparison of vocal and instrumental musicians.

    Science.gov (United States)

    Nikjeh, Dee A; Lister, Jennifer J; Frisch, Stefan A

    2009-01-01

    Auditory pitch discrimination and vocal pitch accuracy are fundamental abilities and essential skills of a professional singer; yet, the relationship between these abilities, particularly in trained vocal musicians, has not been the subject of much research. Difference limens for frequency (DLFs) and pitch production accuracy (PPA) were examined among 20 vocalists, 21 instrumentalists, and 21 nonmusicians. All were right-handed young adult females with normal hearing. Stimuli were harmonic tone complexes simulating piano tones and represented the mid-frequency of the untrained female vocal range, F0=261.63-392 Hz (C4-G4). DLFs were obtained by an adaptive psychophysical paradigm. Vocal pitch recordings were analyzed to determine PPA. Musicians demonstrated superior pitch discrimination and production accuracy compared to nonmusicians. These abilities did not distinguish instrumentalists and vocalists. DLF and PPA were significantly correlated with each other only for musicians with instrumental training; however, PPA was most consistent with minimal variance for vocalists. It would appear that a relationship between DLF and PPA develops with musical training, and these abilities can be differentially influenced by the type of specialty training.

  1. Virtual Reality Exposure Training for Musicians: Its Effect on Performance Anxiety and Quality.

    Science.gov (United States)

    Bissonnette, Josiane; Dubé, Francis; Provencher, Martin D; Moreno Sala, Maria T

    2015-09-01

    Music performance anxiety affects numerous musicians, with many of them reporting impairment of performance due to this problem. This exploratory study investigated the effects of virtual reality exposure training on students with music performance anxiety. Seventeen music students were randomly assigned to a control group (n=8) or a virtual training group (n=9). Participants were asked to play a musical piece by memory in two separate recitals within a 3-week interval. Anxiety was then measured with the Personal Report of Confidence as a Performer Scale and the S-Anxiety scale from the State-Trait Anxiety Inventory (STAI-Y). Between pre- and post-tests, the virtual training group took part in virtual reality exposure training consisting of six 1-hour long sessions of virtual exposure. The results indicate a significant decrease in performance anxiety for musicians in the treatment group for those with a high level of state anxiety, for those with a high level of trait anxiety, for women, and for musicians with high immersive tendencies. Finally, between the pre- and post-tests, we observed a significant increase in performance quality for the experimental group, but not for the control group.

  2. Site-specific muscle hyper-reactivity in musicians with occupational upper limb pain.

    Science.gov (United States)

    Moulton, B; Spence, S H

    1992-07-01

    Fourteen musicians who reported a history of pain in the upper limb associated with the playing of their instruments were compared with a sample of pain-free musicians, matched for age, sex and musical instrument. Four tasks were presented in random order and included neutral, general stressor, personal stressor and pain stressor tasks. Ratings of stressfulness and recordings of skin conductance level confirmed the effectiveness of the experimental manipulations for both subject groups. No differences were found between groups or tasks for frontalis surface electromyograph (EMG) activity. Evidence was found, however, of EMG elevation in flexor and trapezius muscles on the pain side for the pain subjects, in response to the task involving recall of a pain experience. This elevation was not found for the pain-free controls or for other stressor tasks, although some elevation in response to the pain stressor task was found for pain subjects in the trapezius muscles of the non-pain side. The duration of return to baseline of EMG following the pain stressor task was found to be extended in pain subjects for the trapezius, but not for the flexor muscles of the pain side. The findings suggest that site-specific muscle hyper-reactivity may play a role in the development and maintenance of occupational upper limb pain in musicians.

  3. [Pilot study of professional exposure and hearing functionality of orchestra musicians of a national lyric theatre].

    Science.gov (United States)

    Nataletti, P; Sisto, R; Pieroni, A; Sanjust, F; Annesi, D

    2007-01-01

    The sound exposure of classic orchestra musicians is not well assessed in Italy even though the protectionistic law includes all the working environments, as stated in the European Directive 2003/10/EC relative to the protection of workers against noise-induced damage. Scientific data in the literature show that the musicians are exposed to high daily personal exposure levels. These levels can systematically exceed the 85 dB(A) in the case of percussionists. In this study, preliminary results are shown relative to an experimental campaign performed in a lyric National Theatre. The aim of the study was the assessment of the risk due to high sound level in the theatre musicians and their cochlear functionality. The noise levels were measured by using wearable phonometers and multichannel sound analyzers. The signals were recorded during the whole working time in the rehearsal hall and in the fossa. The cochlear functionality was monitored before and immediately after rehearsal in a sample of volunteers by means of otoacoustic emission tests. Both TEOAE and DPOAE were measured using the ILO292 portable system. The data show that OAE-based tests can effectively discriminate between different classes of exposure. A good correlation was found between the daily exposure level and the DPOAE level.

  4. Virtual pitch extraction from harmonic structures by absolute-pitch musicians

    Science.gov (United States)

    Hsieh, I.-Hui; Saberi, Kourosh

    2009-03-01

    The ability of absolute-pitch (AP) musicians to identify or produce virtual pitch from harmonic structures without feedback or an external acoustic referent was examined in three experiments. Stimuli consisted of pure tones, missing-fundamental harmonic complexes, or piano notes highpass filtered to remove their fundamental frequency and lower harmonics. Results of Experiment I showed that relative to control (non-AP) musicians, AP subjects easily (>90%) identified pitch of harmonic complexes in a 12-alternative forced-choice task. Increasing harmonic order (i.e., lowest harmonic number in the complex), however, resulted in a monotonic decline in performance. Results suggest that AP musicians use two pitch cues from harmonic structures: 1) spectral spacing between harmonic components, and 2) octave-related cues to note identification in individually resolved harmonics. Results of Experiment II showed that highpass filtered piano notes are identified by AP subjects at better than 75% accuracy even when the note’s energy is confined to the 4th and higher harmonics. Identification of highpass piano notes also appears to be better than that expected from pure or complex tones, possibly due to contributions from familiar timbre cues to note identity. Results of Experiment III showed that AP subjects can adjust the spectral spacing between harmonics of a missing-fundamental complex to accurately match the expected spacing from a target musical note. Implications of these findings for mechanisms of AP encoding are discussed.

  5. Prevalence and consequences of musculoskeletal symptoms in symphony orchestra musicians vary by gender: a cross-sectional study

    Directory of Open Access Journals (Sweden)

    Paarup Helene M

    2011-10-01

    Full Text Available Abstract Background Musculoskeletal symptoms are common in the neck, back, and upper limbs amongst musicians. Playing-related musculoskeletal disorders have been found to range from 32% to 87% with a tendency for female musicians to have more problems than males. Studies of musculoskeletal problems in instrumentalists have generally involved pre-professional musicians or populations comprising musicians of different levels. The objective of this study was therefore to investigate the prevalence, duration and consequences of musculoskeletal symptoms in professional symphony orchestra musicians. Methods A cross-sectional questionnaire study. The study population comprised of 441 musicians from six Danish symphony orchestras; 342 (78% completed the questionnaire. Results During the last year 97% of the women and 83% of the men experienced symptoms in at least one of nine anatomic regions (neck, upper and lower back, shoulders, elbows, and hands and wrists. 86% of the women and 67% of the men experienced symptoms for more than seven days, while 63% of the women and 49% of the men had symptoms for more than 30 days. Woodwind players had a lower risk for musculoskeletal symptoms and a lower risk for the consequences. Among consequences were changed way of playing, reported by 73% of the musicians, difficulty in daily activities at home, reported by 55%, and difficulty in sleeping, reported by 49%. Their health behaviour included taking paracetamol as the most used analgesic, while physiotherapists and general practitioners were reported as the most consulted health care professionals concerning musculoskeletal problems. Results regarding symptoms in six anatomic regions were compared to results for a sample of the general Danish workforce. Symptoms were more frequent in musicians and lasted longer than in the general workforce. This applied to both genders. Conclusions Within the last year most symphony orchestra musicians experienced musculoskeletal

  6. Exposure to music and noise-induced hearing loss (NIHL) among professional pop/rock/jazz musicians.

    Science.gov (United States)

    Halevi-Katz, Dana N; Yaakobi, Erez; Putter-Katz, Hanna

    2015-01-01

    Noise-induced hearing loss (NIHL) has been extensively studied in industrial work environments. With the advent of new technologies, loud music has been increasingly affecting listeners outside of the industrial setting. Most research on the effects of music and hearing loss has focused on classical musicians. The purpose of the current study was to examine the relationship between the amount of experience a professional pop/rock/jazz musician has and objective and subjective variables of the musician's hearing loss. This study also examined professional pop/rock/jazz musicians' use of hearing protection devices in relation to the extent of their exposure to amplified music. Forty-four pop/rock/jazz musicians were interviewed using the Pop/Rock/Jazz Musician's Questionnaire (PRJMQ) in order to obtain self-reported symptoms of tinnitus and hyperacusis. Forty-two of the subjects were also tested for air-conduction hearing thresholds in the frequency range of 1-8 kHz. Results show that the extent of professional pop/rock/jazz musicians' exposure to amplified music was related to both objective and subjective variables of hearing loss: Greater musical experience was positively linked to higher hearing thresholds in the frequency range of 3-6 kHz and to the subjective symptom of tinnitus. Weekly hours playing were found to have a greater effect on hearing loss in comparison to years playing. Use of hearing protection was not linked to the extent of exposure to amplified music. It is recommended that further research be conducted with a larger sample, in order to gain a greater understanding of the detrimental effects of hours playing versus years playing.

  7. Ethnomusicological biography of the traditional folk musician: Biography of the gusle-player

    Directory of Open Access Journals (Sweden)

    Lajić-Mihajlović Danka

    2008-01-01

    Full Text Available With the development of ethnomusicology from a comparative discipline to an anthropologically oriented science there has been an increase in the significance of the biography of folk musicians as scientific sources. The intention of the anthropological thought to accept and theoretically consider human nature as open and dynamic, has been realized in the ethnomusicological plane through the understanding of music as a product of thinking and behaviour of a particular musician in given circumstances. The concept of an artist is especially complex in the field of oral music culture, where creation and performance are connected in one person and the transferring process involves direct communication. The attempt to overcome the dichotomy of the musicological and sociological, i. e. anthropological attitude in ethnomusicology by synthesizing concepts which involve music, culture and man has brought particular importance to the relations between individual biographies and 'biographies of the collective' - relevant historical ethnological, anthropological, sociological, culturological, religion ideological and other types of data. Observations enlightening the social side of the folk musician's personality make the necessary 'frame' for the biography: from 'objective' social circumstances which modelled it to the opinion of the cultural environment about his performing. The folk musician's biography oriented towards ethnomusicology involves the result of a critical evaluation of the picture based on the emic and ethic vision autobiographical data and the observations of others, primarily researchers. The complexity of a biographical discourse in ethnomusicology can be perfectly seen in the example of the gusle-player's biography, as a genre-determined solo role in the tradition. For studying the relation between a person and a style of music expression, concerning gusle-players it is important to bear in mind the change in the profile of gusle

  8. Functional role of delta and theta band oscillations for auditory feedback processing during vocal pitch motor control.

    Science.gov (United States)

    Behroozmand, Roozbeh; Ibrahim, Nadine; Korzyukov, Oleg; Robin, Donald A; Larson, Charles R

    2015-01-01

    The answer to the question of how the brain incorporates sensory feedback and links it with motor function to achieve goal-directed movement during vocalization remains unclear. We investigated the mechanisms of voice pitch motor control by examining the spectro-temporal dynamics of EEG signals when non-musicians (NM), relative pitch (RP), and absolute pitch (AP) musicians maintained vocalizations of a vowel sound and received randomized ± 100 cents pitch-shift stimuli in their auditory feedback. We identified a phase-synchronized (evoked) fronto-central activation within the theta band (5-8 Hz) that temporally overlapped with compensatory vocal responses to pitch-shifted auditory feedback and was significantly stronger in RP and AP musicians compared with non-musicians. A second component involved a non-phase-synchronized (induced) frontal activation within the delta band (1-4 Hz) that emerged at approximately 1 s after the stimulus onset. The delta activation was significantly stronger in the NM compared with RP and AP groups and correlated with the pitch rebound error (PRE), indicating the degree to which subjects failed to re-adjust their voice pitch to baseline after the stimulus offset. We propose that the evoked theta is a neurophysiological marker of enhanced pitch processing in musicians and reflects mechanisms by which humans incorporate auditory feedback to control their voice pitch. We also suggest that the delta activation reflects adaptive neural processes by which vocal production errors are monitored and used to update the state of sensory-motor networks for driving subsequent vocal behaviors. This notion is corroborated by our findings showing that larger PREs were associated with greater delta band activity in the NM compared with RP and AP groups. These findings provide new insights into the neural mechanisms of auditory feedback processing for vocal pitch motor control.

  9. Functional role of delta and theta band oscillations for auditory feedback processing during vocal pitch motor control

    Directory of Open Access Journals (Sweden)

    Roozbeh eBehroozmand

    2015-03-01

    Full Text Available The answer to the question of how the brain incorporates sensory feedback and links it with motor function to achieve goal-directed movement during vocalization remains unclear. We investigated the mechanisms of voice pitch motor control by examining the spectro-temporal dynamics of EEG signals when non-musicians (NM, relative pitch (RP and absolute pitch (AP musicians maintained vocalizations of a vowel sound and received randomized ±100 cents pitch-shift stimuli in their auditory feedback. We identified a phase-synchronized (evoked fronto-central activation within the theta band (5-8 Hz that temporally overlapped with compensatory vocal responses to pitch-shifted auditory feedback and was significantly stronger in RP and AP musicians compared with non-musicians. A second component involved a non-phase-synchronized (induced frontal activation within the delta band (1-4 Hz that emerged at approximately 1 second after the stimulus onset. The delta activation was significantly stronger in the NM compared with RP and AP groups and correlated with the pitch rebound error (PRE, indicating the degree to which subjects failed to re-adjust their voice pitch to baseline after the stimulus offset. We propose that the evoked theta is a neurophysiological marker of enhanced pitch processing in musicians and reflects mechanisms by which humans incorporate auditory feedback to control their voice pitch. We also suggest that the delta activation reflects adaptive neural processes by which vocal production errors are monitored and used to update the state of sensory-motor networks for driving subsequent vocal behaviors. This notion is corroborated by our findings showing that larger PREs were associated with greater delta band activity in the NM compared with RP and AP groups. These findings provide new insights into the neural mechanisms of auditory feedback processing for vocal pitch motor control.

  10. Context-dependent encoding in the auditory brainstem subserves enhanced speech-in-noise perception in musicians.

    Science.gov (United States)

    Parbery-Clark, A; Strait, D L; Kraus, N

    2011-10-01

    Musical training strengthens speech perception in the presence of background noise. Given that the ability to make use of speech sound regularities, such as pitch, underlies perceptual acuity in challenging listening environments, we asked whether musicians' enhanced speech-in-noise perception is facilitated by increased neural sensitivity to acoustic regularities. To this aim we examined subcortical encoding of the same speech syllable presented in predictable and variable conditions and speech-in-noise perception in 31 musicians and nonmusicians. We anticipated that musicians would demonstrate greater neural enhancement of speech presented in the predictable compared to the variable condition than nonmusicians. Accordingly, musicians demonstrated more robust neural encoding of the fundamental frequency (i.e., pitch) of speech presented in the predictable relative to the variable condition than nonmusicians. The degree of neural enhancement observed to predictable speech correlated with subjects' musical practice histories as well as with their speech-in-noise perceptual abilities. Taken together, our findings suggest that subcortical sensitivity to speech regularities is shaped by musical training and may contribute to musicians' enhanced speech-in-noise perception. Copyright © 2011 Elsevier Ltd. All rights reserved.

  11. Parametric method for the noise risk assessment of professional orchestral musicians

    Directory of Open Access Journals (Sweden)

    Matteo Bo

    2016-01-01

    Full Text Available Background: The Occupational Health and Safety (OH&S literature shows that noise could represent a risk factor for professional orchestral musicians. The continuative exposition to elevated noise levels and the particular nature of the activity make necessary an “atypical” OH&S approach, which was identified to be necessarily organizational. Materials and Methods: In this study, a parametric-based method for orchestral exposure assessment and management was developed. The goal was to achieve a predictive tool to involve safety in the decision making of concert season program. After setting the parameters, the project’s hypothesis was defined and then validated through a yearly-scale monitoring on an important European symphonic orchestra. Moreover, workers’ exposure was assessed from the parametric study by a wide measurement campaign. Results: A general validation of the method was obtained by the verification of the main parameters’ (repertoire, headcount, and disposition significant influence on the sound pressure levels produced by the orchestra. Exposure levels comparable to the trends in literature for symphonic orchestras were observed, with criticalities among brass musicians, which was the only group exceeding the upper exposure action values. Conclusion: This research has emphasized that the exposure condition of musicians can be critical and requires the implementation of improvement plans. The study has shown that the predictive analysis can be performed on parameters describing the concert’s emissive characteristics. The future development of research currently under study will focus on the concert’s pieces and the use of parameters as indicators of the exposure context.

  12. [Effects of loud music on the Garde Républicaine musicians].

    Science.gov (United States)

    Cudennec, Y F; Fratta, A; Poncet, J L; Rondet, P; Buffe, P

    1990-01-01

    The authors report their observations on the auditory status of 76 musicians belonging to a Republican Guard brass band, and give their interpretation of abnormal findings, as they compare percussion with wind instruments and make reference to literature data. Accompanying signs, such as ear fatigue, noise intolerance, tinnitus, ear-aches, disturbance of sleep, psychic disorders, and disturbances of equilibrium are also taken into account as predisposing factors. Lastly, an attempt is made to bring out some of the characteristics that are specific to each instrument.

  13. Measuring force transfers in the deep flexors of the musician's hand: theoretical analysis, clinical examples.

    Science.gov (United States)

    Leijnse, J N

    1997-09-01

    In the present paper the anatomical and functional interdependencies which regularly exist between the deep flexor tendons of the different fingers are modelled. The model results are validated by measurements on real hands. The results show that intertendinous force transfers may be caused by (i) coactivation of muscle fibres inserting in different tendons, and (ii) passive connections between tendons or muscle bellies. The coactivation is validated by the measuring results of a hand in which all intertendinous connections were surgically removed. The present models and measurements are currently used for diagnosis of hand problems in musicians at our hand clinic.

  14. A comparison of early retirement pensions in the United States and Russia: the pensions of musicians.

    Science.gov (United States)

    Turner, John; Guenther, Roy

    2005-01-01

    Early retirement pensions for particular occupations free national policy to establish the social security early retirement age at a later age that is more appropriate for the population as a whole. This paper focuses on early retirement pensions in the United States and the Russian Federation. While comparing early retirement pensions generally, the paper provides a more detailed discussion of the pensions for musicians. While this is an unconventional group to choose for the study of pensions, study of their pensions yields insights into the principles underlying retirement age policy in the two countries.

  15. Sex-Types and Instrument Selection: The Effect of Gender Schemas on Fifth Graders' Instrument Choices

    Science.gov (United States)

    Wiedenfeld, Laura M.

    2012-01-01

    Since the mid-1970s, music education researchers studied and followed musicians' and non-musicians' views of music instrument gender stereotypes and associations. To understand instrument gender stereotypes, one must first understand the difference between sex and gender and gender's role in society. This research aims to study the views of…

  16. Can Musical Training Influence Brain Connectivity? Evidence from Diffusion Tensor MRI

    Directory of Open Access Journals (Sweden)

    Emma Moore

    2014-06-01

    Full Text Available In recent years, musicians have been increasingly recruited to investigate grey and white matter neuroplasticity induced by skill acquisition. The development of Diffusion Tensor Magnetic Resonance Imaging (DT-MRI has allowed more detailed investigation of white matter connections within the brain, addressing questions about the effect of musical training on connectivity between specific brain regions. Here, current DT-MRI analysis techniques are discussed and the available evidence from DT-MRI studies into differences in white matter architecture between musicians and non-musicians is reviewed. Collectively, the existing literature tends to support the hypothesis that musical training can induce changes in cross-hemispheric connections, with significant differences frequently reported in various regions of the corpus callosum of musicians compared with non-musicians. However, differences found in intra-hemispheric fibres have not always been replicated, while findings regarding the internal capsule and corticospinal tracts appear to be contradictory. There is also recent evidence to suggest that variances in white matter structure in non-musicians may correlate with their ability to learn musical skills, offering an alternative explanation for the structural differences observed between musicians and non-musicians. Considering the inconsistencies in the current literature, possible reasons for conflicting results are offered, along with suggestions for future research in this area.

  17. INFLUENCE OF DANCE TRAINING ON SACCULOCOLLIC PATHWAY: VESTIBULAR EVOKED MYOGENIC POTENTIALS (VEMP) AS AN OBJECTIVE TOOL

    OpenAIRE

    Swathi; Sathish Kumar

    2013-01-01

    ABSTRACT : Auditory system is shaped by experience and training. Training (s ensory experience) induces neurophysiologic changes & plasticity in normal hearing individuals, hearing loss patients, hearing aid users and cochlear implanted subjects. Not only speech stimulus, but music also brings about functional and structural organi zation of the brain in musician compared to non - musicians. The Vestibular evoked myogenic potentials (VEMP) are a biphasic in...

  18. Instrument specific use-dependent plasticity shapes the anatomical properties of the corpus callosum

    DEFF Research Database (Denmark)

    Vollmann, Henning; Ragert, Patrick; Conde, Virginia;

    2014-01-01

    , the amount of IHI in pianists was comparable to that of non-musicians and there was no significant structure-function relationship. Our findings indicate instrument specific use-dependent plasticity in both functional (IHI) and structural (FA) connectivity of motor related brain regions in musicians....

  19. The Musical Ear Test, A New Reliable Test for Measuring Musical Competence

    Science.gov (United States)

    Wallentin, Mikkel; Nielsen, Andreas Hojlund; Friis-Olivarius, Morten; Vuust, Christian; Vuust, Peter

    2010-01-01

    This paper reports results from three experiments using the Musical Ear Test (MET), a new test designed for measuring musical abilities in both musicians and non-musicians in an objective way with a relatively short duration (less than 20 min.). In the first experiment we show how the MET is capable of clearly distinguishing between a group of…

  20. Musical Minds : Attentional Blink Reveals Modality-Specific Restrictions

    NARCIS (Netherlands)

    Martens, Sander; Wierda, Stefan M.; Dun, Mathijs; de Vries, Michal; Smid, Henderikus G. O. M.

    2015-01-01

    Background Formal musical training is known to have positive effects on attentional and executive functioning, processing speed, and working memory. Consequently, one may expect to find differences in the dynamics of temporal attention between musicians and non-musicians. Here we address the

  1. Voxel-based morphometry reveals increased gray matter density in Broca's area in male symphony orchestra musicians.

    Science.gov (United States)

    Sluming, Vanessa; Barrick, Thomas; Howard, Matthew; Cezayirli, Enis; Mayes, Andrew; Roberts, Neil

    2002-11-01

    Broca's area is a major neuroanatomical substrate for spoken language and various musically relevant abilities, including visuospatial and audiospatial localization. Sight reading is a musician-specific visuospatial analysis task, and spatial ability is known to be amenable to training effects. Musicians have been reported to perform significantly better than nonmusicians on spatial ability tests, which is supported by our findings with the Benton judgement of line orientation (JOL) test (P musical performance promotes use-dependent retention, and possibly expansion, of gray matter involving Broca's area and that this provides further support for shared neural substrates underpinning expressive output in music and language.

  2. Complex-tone pitch representations in the human auditory system

    DEFF Research Database (Denmark)

    Bianchi, Federica

    ) listeners and the effect of musical training for pitch discrimination of complex tones with resolved and unresolved harmonics. Concerning the first topic, behavioral and modeling results in listeners with sensorineural hearing loss (SNHL) indicated that temporal envelope cues of complex tones...... for the individual pitch-discrimination abilities, the musically trained listeners still allocated lower processing effort than did the non-musicians to perform the task at the same performance level. This finding suggests an enhanced pitch representation along the auditory system in musicians, possibly as a result......Understanding how the human auditory system processes the physical properties of an acoustical stimulus to give rise to a pitch percept is a fascinating aspect of hearing research. Since most natural sounds are harmonic complex tones, this work focused on the nature of pitch-relevant cues...

  3. Behaviorism

    National Research Council Canada - National Science Library

    Moore, J

    2011-01-01

    .... Watson proposed an alternative: classical S-R behaviorism. According to Watson, behavior was a subject matter in its own right, to be studied by the observational methods common to all sciences...

  4. Beijing Experimental Electronic Musicians on the Phenomenon of Commercialization and Tourism in the Contemporary Chinese Art

    Directory of Open Access Journals (Sweden)

    Matic Urbanija

    2014-12-01

    Full Text Available The article provides opinions of some Beijing experimental electronic musicians about the situation of contemporary art in China and in the world, primarily about the background of the so called Christmas performance in Art District 798's gallery UCCA in Beijing. This was a sort of protest against destroying art with commercialization as the only measure of art gallery's success. The article first describes the situation of contemporary art in the world at the beginning of 21st century as it is described in Julian Stallabrass' book Art Incorporated. It can be deduced from the words of experimental electronic musicians in Beijing that the situation is similar in China. During the debate about the Christmas performance in UCCA gallery, a problem with galleries was emphasize. These became more similar to tourist venues than places for enriching one's thoughts and awareness about the world surrounding us, through artwork. Therefore, the Christmas performance tried to express this sentiment. It offered visitors a tourist show brought to the point of absurd. The employees and the leader of UCCA couldn't comprehend the symbolic meaning of this happening, which, symbolically, took place on Christmas, the most commercialized holiday in the West as well as in China.

  5. The musician's brain: functional imaging of amateurs and professionals during performance and imagery.

    Science.gov (United States)

    Lotze, M; Scheler, G; Tan, H-R M; Braun, C; Birbaumer, N

    2003-11-01

    We compared activation maps of professional and amateur violinists during actual and imagined performance of Mozart's violin concerto in G major (KV216). Execution and imagination of (left hand) fingering movements of the first 16 bars of the concerto were performed. Electromyography (EMG) feedback was used during imagery training to avoid actual movement execution and EMG recording was employed during the scanning of both executed and imagined musical performances. We observed that professional musicians generated higher EMG amplitudes during movement execution and showed focused cerebral activations in the contralateral primary sensorimotor cortex, the bilateral superior parietal lobes, and the ipsilateral anterior cerebellar hemisphere. The finding that professionals exhibited higher activity of the right primary auditory cortex during execution may reflect an increased strength of audio-motor associative connectivity. It appears that during execution of musical sequences in professionals, a higher economy of motor areas frees resources for increased connectivity between the finger sequences and auditory as well as somatosensory loops, which may account for the superior musical performance. Professionals also demonstrated more focused activation patterns during imagined musical performance. However, the auditory-motor loop was not involved during imagined performances in either musician group. It seems that the motor and auditory systems are coactivated as a consequence of musical training but only if one system (motor or auditory) becomes activated by actual movement execution or live musical auditory stimuli.

  6. The Nuremberg Music-Ecological Approach: Why are Some Musicians Internationally Successful and Others Not?

    Directory of Open Access Journals (Sweden)

    Sabrina Straßer

    2014-06-01

    Full Text Available Success in music depends on a number of cru-cial factors with musical talent figuring promi-nently in gifted research. However, in the Nu-remberg Music-Ecological Approach presented in this paper a different view is taken. Instead of talents and factors, the concept of available resources in an individual´s actiotope (Ziegler, 2005 is put in the center of our analysis. Educa-tional Capital refers to exogenous resources and comprises five different forms of resources: Economic Educational Capital, Cultural Educa-tional Capital, Social Educational Capital, Infra-structural Educational Capital and Didactic Ed-ucational Capital. Learning Capital refers to en-dogenous resources and also comprises five dif-ferent forms of resources: Organismic Learning Capital, Actional Learning Capital, Telic Learn-ing Capital, Episodic Learning Capital and At-tentional Learning Capital. Results of an empir-ical study are reported which was designed to test the claim that successful professional musi-cians possess more Educational Capital as well as more Learning Capital than their less suc-cessful colleagues. The hypothesis was con-firmed with a sample of professional musicians who were successful on a local, regional or in-ternational level.

  7. Early auditory processing in musicians and dancers during a contemporary dance piece.

    Science.gov (United States)

    Poikonen, Hanna; Toiviainen, Petri; Tervaniemi, Mari

    2016-09-09

    The neural responses to simple tones and short sound sequences have been studied extensively. However, in reality the sounds surrounding us are spectrally and temporally complex, dynamic and overlapping. Thus, research using natural sounds is crucial in understanding the operation of the brain in its natural environment. Music is an excellent example of natural stimulation which, in addition to sensory responses, elicits vast cognitive and emotional processes in the brain. Here we show that the preattentive P50 response evoked by rapid increases in timbral brightness during continuous music is enhanced in dancers when compared to musicians and laymen. In dance, fast changes in brightness are often emphasized with a significant change in movement. In addition, the auditory N100 and P200 responses are suppressed and sped up in dancers, musicians and laymen when music is accompanied with a dance choreography. These results were obtained with a novel event-related potential (ERP) method for natural music. They suggest that we can begin studying the brain with long pieces of natural music using the ERP method of electroencephalography (EEG) as has already been done with functional magnetic resonance (fMRI), these two brain imaging methods complementing each other.

  8. Audio-visuomotor processing in the musician's brain: an ERP study on professional violinists and clarinetists.

    Science.gov (United States)

    Proverbio, Alice Mado; Calbi, Marta; Manfredi, Mirella; Zani, Alberto

    2014-07-29

    The temporal dynamics of brain activation during visual and auditory perception of congruent vs. incongruent musical video clips was investigated in 12 musicians from the Milan Conservatory of music and 12 controls. 368 videos of a clarinetist and a violinist playing the same score with their instruments were presented. The sounds were similar in pitch, intensity, rhythm and duration. To produce an audiovisual discrepancy, in half of the trials, the visual information was incongruent with the soundtrack in pitch. ERPs were recorded from 128 sites. Only in musicians for their own instruments was a N400-like negative deflection elicited due to the incongruent audiovisual information. SwLORETA applied to the N400 response identified the areas mediating multimodal motor processing: the prefrontal cortex, the right superior and middle temporal gyrus, the premotor cortex, the inferior frontal and inferior parietal areas, the EBA, somatosensory cortex, cerebellum and SMA. The data indicate the existence of audiomotor mirror neurons responding to incongruent visual and auditory information, thus suggesting that they may encode multimodal representations of musical gestures and sounds. These systems may underlie the ability to learn how to play a musical instrument.

  9. Early auditory processing in musicians and dancers during a contemporary dance piece

    Science.gov (United States)

    Poikonen, Hanna; Toiviainen, Petri; Tervaniemi, Mari

    2016-01-01

    The neural responses to simple tones and short sound sequences have been studied extensively. However, in reality the sounds surrounding us are spectrally and temporally complex, dynamic and overlapping. Thus, research using natural sounds is crucial in understanding the operation of the brain in its natural environment. Music is an excellent example of natural stimulation which, in addition to sensory responses, elicits vast cognitive and emotional processes in the brain. Here we show that the preattentive P50 response evoked by rapid increases in timbral brightness during continuous music is enhanced in dancers when compared to musicians and laymen. In dance, fast changes in brightness are often emphasized with a significant change in movement. In addition, the auditory N100 and P200 responses are suppressed and sped up in dancers, musicians and laymen when music is accompanied with a dance choreography. These results were obtained with a novel event-related potential (ERP) method for natural music. They suggest that we can begin studying the brain with long pieces of natural music using the ERP method of electroencephalography (EEG) as has already been done with functional magnetic resonance (fMRI), these two brain imaging methods complementing each other. PMID:27611929

  10. What Is the Experience of a Community Musician Who Is Also a Music Therapist?

    Directory of Open Access Journals (Sweden)

    Lucy O'Grady

    2004-07-01

    Full Text Available he notion of "community music therapy" has received much attention in recent years, provoking a variety of thought processes as to its definition and all that it encompasses. Amidst the "polyphony of voices" (Stige, 2003, the relationship between music and music therapy in community settings has been a point of discussion . I have decided to explore this issue through semi-structured in-depth interviews with both musicians and music therapists working in community settings within Australia. As this is a qualitative study, it is important for me to examine my own biases and to set them aside. One way to do this was to have my supervisor, Dr Katrina McFerran, interview me about my own work as a community musician with women in prison, questioning me about aims, methods, outcomes, roles and relationships with participants. In addition to helping me "bracket" my biases, it was a great way for me to put myself in the shoes of prospective research participants and re-learn that it can be hard to articulate oneself when under pressure, that a certain head-space is preferable in interviews, and that having someone to listen to my reflections can actually help me move forward in my own search for meaning. Transcribing the interview was also an interesting experience, as I was able to rethink my thinking. Now, the transcript is an interesting relic of what I once thought I thought! And yet it still highlights some interesting aspects of the research topic.

  11. Biological impact of auditory expertise across the life span: musicians as a model of auditory learning.

    Science.gov (United States)

    Strait, Dana L; Kraus, Nina

    2014-02-01

    Experience-dependent characteristics of auditory function, especially with regard to speech-evoked auditory neurophysiology, have garnered increasing attention in recent years. This interest stems from both pragmatic and theoretical concerns as it bears implications for the prevention and remediation of language-based learning impairment in addition to providing insight into mechanisms engendering experience-dependent changes in human sensory function. Musicians provide an attractive model for studying the experience-dependency of auditory processing in humans due to their distinctive neural enhancements compared to nonmusicians. We have only recently begun to address whether these enhancements are observable early in life, during the initial years of music training when the auditory system is under rapid development, as well as later in life, after the onset of the aging process. Here we review neural enhancements in musically trained individuals across the life span in the context of cellular mechanisms that underlie learning, identified in animal models. Musicians' subcortical physiologic enhancements are interpreted according to a cognitive framework for auditory learning, providing a model in which to study mechanisms of experience-dependent changes in human auditory function.

  12. The role of musical training in emergent and event-based timing

    Directory of Open Access Journals (Sweden)

    Lawrence eBaer

    2013-05-01

    Full Text Available Musical performance is thought to rely predominantly on event-based timing involving a clock-like neural process and an explicit internal representation of the time interval. Some aspects of musical performance may rely on emergent timing, which is established through the optimization of movement kinematics, and can be maintained without reference to any explicit representation of the time interval. We predicted that musical training would have its largest effect on event-based timing, supporting the dissociability of these timing processes and the dominance of event-based timing in musical performance. We compared 22 musicians and 17 non-musicians on the prototypical event-based timing task of finger tapping and on the typically emergently timed task of circle drawing. For each task, participants first responded in synchrony with a metronome (Paced and then responded at the same rate without the metronome (Unpaced. Analyses of the Unpaced phase revealed that non-musicians were more variable in their inter-response intervals for finger tapping compared to circle drawing. Musicians did not differ between the two tasks. Between groups, non-musicians were more variable than musicians for tapping but not for drawing. We were able to show that the differences were due to less timer variability in musicians on the tapping task. Correlational analyses of movement jerk and inter-response interval variability revealed a negative association for tapping and a positive association for drawing in non-musicians only. These results suggest that musical training affects temporal variability in tapping but not drawing. Additionally, musicians and non-musicians may be employing different movement strategies to maintain accurate timing in the two tasks. These findings add to our understanding of how musical training affects timing and support the dissociability of event-based and emergent timing modes.

  13. The Song of the Other/Public Space as a Learning Environment and Gypsy Musicians in Turkey

    Science.gov (United States)

    Ozer, Ulas

    2013-01-01

    This work focuses on both public musical practices of Gypsy musicians who live in the Thracian land lying within the northwest of Turkey, and musical learning that takes place here. I primarily highlight the historic dimensions of the relation between Gypsies and music and emphasized musicianship in the lives of Gypsies as a fundamental class…

  14. Portfolio Careers and Work-Life Balance among Musicians: An Initial Study into Implications for Higher Music Education

    Science.gov (United States)

    Teague, Adele; Smith, Gareth Dylan

    2015-01-01

    Musicians are acknowledged to lead complex working lives, often characterised as portfolio careers. The higher music education research literature has tended to focus on preparing students for rich working lives and multiple identity realisations across potential roles. Extant literature does not address the area of work-life balance, which this…

  15. Insecurity, Professional Sociability, and Alcohol: Young Freelance Musicians' Perspectives on Work and Life in the Music Profession

    Science.gov (United States)

    Dobson, Melissa C.

    2011-01-01

    Research addressing a link between musical creativity and mental disorder has predominantly considered composers rather than performers, and has been dominated by the questionable use of retrospective biographical research methods. This article calls for research to explore more widely the stressors and challenges that living musicians face in…

  16. Portfolio Careers and Work-Life Balance among Musicians: An Initial Study into Implications for Higher Music Education

    Science.gov (United States)

    Teague, Adele; Smith, Gareth Dylan

    2015-01-01

    Musicians are acknowledged to lead complex working lives, often characterised as portfolio careers. The higher music education research literature has tended to focus on preparing students for rich working lives and multiple identity realisations across potential roles. Extant literature does not address the area of work-life balance, which this…

  17. Insecurity, Professional Sociability, and Alcohol: Young Freelance Musicians' Perspectives on Work and Life in the Music Profession

    Science.gov (United States)

    Dobson, Melissa C.

    2011-01-01

    Research addressing a link between musical creativity and mental disorder has predominantly considered composers rather than performers, and has been dominated by the questionable use of retrospective biographical research methods. This article calls for research to explore more widely the stressors and challenges that living musicians face in…

  18. Gilles Apap's Mozart Cadenza and Expanding Musical Competences of Twenty-First-Century Musicians and Music Educators

    Science.gov (United States)

    Webb, Michael

    2008-01-01

    In western musical contexts at global and local levels, musicians are becoming increasingly involved in what might be termed multicode music making and are expanding their musical competences. In this article I consider the practical and cognitive implications of such an expanding of competences for music education at various levels. Combining…

  19. Gilles Apap's Mozart Cadenza and Expanding Musical Competences of Twenty-First-Century Musicians and Music Educators

    Science.gov (United States)

    Webb, Michael

    2008-01-01

    In western musical contexts at global and local levels, musicians are becoming increasingly involved in what might be termed multicode music making and are expanding their musical competences. In this article I consider the practical and cognitive implications of such an expanding of competences for music education at various levels. Combining…

  20. Music medicine. A neurobiological approach.

    Science.gov (United States)

    Hassler, Marianne

    2000-01-01

    Music medicine is a relatively new medical specialty for most countries in the world and a rediscovery of a discipline for some countries in Europe. In the scope of music medicine are health problems of musicians like stage fright and psychic stress, pain syndromes and motor disturbances. Specific demands of musicianship like performing before the public, performing under the constant critical scrutiny of conductors, being expected to perform perfectly, and the physical demands of performing on a musical instrument were seen as the determinants of the complaints, and treatment does usually not differ between musicians and non-musicians with comparable diseases. In the present article, growing neurobiological evidence will be summarized showing that musicians differ from non-musicians on brain structure and function and on some hormonal and immunological parameters. Musicians tend to have atypical brain organization for verbal and non-verbal materials, their auditory system tracks sound levels more accurately, musicians attend pre-consciously to musical material and they react to music as if it is a stressor, i.e. with increased activity of the autonomic nervous system and with an increase in stress hormone production. A musician is more likely than a non-musician to be non-righthanded and to be vulnerable to atopic diseases. Testosterone levels are assumed to be lower (male) and higher (female) than controls. Melatonin was found to be elevated, and ACTH was related to musical talent. His/her brain reflects early music practice by enlarged structures, like the anterior part of the corpus callosum and the representation for piano tones and for the left thumb and little finger in string players. In addition, the left planum temporale was found to be larger in musicians with absolute pitch. These differences between musicians and non-musicians may have implications for music medicine in theory and practice, and further research should help to improve treatment of

  1. Does music training facilitate the mnemonic effect of song? An exploration of musicians and nonmusicians with and without Alzheimer's dementia.

    Science.gov (United States)

    Baird, Amee; Samson, Séverine; Miller, Laurie; Chalmers, Kerry

    2017-02-01

    The efficacy of using sung words as a mnemonic device for verbal memory has been documented in persons with probable Alzheimer's dementia (AD), but it is not yet known whether this effect is related to music training. Given that music training can enhance cognitive functioning, we explored the effects of music training and modality (sung vs. spoken) on verbal memory in persons with and without AD. We used a mixed factorial design to compare learning (5 trials), delayed recall (30-min and, 24-hour), and recognition of sung versus spoken information in 22 healthy elderly (15 musicians), and 11 people with AD (5 musicians). Musicians with AD showed better total learning (over 5 trials) of sung information than nonmusicians with AD. There were no significant differences in delayed recall and recognition accuracy (of either modality) between musicians with and without AD, suggesting that music training may facilitate memory function in AD. Analysis of individual performances showed that two of the five musicians with AD were able to recall some information on delayed recall, whereas the nonmusicians with AD recalled no information on delay. The only significant finding in regard to modality (sung vs. spoken) was that total learning was significantly worse for sung than spoken information for nonmusicians with AD. This may be due to the need to recode information presented in song into spoken recall, which may be more cognitively demanding for this group. This is the first study to demonstrate that music training modulates memory of sung and spoken information in AD. The mechanism underlying these results is unclear, but may be due to music training, higher cognitive abilities, or both. Our findings highlight the need for further research into the potentially protective effect of music training on cognitive abilities in our aging population.

  2. Behaviorism

    Science.gov (United States)

    Moore, J.

    2011-01-01

    Early forms of psychology assumed that mental life was the appropriate subject matter for psychology, and introspection was an appropriate method to engage that subject matter. In 1913, John B. Watson proposed an alternative: classical S-R behaviorism. According to Watson, behavior was a subject matter in its own right, to be studied by the…

  3. Behaviorism

    Science.gov (United States)

    Moore, J.

    2011-01-01

    Early forms of psychology assumed that mental life was the appropriate subject matter for psychology, and introspection was an appropriate method to engage that subject matter. In 1913, John B. Watson proposed an alternative: classical S-R behaviorism. According to Watson, behavior was a subject matter in its own right, to be studied by the…

  4. Absence of modulatory action on haptic height perception with musical pitch.

    Science.gov (United States)

    Geronazzo, Michele; Avanzini, Federico; Grassi, Massimo

    2015-01-01

    Although acoustic frequency is not a spatial property of physical objects, in common language, pitch, i.e., the psychological correlated of frequency, is often labeled spatially (i.e., "high in pitch" or "low in pitch"). Pitch-height is known to modulate (and interact with) the response of participants when they are asked to judge spatial properties of non-auditory stimuli (e.g., visual) in a variety of behavioral tasks. In the current study we investigated whether the modulatory action of pitch-height extended to the haptic estimation of height of a virtual step. We implemented a HW/SW setup which is able to render virtual 3D objects (stair-steps) haptically through a PHANTOM device, and to provide real-time continuous auditory feedback depending on the user interaction with the object. The haptic exploration was associated with a sinusoidal tone whose pitch varied as a function of the interaction point's height within (i) a narrower and (ii) a wider pitch range, or (iii) a random pitch variation acting as a control audio condition. Explorations were also performed with no sound (haptic only). Participants were instructed to explore the virtual step freely, and to communicate height estimation by opening their thumb and index finger to mimic the step riser height, or verbally by reporting the height in centimeters of the step riser. We analyzed the role of musical expertise by dividing participants into non-musicians and musicians. Results showed no effects of musical pitch on high-realistic haptic feedback. Overall there is no difference between the two groups in the proposed multimodal conditions. Additionally, we observed a different haptic response distribution between musicians and non-musicians when estimations of the auditory conditions are matched with estimations in the no sound condition.

  5. Absence of modulatory action on haptic height perception with musical pitch

    Directory of Open Access Journals (Sweden)

    Michele eGeronazzo

    2015-09-01

    Full Text Available Although acoustic frequency is not a spatial property of physical objects, in common language, pitch, i.e., the psychological correlated of frequency, is often labeled spatially (i.e., high in pitch or low in pitch. Pitch-height is known to modulate (and interact with the response of participants when they are asked to judge spatial properties of non-auditory stimuli (e.g., visual in a variety of behavioral tasks. In the current study we investigated whether the modulatory action of pitch-height extended to the haptic estimation of height of a virtual step.We implemented a HW/SW setup which is able to render virtual 3D objects (stair-steps haptically through a PHANTOM device, and to provide real-time continuous auditory feedback depending on the user interaction with the object. The haptic exploration was associated with a sinusoidal tone whose pitch varied as a function of the interaction point’s height within (i a narrower and (ii a wider pitch range, or (iii a random pitch variation acting as a control audio condition. Explorations were also performed with no sound (haptic only. Participants were instructed to explore the virtual step freely, and to communicate height estimation by opening their thumb and index finger to mimic the step riser height, or verbally by reporting the height in centimeters of the step riser. We analyzed the role of musical expertise by dividing participants into non musicians and musicians. Results showed no effects of musical pitch on high-realistic haptic feedback. Overall there is no difference between the two groups in the proposed multimodal conditions. Additionally, we observed a different haptic response distribution between musicians and non musicians when estimations of the auditory conditions are matched with estimations in the no sound condition.

  6. "If You Have to Ask, You'll Never Know": Effects of Specialised Stylistic Expertise on Predictive Processing of Music

    DEFF Research Database (Denmark)

    Hansen, Niels Christian; Vuust, Peter; Pearce, Marcus

    2016-01-01

    in the bebop style, but highly uncertain continuations in the context of general tonal expectations, and vice versa. The results showed that expert musicians have acquired probabilistic characteristics of music influencing their experience of expectedness and predictive uncertainty. While classical musicians......Musical expertise entails meticulous stylistic specialisation and enculturation. Even so, research on musical training effects has focused on generalised comparisons between musicians and non-musicians, and cross-cultural work addressing specialised expertise has traded cultural specificity...... and sensitivity for other methodological limitations. This study aimed to experimentally dissociate the effects of specialised stylistic training and general musical expertise on the perception of melodies. Non-musicians and professional musicians specialising in classical music or jazz listened to sampled...

  7. Experience-dependent learning of auditory temporal resolution: evidence from Carnatic-trained musicians.

    Science.gov (United States)

    Mishra, Srikanta K; Panda, Manasa R

    2014-01-22

    Musical training and experience greatly enhance the cortical and subcortical processing of sounds, which may translate to superior auditory perceptual acuity. Auditory temporal resolution is a fundamental perceptual aspect that is critical for speech understanding in noise in listeners with normal hearing, auditory disorders, cochlear implants, and language disorders, yet very few studies have focused on music-induced learning of temporal resolution. This report demonstrates that Carnatic musical training and experience have a significant impact on temporal resolution assayed by gap detection thresholds. This experience-dependent learning in Carnatic-trained musicians exhibits the universal aspects of human perception and plasticity. The present work adds the perceptual component to a growing body of neurophysiological and imaging studies that suggest plasticity of the peripheral auditory system at the level of the brainstem. The present work may be intriguing to researchers and clinicians alike interested in devising cross-cultural training regimens to alleviate listening-in-noise difficulties.

  8. [The musician's hand: 2 case reports from the hand surgery clinic].

    Science.gov (United States)

    Buck-Gramcko, D

    2000-09-01

    Report of the hand surgical treatment in two musicians, which enabled them to continue with their occupation. A young cellist was no longer able to play his instrument due to a painful scar at the pulp of his left index finger. The surgical treatment, performed only after a period of hesitation, consisted in scar excision and reconstruction of a normal pulp by a palmar advancement flap. Following a fracture of the distal radius, healed in 35 degrees dorsal angulation, a violinist was not able to flex his wrist maximally as required for playing in high octaves. This was again possible after a corrective osteotomy with interposition of a corticocancellous bone graft from the iliac crest and an intensive program of postoperative excercises. The important role of the cooperation of the patient, particularly in the rehabilitation, is emphasized.

  9. Music proficiency and quantification of absolute pitch: a large-scale study among Brazilian musicians

    Directory of Open Access Journals (Sweden)

    Raphael Bender Chagas Leite

    2016-10-01

    Full Text Available Absolute pitch (AP is the ability to identify and name the pitch of a sound without external reference. Often, accuracy and speed at naming isolated musical pitches are correlated with demographic, biological and acoustical parameters to gain insight into the genesis and evolution of this ability in specific cohorts. However, the majority of those studies were conducted in North America, Europe or Asia. To fill this gap, here we investigated the pitch-naming performance in a large population of Brazilian conservatory musicians (N = 200. As previously shown, we found that the population performance was rather a continuum than an all-or-none ability. By comparing the observed distribution of correct responses to a theoretical binomial distribution, we estimated the prevalence of AP as being 18% amongst regular music students. High accuracy thresholds (e.g., 85% of correct responses yielded a prevalence of 4%, suggesting that AP might have been underestimated in previous reports. Irrespective of the threshold used, AP prevalence was higher in musicians who started their musical practice and formal musical education early in life. Finally, we compared the performance of those music students (average proficiency group with another group of students selected to take part in the conservatory orchestra (high proficiency group, N = 30. Interestingly, the prevalence of AP was higher in the later in comparison to the former group. In addition, even when the response was incorrect, the mean absolute deviation from the correct response was smaller in the high proficiency group compared to the average proficiency group (Glass's Δ: 0.5. Taken together, our results show that the prevalence of AP in Brazilian students is similar to other non-tonal language populations, although this measure is highly dependent on the scoring threshold used. Despite corroborating that early involvement with musical practice and formal education can foster AP ability, the present

  10. Looking for a pattern: An MEG study on the abstract mismatch negativity in musicians and nonmusicians

    Directory of Open Access Journals (Sweden)

    Pantev Christo

    2009-04-01

    Full Text Available Abstract Background The mismatch negativity (MMN is an early component of event-related potentials/fields, which can be observed in response to violations of regularities in sound sequences. The MMN can be elicited by simple feature (e.g. pitch deviations in standard oddball paradigms as well as by violations of more complex sequential patterns. By means of magnetoencephalography (MEG we investigated if a pattern MMN could be elicited based on global rather than local probabilities and if the underlying ability to integrate long sequences of tones is enhanced in musicians compared to nonmusicians. Results A pattern MMN was observed in response to violations of a predominant sequential pattern (AAAB within a standard oddball tone sequence consisting of only two different tones. This pattern MMN was elicited even though the probability of pattern deviants in the sequence was as high as 0.5. Musicians showed more leftward-lateralized pattern MMN responses, which might be due to a stronger specialization of the ability to integrate information in a sequence of tones over a long time range. Conclusion The results indicate that auditory grouping and the probability distribution of possible patterns within a sequence influence the expectations about upcoming tones, and that the MMN might also be based on global statistical knowledge instead of a local memory trace. The results also show that auditory grouping based on sequential regularities can occur at a much slower presentation rate than previously presumed, and that probability distributions of possible patterns should be taken into account even for the construction of simple oddball sequences.

  11. Brain lateralization and neural plasticity for musical and cognitive abilities in an epileptic musician

    Directory of Open Access Journals (Sweden)

    Isabel eTrujillo-Pozo

    2013-12-01

    Full Text Available The use of intracarotid propofol procedure (IPP when assessing musical lateralization has not been reported in literature up to now. This procedure (similar to Wada Test has provided the opportunity to investigate not only lateralization of language and memory functions on epileptic patients but also offers a functional mapping approach with superior spatial and temporal resolution to analyze the lateralization of musical abilities. Findings in literature suggest that musical training modifies functional and structural brain organization. We studied hemispheric lateralization in a professional musician, a 33 years old woman with refractory left medial temporal lobe epilepsy. A longitudinal neuropsychological study was performed over a period of 21 months. Before epilepsy surgery, musical abilities, language and memory were tested during IPP by means of a novel and exhaustive neuropsychological battery focusing on the processing of music. We used a selection of stimuli to analyze listening, score reading, and tempo discrimination. Our results suggested that IPP is an excellent method to determine not only language, semantic and episodic memory, but also musical dominance in a professional musician who may be candidate for epilepsy surgery. Neuropsychological testing revealed that right hemisphere’s patient is involved in semantic and episodic musical memory processes, whereas her score reading and tempo processing require contribution from both hemispheres. At 1-year follow-up, outcome was excellent with respect to seizures and professional skills, meanwhile cognitive abilities improved. These findings indicate that IPP helps to predict who might be at risk for postoperative musical, language and memory deficits after epilepsy surgery. Our research suggests that musical expertise and epilepsy critically modifies long-term memory processes and induces brain structural and functional plasticity.

  12. Brain lateralization and neural plasticity for musical and cognitive abilities in an epileptic musician.

    Science.gov (United States)

    Trujillo-Pozo, Isabel; Martín-Monzón, Isabel; Rodríguez-Romero, Rafael

    2013-01-01

    The use of intracarotid propofol procedure (IPP) when assessing musical lateralization has not been reported in literature up to now. This procedure (similar to Wada Test) has provided the opportunity to investigate not only lateralization of language and memory functions on epileptic patients but also offers a functional mapping approach with superior spatial and temporal resolution to analyze the lateralization of musical abilities. Findings in literature suggest that musical training modifies functional and structural brain organization. We studied hemispheric lateralization in a professional musician, a 33 years old woman with refractory left medial temporal lobe (MTL) epilepsy (TLE). A longitudinal neuropsychological study was performed over a period of 21 months. Before epilepsy surgery, musical abilities, language and memory were tested during IPP by means of a novel and exhaustive neuropsychological battery focusing on the processing of music. We used a selection of stimuli to analyze listening, score reading, and tempo discrimination. Our results suggested that IPP is an excellent method to determine not only language, semantic, and episodic memory, but also musical dominance in a professional musician who may be candidate for epilepsy surgery. Neuropsychological testing revealed that right hemisphere's patient is involved in semantic and episodic musical memory processes, whereas her score reading and tempo processing require contribution from both hemispheres. At one-year follow-up, outcome was excellent with respect to seizures and professional skills, meanwhile cognitive abilities improved. These findings indicate that IPP helps to predict who might be at risk for postoperative musical, language, and memory deficits after epilepsy surgery. Our research suggests that musical expertise and epilepsy critically modifies long-term memory processes and induces brain structural and functional plasticity.

  13. Looking for a pattern: an MEG study on the abstract mismatch negativity in musicians and nonmusicians.

    Science.gov (United States)

    Herholz, Sibylle C; Lappe, Claudia; Pantev, Christo

    2009-04-30

    The mismatch negativity (MMN) is an early component of event-related potentials/fields, which can be observed in response to violations of regularities in sound sequences. The MMN can be elicited by simple feature (e.g. pitch) deviations in standard oddball paradigms as well as by violations of more complex sequential patterns. By means of magnetoencephalography (MEG) we investigated if a pattern MMN could be elicited based on global rather than local probabilities and if the underlying ability to integrate long sequences of tones is enhanced in musicians compared to nonmusicians. A pattern MMN was observed in response to violations of a predominant sequential pattern (AAAB) within a standard oddball tone sequence consisting of only two different tones. This pattern MMN was elicited even though the probability of pattern deviants in the sequence was as high as 0.5. Musicians showed more leftward-lateralized pattern MMN responses, which might be due to a stronger specialization of the ability to integrate information in a sequence of tones over a long time range. The results indicate that auditory grouping and the probability distribution of possible patterns within a sequence influence the expectations about upcoming tones, and that the MMN might also be based on global statistical knowledge instead of a local memory trace. The results also show that auditory grouping based on sequential regularities can occur at a much slower presentation rate than previously presumed, and that probability distributions of possible patterns should be taken into account even for the construction of simple oddball sequences.

  14. Music Proficiency and Quantification of Absolute Pitch: A Large-Scale Study among Brazilian Musicians

    Science.gov (United States)

    Leite, Raphael B. C.; Mota-Rolim, Sergio A.; Queiroz, Claudio M. T.

    2016-01-01

    Absolute pitch (AP) is the ability to identify and name the pitch of a sound without external reference. Often, accuracy and speed at naming isolated musical pitches are correlated with demographic, biological, and acoustical parameters to gain insight into the genesis and evolution of this ability in specific cohorts. However, the majority of those studies were conducted in North America, Europe, or Asia. To fill this gap, here we investigated the pitch-naming performance in a large population of Brazilian conservatory musicians (N = 200). As previously shown, we found that the population performance was rather a continuum than an “all-or-none” ability. By comparing the observed distribution of correct responses to a theoretical binomial distribution, we estimated the prevalence of AP as being 18% amongst regular music students. High accuracy thresholds (e.g., 85% of correct responses) yielded a prevalence of 4%, suggesting that AP might have been underestimated in previous reports. Irrespective of the threshold used, AP prevalence was higher in musicians who started their musical practice and formal musical education early in life. Finally, we compared the performance of those music students (average proficiency group) with another group of students selected to take part in the conservatory orchestra (high proficiency group, N = 30). Interestingly, the prevalence of AP was higher in the latter in comparison to the former group. In addition, even when the response was incorrect, the mean absolute deviation from the correct response was smaller in the high proficiency group compared to the average proficiency group (Glass's Δ: 0.5). Taken together, our results show that the prevalence of AP in Brazilian students is similar to other non-tonal language populations, although this measure is highly dependent on the scoring threshold used. Despite corroborating that early involvement with musical practice and formal education can foster AP ability, the present data

  15. EEG oscillatory patterns are associated with error prediction during music performance and are altered in musician's dystonia.

    Science.gov (United States)

    Ruiz, María Herrojo; Strübing, Felix; Jabusch, Hans-Christian; Altenmüller, Eckart

    2011-04-15

    Skilled performance requires the ability to monitor ongoing behavior, detect errors in advance and modify the performance accordingly. The acquisition of fast predictive mechanisms might be possible due to the extensive training characterizing expertise performance. Recent EEG studies on piano performance reported a negative event-related potential (ERP) triggered in the ACC 70 ms before performance errors (pitch errors due to incorrect keypress). This ERP component, termed pre-error related negativity (pre-ERN), was assumed to reflect processes of error detection in advance. However, some questions remained to be addressed: (i) Does the electrophysiological marker prior to errors reflect an error signal itself or is it related instead to the implementation of control mechanisms? (ii) Does the posterior frontomedial cortex (pFMC, including ACC) interact with other brain regions to implement control adjustments following motor prediction of an upcoming error? (iii) Can we gain insight into the electrophysiological correlates of error prediction and control by assessing the local neuronal synchronization and phase interaction among neuronal populations? (iv) Finally, are error detection and control mechanisms defective in pianists with musician's dystonia (MD), a focal task-specific dystonia resulting from dysfunction of the basal ganglia-thalamic-frontal circuits? Consequently, we investigated the EEG oscillatory and phase synchronization correlates of error detection and control during piano performances in healthy pianists and in a group of pianists with MD. In healthy pianists, the main outcomes were increased pre-error theta and beta band oscillations over the pFMC and 13-15 Hz phase synchronization, between the pFMC and the right lateral prefrontal cortex, which predicted corrective mechanisms. In MD patients, the pattern of phase synchronization appeared in a different frequency band (6-8 Hz) and correlated with the severity of the disorder. The present

  16. Musical training enhances neural processing of binaural sounds.

    Science.gov (United States)

    Parbery-Clark, Alexandra; Strait, Dana L; Hittner, Emily; Kraus, Nina

    2013-10-16

    While hearing in noise is a complex task, even in high levels of noise humans demonstrate remarkable hearing ability. Binaural hearing, which involves the integration and analysis of incoming sounds from both ears, is an important mechanism that promotes hearing in complex listening environments. Analyzing inter-ear differences helps differentiate between sound sources--a key mechanism that facilitates hearing in noise. Even when both ears receive the same input, known as diotic hearing, speech intelligibility in noise is improved. Although musicians have better speech-in-noise perception compared with non-musicians, we do not know to what extent binaural processing contributes to this advantage. Musicians often demonstrate enhanced neural responses to sound, however, which may undergird their speech-in-noise perceptual enhancements. Here, we recorded auditory brainstem responses in young adult musicians and non-musicians to a speech stimulus for which there was no musician advantage when presented monaurally. When presented diotically, musicians demonstrated faster neural timing and greater intertrial response consistency relative to non-musicians. Furthermore, musicians' enhancements to the diotically presented stimulus correlated with speech-in-noise perception. These data provide evidence for musical training's impact on biological processes and suggest binaural processing as a possible contributor to more proficient hearing in noise.

  17. Relations of pitch matching, pitch discrimination, and otoacoustic emission suppression in individuals not formally trained as musicians.

    Science.gov (United States)

    Moore, Robert E; Estis, Julie M; Zhang, Fawen; Watts, Christopher; Marble, Elizabeth

    2007-06-01

    Research has yielded a relationship between pitch matching and pitch discrimination. Good pitch matchers tend to be good pitch discriminators and are often judged to be vocally talented. Otoacoustic emission suppression measures the function of the efferent auditory system which may affect accuracy for pitch matching and pitch discrimination. Formally trained musicians show pitch matching and pitch discrimination superior to those of nonmusicians and have greater efferent otoacoustic emission suppression than nonmusicians. This study investigated the relationship among pitch matching, pitch discrimination, and otoacoustic emission suppression in individuals with no formal musical training and who showed varied pitch matching and pitch discrimination. Analysis suggested a significant relationship between pitch matching and pitch discrimination but not between otoacoustic emission suppression and pitch matching and pitch discrimination. Findings are presented in the context of previous research indicating a significant relationship between otoacoustic emission suppression and musical talent in trained musicians.

  18. The Promise of Kickstarter: Extents to Which Social Networks Enable Alternate Avenues of Economic Viability for Independent Musicians Through Crowdfunding

    Directory of Open Access Journals (Sweden)

    Cynthia Wang

    2016-08-01

    Full Text Available Since its inception in 2009, Kickstarter, a crowdsourced funding site, has been a platform for independent creative projects to get funding, ostensibly providing alternate routes of economic viability outside of a traditional framework of creative production and distribution. Kickstarter comes onto the scene after the proliferation of online social networking sites, through which bridging social capital ties are more easily maintained. This article investigates the ways in which independent musicians have used Kickstarter in conjunction with pre-existing social networks to fund their album and sustain themselves and their artistic endeavors economically while also exploring how social networks provide ways for these “Kickstarter campaigns” to reach potential backers (funders. Through three online surveys targeting musicians, their backers, and general Kickstarter backers, yielding a total of 61 respondents, this article finds that pre-existing personal social networks and relations are imperative to the successful funding of Kickstarter campaigns.

  19. Ergonomic activity analysis of the musicians of the Symphony Orchestra of Paraná state: risk factors and workloads

    Directory of Open Access Journals (Sweden)

    Jaqueline de Lima

    2014-04-01

    Full Text Available This study aimed to investigate the risk factors present in the work activity and their impact on the health of the musicians of the Symphony Orchestra of Parana state. It is a descriptive qualitative research based on the method of Ergonomic Workplace Analysis of Francophone strand, used as a tool by occupational therapists in the health-work interface. The following procedures were performed: bibliographical survey, documental analysis of productivity data, production and quality of the task, systematic observation of the rehearsals of the Symphony Orchestra of Parana, task and workplace analysis with the application of Ergonomic Workplace Analysis (EWA and, confrontation of the data analyzed with an instrumental musician. As a result, the study showed significant deviations with reference to the standards described in Brazilian Norm 17 (Ergonomics, especially regarding individual cognitive and physical demands as well as demands related to work organization, considering each item evaluated by this analytical instrument. The action of occupational therapy was grounded on the insertion in the health and illness process, health promotion, illness prevention, and training of musicians as workers and social actors, envisioning the transformation of work situations.

  20. Effects of musical training and event probabilities on encoding of complex tone patterns.

    Science.gov (United States)

    Kuchenbuch, Anja; Paraskevopoulos, Evangelos; Herholz, Sibylle C; Pantev, Christo

    2013-04-24

    The human auditory cortex automatically encodes acoustic input from the environment and differentiates regular sound patterns from deviant ones in order to identify important, irregular events. The Mismatch Negativity (MMN) response is a neuronal marker for the detection of sounds that are unexpected, based on the encoded regularities. It is also elicited by violations of more complex regularities and musical expertise has been shown to have an effect on the processing of complex regularities. Using magnetoencephalography (MEG), we investigated the MMN response to salient or less salient deviants by varying the standard probability (70%, 50% and 35%) of a pattern oddball paradigm. To study the effects of musical expertise in the encoding of the patterns, we compared the responses of a group of non-musicians to those of musicians. We observed significant MMN in all conditions, including the least salient condition (35% standards), in response to violations of the predominant tone pattern for both groups. The amplitude of MMN from the right hemisphere was influenced by the standard probability. This effect was modulated by long-term musical training: standard probability changes influenced MMN amplitude in the group of non-musicians only. This study indicates that pattern violations are detected automatically, even if they are of very low salience, both in non-musicians and musicians, with salience having a stronger impact on processing in the right hemisphere of non-musicians. Long-term musical training influences this encoding, in that non-musicians benefit to a greater extent from a good signal-to-noise ratio (i.e. high probability of the standard pattern), while musicians are less dependent on the salience of an acoustic environment.

  1. Connectivity patterns during music listening

    DEFF Research Database (Denmark)

    Alluri, Vinoo; Toiviainen, Petri; Burunat, Iballa

    2017-01-01

    ' primary hubs comprised cerebral and cerebellar sensorimotor regions whereas non-musicians' dominant hubs encompassed DMN-related regions. Community structure analyses of the key hubs revealed greater integration of motor and somatosensory homunculi representing the upper limbs and torso in musicians....... Furthermore, musicians who started training at an earlier age exhibited greater centrality in the auditory cortex, and areas related to top-down processes, attention, emotion, somatosensory processing, and non-verbal processing of speech. We here reveal how brain networks organize themselves in a naturalistic......Musical expertise is visible both in the morphology and functionality of the brain. Recent research indicates that functional integration between multi-sensory, somato-motor, default-mode (DMN), and salience (SN) networks of the brain differentiates musicians from non-musicians during resting state...

  2. Monitoring stage fright outside the laboratory: an example in a professional musician using wearable sensors.

    Science.gov (United States)

    Kusserow, Martin; Candia, Victor; Amft, Oliver; Hildebrandt, Horst; Folkers, Gerd; Tröster, Gerhard

    2012-03-01

    We implemented and tested a wearable sensor system to measure patterns of stress responses in a professional musician under public performance conditions. Using this sensor system, we monitored the cellist's heart activity, the motion of multiple body parts, and their gradual changes during three repeated performances of a skill-demanding piece in front of a professional audience. From the cellist and her teachers, we collected stage fright self-reports and performance ratings that were related to our sensor data analysis results. Concomitant to changes in body motion and heart rate, the cellist perceived a reduction in stage fright. Performance quality was objectively improved, as technical playing errors decreased throughout repeated renditions. In particular, from performance 1 to 3, the wearable sensors measured a significant increase in the cellist's bowing motion dynamics of approximately 6% and a decrease in heart rate. Bowing motion showed a marginal correlation to the observed heart rate patterns during playing. The wearable system did not interfere with the cellist's performance, thereby allowing investigation of stress responses during natural public performances.

  3. Manipulating Greek musical modes and tempo affects perceived musical emotion in musicians and nonmusicians

    Directory of Open Access Journals (Sweden)

    D. Ramos

    2011-02-01

    Full Text Available The combined influence of tempo and mode on emotional responses to music was studied by crossing 7 changes in mode with 3 changes in tempo. Twenty-four musicians aged 19 to 25 years (12 males and 12 females and 24 nonmusicians aged 17 to 25 years (12 males and 12 females were required to perform two tasks: 1 listening to different musical excerpts, and 2 associating an emotion to them such as happiness, serenity, fear, anger, or sadness. ANOVA showed that increasing the tempo strongly affected the arousal (F(2,116 = 268.62, mean square error (MSE = 0.6676, P < 0.001 and, to a lesser extent, the valence of emotional responses (F(6,348 = 8.71, MSE = 0.6196, P < 0.001. Changes in modes modulated the affective valence of the perceived emotions (F(6,348 = 4.24, MSE = 0.6764, P < 0.001. Some interactive effects were found between tempo and mode (F (1,58 = 115.6, MSE = 0.6428, P < 0.001, but, in most cases, the two parameters had additive effects. This finding demonstrates that small changes in the pitch structures of modes modulate the emotions associated with the pieces, confirming the cognitive foundation of emotional responses to music.

  4. Finger-specific loss of independent control of movements in musicians with focal dystonia.

    Science.gov (United States)

    Furuya, S; Altenmüller, E

    2013-09-01

    The loss of independent control of finger movements impairs the dexterous use of the hand. Focal hand dystonia is characterised by abnormal structural and functional changes at the cortical and subcortical regions responsible for individuated finger movements and by the loss of surround inhibition in the finger muscles. However, little is known about the pathophysiological impact of focal dystonia on the independent control of finger movements. Here we addressed this issue by asking pianists with and without focal dystonia to repetitively strike a piano key with one of the four fingers as fast as possible while the remaining digits kept the adjacent keys depressed. Using principal component analysis and cluster analysis to the derived keystroke data, we successfully classified pianists according to the presence or absence of dystonic symptoms with classification rates and cross-validation scores of approximately 90%. This confirmed the effects of focal dystonia on the individuated finger movements. Interestingly, the movement features that contributed to successful classification differed across fingers. Compared to healthy pianists, pianists with an affected index finger were characterised predominantly by stronger keystrokes, whereas pianists with affected middle or ring fingers exhibited abnormal temporal control of the keystrokes, such as slowness and rhythmic inconsistency. The selective alternation of the movement features indicates a finger-specific loss of the independent control of finger movements in focal dystonia of musicians.

  5. The sensory consequences of repetitive strain injury in musicians: focal dystonia of the hand.

    Science.gov (United States)

    Byl, N; Hamati, D; Melnick, M; Wilson, F; McKenzie, A

    1996-01-01

    Some individuals with repetitive strain injury (RSI) develop focal dystonia of the hand (FDh), a disorder of motor control manifested in a specific context during skilled, hand movements. This descriptive study was designed to determine if musicians with FDh had reduced tactile discrimination. Ten healthy adults and ten patients with FDh participated in the study. From the standardized Sensory Integration and Praxis Test, five subtests were selected to measure tactile discrimination. The Paired Wilcoxon Test was used to analyze, meaningful, planned pairwise differences by side and by group. The two groups performed similarly on the three tests measuring tactile motor perception (Finger Identification, Localization and Kinesthesia). However, those with FDh performed significantly worse than the healthy comparison group on two tactile perceptual tasks: (1) Graphesthesia, right affected (P < 0.003) and left unaffected (p < 0.005); and (2) Manual Form Perception (stereognosis) on the right affected (P < 0.002) and left unaffected (P < 0.002). It is possible that the somatosensory differences as measured by tactile discrimination tasks represent some degradation of the hand representation following prolonged, repetitive, near simultaneous sensory stimulation of adjacent digits. Tactile discrimination should be tested in patients with RSI to detect potential risks for developing FDh. Effective treatment of patients with RSI including FDh may need to target the somatosensory deficits in order to restore stress-free motor movements.

  6. The Complete Works of Gilles Mureau (c1442-1512) – poet-musician of Chartres

    DEFF Research Database (Denmark)

    Christoffersen, Peter Woetmann

    2011-01-01

    Four secular songs – that is all the composer Gilles Mureau is known for today. Among the four was a song that became an international hit, “Je ne fais plus, je ne dis ne escris”, while the remaining three did not enjoy a comparable circulation – even if they were known in Florence during the 1480s...... and 1490s. Copyists began to ascribe the ‘hit song’ to the far more famous musicians Busnoys and Compere, and it was provided with an extra “Si placet” altus part in Ottaviano Petrucci’s pioneering printed collection of secular music from 1501, the Odhecaton. Long before that, Mureau’s name as a composer...... on this background. His stature as a composer might turn out to be more important than one would expect from the treatment as third-rank composer he usually receives in the musicological literature. Mureau’s literary ambitions and his way of transforming his poetic texts into music may have had some influence...

  7. "If You Have to Ask, You'll Never Know": Effects of Specialised Stylistic Expertise on Predictive Processing of Music

    Science.gov (United States)

    Vuust, Peter; Pearce, Marcus

    2016-01-01

    Musical expertise entails meticulous stylistic specialisation and enculturation. Even so, research on musical training effects has focused on generalised comparisons between musicians and non-musicians, and cross-cultural work addressing specialised expertise has traded cultural specificity and sensitivity for other methodological limitations. This study aimed to experimentally dissociate the effects of specialised stylistic training and general musical expertise on the perception of melodies. Non-musicians and professional musicians specialising in classical music or jazz listened to sampled renditions of saxophone solos improvised by Charlie Parker in the bebop style. Ratings of explicit uncertainty and expectedness for different continuations of each melodic excerpt were collected. An information-theoretic model of expectation enabled selection of stimuli affording highly certain continuations in the bebop style, but highly uncertain continuations in the context of general tonal expectations, and vice versa. The results showed that expert musicians have acquired probabilistic characteristics of music influencing their experience of expectedness and predictive uncertainty. While classical musicians had internalised key aspects of the bebop style implicitly, only jazz musicians’ explicit uncertainty ratings reflected the computational estimates, and jazz-specific expertise modulated the relationship between explicit and inferred uncertainty data. In spite of this, there was no evidence that non-musicians and classical musicians used a stylistically irrelevant cognitive model of general tonal music providing support for the theory of cognitive firewalls between stylistic models in predictive processing of music. PMID:27732612

  8. The Impact of Instrument-Specific Musical Training on Rhythm Perception and Production.

    Science.gov (United States)

    Matthews, Tomas E; Thibodeau, Joseph N L; Gunther, Brian P; Penhune, Virginia B

    2016-01-01

    Studies comparing musicians and non-musicians have shown that musical training can improve rhythmic perception and production. These findings tell us that training can result in rhythm processing advantages, but they do not tell us whether practicing a particular instrument could lead to specific effects on rhythm perception or production. The current study used a battery of four rhythm perception and production tasks that were designed to test both higher- and lower-level aspects of rhythm processing. Four groups of musicians (drummers, singers, pianists, string players) and a control group of non-musicians were tested. Within-task differences in performance showed that factors such as meter, metrical complexity, tempo, and beat phase significantly affected the ability to perceive and synchronize taps to a rhythm or beat. Musicians showed better performance on all rhythm tasks compared to non-musicians. Interestingly, our results revealed no significant differences between musician groups for the vast majority of task measures. This was despite the fact that all musicians were selected to have the majority of their training on the target instrument, had on average more than 10 years of experience on their instrument, and were currently practicing. These results suggest that general musical experience is more important than specialized musical experience with regards to perception and production of rhythms.

  9. Influence of musical training on understanding voiced and whispered speech in noise.

    Science.gov (United States)

    Ruggles, Dorea R; Freyman, Richard L; Oxenham, Andrew J

    2014-01-01

    This study tested the hypothesis that the previously reported advantage of musicians over non-musicians in understanding speech in noise arises from more efficient or robust coding of periodic voiced speech, particularly in fluctuating backgrounds. Speech intelligibility was measured in listeners with extensive musical training, and in those with very little musical training or experience, using normal (voiced) or whispered (unvoiced) grammatically correct nonsense sentences in noise that was spectrally shaped to match the long-term spectrum of the speech, and was either continuous or gated with a 16-Hz square wave. Performance was also measured in clinical speech-in-noise tests and in pitch discrimination. Musicians exhibited enhanced pitch discrimination, as expected. However, no systematic or statistically significant advantage for musicians over non-musicians was found in understanding either voiced or whispered sentences in either continuous or gated noise. Musicians also showed no statistically significant advantage in the clinical speech-in-noise tests. Overall, the results provide no evidence for a significant difference between young adult musicians and non-musicians in their ability to understand speech in noise.

  10. The effect of conditional probability of chord progression on brain response: an MEG study.

    Directory of Open Access Journals (Sweden)

    Seung-Goo Kim

    Full Text Available BACKGROUND: Recent electrophysiological and neuroimaging studies have explored how and where musical syntax in Western music is processed in the human brain. An inappropriate chord progression elicits an event-related potential (ERP component called an early right anterior negativity (ERAN or simply an early anterior negativity (EAN in an early stage of processing the musical syntax. Though the possible underlying mechanism of the EAN is assumed to be probabilistic learning, the effect of the probability of chord progressions on the EAN response has not been previously explored explicitly. METHODOLOGY/PRINCIPAL FINDINGS: In the present study, the empirical conditional probabilities in a Western music corpus were employed as an approximation of the frequencies in previous exposure of participants. Three types of chord progression were presented to musicians and non-musicians in order to examine the correlation between the probability of chord progression and the neuromagnetic response using magnetoencephalography (MEG. Chord progressions were found to elicit early responses in a negatively correlating fashion with the conditional probability. Observed EANm (as a magnetic counterpart of the EAN component responses were consistent with the previously reported EAN responses in terms of latency and location. The effect of conditional probability interacted with the effect of musical training. In addition, the neural response also correlated with the behavioral measures in the non-musicians. CONCLUSIONS/SIGNIFICANCE: Our study is the first to reveal the correlation between the probability of chord progression and the corresponding neuromagnetic response. The current results suggest that the physiological response is a reflection of the probabilistic representations of the musical syntax. Moreover, the results indicate that the probabilistic representation is related to the musical training as well as the sensitivity of an individual.

  11. Psychosocial work aspects, stress and musculoskeletal pain among musicians. A systematic review in search of correlates and predictors of playing-related pain.

    Science.gov (United States)

    Jacukowicz, Aleksandra

    2016-06-16

    Musicians face numerous psychosocial and physical demands at work resulting in high prevalence of musculoskeletal problems. Unlike physical risks, little is known about psychosocial work factors influencing such health problems in this particular group. The paper aimed to identify psychosocial work demands resulting in musculoskeletal problems among musicians. A systematic review was undertaken to find data linking psychosocial work demands or stress with musculoskeletal disorders among musicians. The exploration of databases resulted in nine research studies linking psychosocial aspects of work or stress with musculoskeletal problems among musicians. The analyzed studies linked psychosocial aspects with musculoskeletal problems in three ways - showing proportions of people indicating particular causes of pain, indicating correlations between these variables or performing regression analysis showing psychosocial predictors of musculoskeletal pain. Only a few studies have undertaken the issue of psychosocial risk factors for musculoskeletal problems among musicians. The results revealed that some psychosocial aspects of work, e.g. long hours at work, work content, high job demands, low control/influence, lack of social support, were related to musculoskeletal pain, however, the methods and results were inconsistent. The extant studies employed variety of definitions of psychosocial aspects that hindered the possibility for consistent conclusions. Basing on those conclusions, future directions were offered.

  12. Respiratory function in vocal soloists, opera singers and wind instrument musicians.

    Science.gov (United States)

    Ksinopoulou, Helen; Hatzoglou, Chryssa; Daniil, Zoe; Gourgoulianis, Konstantinos; Karetsi, Helen

    2016-12-13

    Current studies have not yet reached a definitive conclusion on the effects of singing and playing wind instruments professionally on an individual's respiratory function. The purpose of this study was to investigate the respiratory function of wind instrument players and opera singers in comparison with a group of healthy individuals. The experimental group comprised 45 men and 35 women, 58 opera singers and vocal soloists in total and 22 wind instruments players. Eighty controls were all non-smokers, healthy individuals, matched for age and sex. Spirometry was performed with a dry spirometer, according to the American Thoracic Society recommendations. The mean age of the experimental group was 47.9 (15.5) years for men and 46.6 (16.8) for women. Experimental group and controls differed (p<0.01) in FVC [%predicted values: 98.69±13.07 vs 89.62±14.01 (men), 104.2±17.7 vs 93.8±13.9 (women)], FEV1[% predicted values: 98.69±13.07 vs 89.62±14.01 (men), 104.2±17.7 vs 93.8±13.9 (women)] and in PEFR values (p=0.001). [100.4±18.8 vs 76.7±19.8 (men)]. FEV1/FVC ratio significant differences were detected only in women (p=0.001, for predicted values). The findings of the present study provide evidence that professional involvement with wind musical instrument or monody might have beneficial effects on respiratory function. Future therapeutic perspectives, and associations between a documented improved respiratory function and performance by the musician should be examined.

  13. Exposure to music and noise-induced hearing loss (NIHL among professional pop/rock/jazz musicians

    Directory of Open Access Journals (Sweden)

    Dana N Halevi-Katz

    2015-01-01

    Full Text Available Noise-induced hearing loss (NIHL has been extensively studied in industrial work environments. With the advent of new technologies, loud music has been increasingly affecting listeners outside of the industrial setting. Most research on the effects of music and hearing loss has focused on classical musicians. The purpose of the current study was to examine the relationship between the amount of experience a professional pop/rock/jazz musician has and objective and subjective variables of the musician′s hearing loss. This study also examined professional pop/rock/jazz musicians′ use of hearing protection devices in relation to the extent of their exposure to amplified music. Forty-four pop/rock/jazz musicians were interviewed using the Pop/Rock/Jazz Musician′s Questionnaire (PRJMQ in order to obtain self-reported symptoms of tinnitus and hyperacusis. Forty-two of the subjects were also tested for air-conduction hearing thresholds in the frequency range of 1-8 kHz. Results show that the extent of professional pop/rock/jazz musicians′ exposure to amplified music was related to both objective and subjective variables of hearing loss: Greater musical experience was positively linked to higher hearing thresholds in the frequency range of 3-6 kHz and to the subjective symptom of tinnitus. Weekly hours playing were found to have a greater effect on hearing loss in comparison to years playing. Use of hearing protection was not linked to the extent of exposure to amplified music. It is recommended that further research be conducted with a larger sample, in order to gain a greater understanding of the detrimental effects of hours playing versus years playing.

  14. Intensive short-term dynamic psychotherapy for severe music performance anxiety: assessment, process, and outcome of psychotherapy with a professional orchestral musician.

    Science.gov (United States)

    Kenny, Dianna T; Arthey, Stephen; Abbass, Allan

    2014-03-01

    This paper reports on the process and outcome of therapy using intensive short-term dynamic psychotherapy (ISTDP) with a professional musician who had suffered severe music performance anxiety over the course of his entire 30-year career. In this paper, we describe the nature of the therapy, the case history of the musician, the first assessment and trial therapy session, and the course and successful outcome of therapy. The patient underwent 10 sessions of ISTDP over a period of 4 months. This paper reports on the first 6 sessions, which were most relevant to the understanding and treatment of the patient's severe music performance anxiety. This case study is the first reported application of ISTDP to a professional musician. We believe that this case study provides initial support that moderate to severe performance anxiety, in at least some cases, has its origins in unresolved complex emotions and defences arising from ruptures to early attachment relationships.

  15. Long-range synchrony in the gamma band: role in music perception.

    Science.gov (United States)

    Bhattacharya, J; Petsche, H; Pereda, E

    2001-08-15

    Synchronization seems to be a central mechanism for neuronal information processing within and between multiple brain areas. Furthermore, synchronization in the gamma band has been shown to play an important role in higher cognitive functions, especially by binding the necessary spatial and temporal information in different cortical areas to build a coherent perception. Specific task-induced (evoked) gamma oscillations have often been taken as an indication of synchrony, but the presence of long-range synchrony cannot be inferred from spectral power in the gamma range. We studied the usefulness of a relatively new measure, called similarity index to detect asymmetric interdependency between two brain regions. Spontaneous EEG from two groups-musicians and non-musicians-were recorded during several states: listening to music, listening to text, and at rest (eyes closed and eyes open). While listening to music, degrees of the gamma band synchrony over distributed cortical areas were found to be significantly higher in musicians than non-musicians. Yet no differences between these two groups were found at resting conditions and while listening to a neutral text. In contrast to the degree of long-range synchrony, spectral power in the gamma band was higher in non-musicians. The degree of spatial synchrony, a measure of signal complexity based on eigen-decomposition method, was also significantly increased in musicians while listening to music. As compared with non-musicians, the finding of increased long-range synchrony in musicians independent of spectral power is interpreted as a manifestation of a more advanced musical memory of musicians in binding together several features of the intrinsic complexity of music in a dynamical way.

  16. Musical minds: attentional blink reveals modality-specific restrictions.

    Directory of Open Access Journals (Sweden)

    Sander Martens

    Full Text Available Formal musical training is known to have positive effects on attentional and executive functioning, processing speed, and working memory. Consequently, one may expect to find differences in the dynamics of temporal attention between musicians and non-musicians. Here we address the question whether that is indeed the case, and whether any beneficial effects of musical training on temporal attention are modality specific or generalize across sensory modalities.When two targets are presented in close temporal succession, most people fail to report the second target, a phenomenon known as the attentional blink (AB. We measured and compared AB magnitude for musicians and non-musicians using auditory or visually presented letters and digits. Relative to non-musicians, the auditory AB was both attenuated and delayed in musicians, whereas the visual AB was larger. Non-musicians with a large auditory AB tended to show a large visual AB. However, neither a positive nor negative correlation was found in musicians, suggesting that at least in musicians, attentional restrictions within each modality are completely separate.AB magnitude within one modality can generalize to another modality, but this turns out not to be the case for every individual. Formal musical training seems to have a domain-general, but modality-specific beneficial effect on selective attention. The results fit with the idea that a major source of attentional restriction as reflected in the AB lies in modality-specific, independent sensory systems rather than a central amodal system. The findings demonstrate that individual differences in AB magnitude can provide important information about the modular structure of human cognition.

  17. Musical minds: attentional blink reveals modality-specific restrictions.

    Science.gov (United States)

    Martens, Sander; Wierda, Stefan M; Dun, Mathijs; de Vries, Michal; Smid, Henderikus G O M

    2015-01-01

    Formal musical training is known to have positive effects on attentional and executive functioning, processing speed, and working memory. Consequently, one may expect to find differences in the dynamics of temporal attention between musicians and non-musicians. Here we address the question whether that is indeed the case, and whether any beneficial effects of musical training on temporal attention are modality specific or generalize across sensory modalities. When two targets are presented in close temporal succession, most people fail to report the second target, a phenomenon known as the attentional blink (AB). We measured and compared AB magnitude for musicians and non-musicians using auditory or visually presented letters and digits. Relative to non-musicians, the auditory AB was both attenuated and delayed in musicians, whereas the visual AB was larger. Non-musicians with a large auditory AB tended to show a large visual AB. However, neither a positive nor negative correlation was found in musicians, suggesting that at least in musicians, attentional restrictions within each modality are completely separate. AB magnitude within one modality can generalize to another modality, but this turns out not to be the case for every individual. Formal musical training seems to have a domain-general, but modality-specific beneficial effect on selective attention. The results fit with the idea that a major source of attentional restriction as reflected in the AB lies in modality-specific, independent sensory systems rather than a central amodal system. The findings demonstrate that individual differences in AB magnitude can provide important information about the modular structure of human cognition.

  18. Musical groove modulates motor cortex excitability: a TMS investigation.

    Science.gov (United States)

    Stupacher, Jan; Hove, Michael J; Novembre, Giacomo; Schütz-Bosbach, Simone; Keller, Peter E

    2013-07-01

    Groove is often described as a musical quality that can induce movement in a listener. This study examines the effects of listening to groove music on corticospinal excitability. Musicians and non-musicians listened to high-groove music, low-groove music, and spectrally matched noise, while receiving single-pulse transcranial magnetic stimulation (TMS) over the primary motor cortex either on-beat or off-beat. We examined changes in the amplitude of the motor-evoked potentials (MEPs), recorded from hand and arm muscles, as an index of activity within the motor system. Musicians and non-musicians rated groove similarly. MEP results showed that high-groove music modulated corticospinal excitability, whereas no difference occurred between low-groove music and noise. More specifically, musicians' MEPs were larger with high-groove than low-groove music, and this effect was especially pronounced for on-beat compared to off-beat pulses. These results indicate that high-groove music increasingly engages the motor system, and the temporal modulation of corticospinal excitability with the beat could stem from tight auditory-motor links in musicians. Conversely, non-musicians' MEPs were smaller for high-groove than low-groove music, and there was no effect of on- versus off-beat pulses, potentially stemming from suppression of overt movement. In sum, high-groove music engages the motor system, and previous training modulates how listening to music with a strong groove activates the motor system.

  19. 关于苏轼并非音律家的探究%Su Shi Is not A Musician

    Institute of Scientific and Technical Information of China (English)

    刘明哥

    2016-01-01

    Academia has long been a debate on the question of whether the ci‐poetry of Sushi in music .Various opinions vary .Someone said that Su Shi understand some of the music ,also somebody said that Su Shi is a musician . There are differences of temperament to understand the melody .From the aspects the rules .The ci‐poetry of Su Shi clearly meets the requirements ,but from the aspects of melody ,many of the ci‐poetry of Su Shi do not conform to the melody ,so Su Shi is not a musician .%苏轼词是否和音律这一问题,学界争论由来已久,各家众说纷纭,有人说苏轼只是略懂音律,也有人说苏轼精通音律,是音律家。各家对于音律的理解都存在着分歧,在格律方面苏轼作词显然符合要求,但从音律方面来讲,苏轼的词有很多不和音律的现象,不能说苏轼是音律家。

  20. Musical experts recruit action-related neural structures in harmonic anomaly detection: Evidence for embodied cognition in expertise

    Science.gov (United States)

    Sherwin, Jason; Sajda, Paul

    2013-01-01

    Humans are extremely good at detecting anomalies in sensory input. For example, while listening to a piece of Western-style music, an anomalous key change or an out-of-key pitch is readily apparent, even to the non-musician. In this paper we investigate differences between musical experts and non-experts during musical anomaly detection. Specifically, we analyzed the electroencephalograms (EEG) of five expert cello players and five non-musicians while they listened to excerpts of J.S. Bach’s Prelude from Cello Suite No.1. All subjects were familiar with the piece, though experts also had extensive experience playing the piece. Subjects were told that anomalous musical events (AMEs) could occur at random within the excerpts of the piece and were told to report the number of AMEs after each excerpt. Furthermore, subjects were instructed to remain still while listening to the excerpts and their lack of movement was verified via visual and EEG monitoring. Experts had significantly better behavioral performance (i.e. correctly reporting AME counts) than non-experts, though both groups had mean accuracies greater than 80%. These group differences were also reflected in the EEG correlates of key-change detection post-stimulus, with experts showing more significant, greater magnitude, longer periods of and earlier peaks in condition-discriminating EEG activity than novices. Using the timing of the maximum discriminating neural correlates, we performed source reconstruction and compared significant differences between cellists and non-musicians. We found significant differences that included a slightly right lateralized motor and frontal source distribution. The right lateralized motor activation is consistent with the cortical representation of the left hand – i.e. the hand a cellist would use, while playing, to generate the anomalous key-changes. In general, these results suggest that sensory anomalies detected by experts may in fact be partially a result of an

  1. Keeping an eye on the violinist: motor experts show superior timing consistency in a visual perception task.

    Science.gov (United States)

    Wöllner, Clemens; Cañal-Bruland, Rouwen

    2010-11-01

    Common coding theory states that perception and action may reciprocally induce each other. Consequently, motor expertise should map onto perceptual consistency in specific tasks such as predicting the exact timing of a musical entry. To test this hypothesis, ten string musicians (motor experts), ten non-string musicians (visual experts), and ten non-musicians were asked to watch progressively occluded video recordings of a first violinist indicating entries to fellow members of a string quartet. Participants synchronised with the perceived timing of the musical entries. Results revealed significant effects of motor expertise on perception. Compared to visual experts and non-musicians, string players not only responded more accurately, but also with less timing variability. These findings provide evidence that motor experts' consistency in movement execution-a key characteristic of expert motor performance-is mirrored in lower variability in perceptual judgements, indicating close links between action competence and perception.

  2. Classical conditioned responses to absent tones

    Directory of Open Access Journals (Sweden)

    Häusler Udo

    2006-08-01

    Full Text Available Abstract Background Recent evidence for a tight coupling of sensorimotor processes in trained musicians led to the question of whether this coupling extends to preattentively mediated reflexes; particularly, whether a classically conditioned response in one of the domains (auditory is generalized to another (tactile/motor on the basis of a prior association in a second-order Pavlovian paradigm. An eyeblink conditioning procedure was performed in 17 pianists, serving as a model for overlearned audiomotor integration, and 14 non-musicians. Results: During the training session, subjects were conditioned to respond to auditory stimuli (piano tones. During a subsequent testing session, when subjects performed keystrokes on a silent piano, pianists showed significantly higher blink rates than non-musicians. Conclusion These findings suggest a tight coupling of the auditory and motor domains in musicians, pointing towards training-dependent mechanisms of strong cross-modal sensorimotor associations even on sub-cognitive processing levels.

  3. Musical training, neuroplasticity and cognition

    Directory of Open Access Journals (Sweden)

    Ana Carolina Rodrigues

    Full Text Available Abstract The influence of music on the human brain has been recently investigated in numerous studies. Several investigations have shown that structural and functional cerebral neuroplastic processes emerge as a result of long-term musical training, which in turn may produce cognitive differences between musicians and non-musicians. Musicians can be considered ideal cases for studies on brain adaptation, due to their unique and intensive training experiences. This article presents a review of recent findings showing positive effects of musical training on non-musical cognitive abilities, which probably reflect plastic changes in brains of musicians.

  4. Parental Support in the Development of Young Musicians: A Teacher's Perspective from a Small-Scale Study of Piano Students and Their Parents

    Science.gov (United States)

    Margiotta, Mimia

    2011-01-01

    This article focuses on the influence of parental support and interactions on the young musicians' learning processes. In an attempt to corroborate the findings of the wider research, a case-study has been carried out comprising observations of 34 parents and 34 piano students taught by the author in three different locations (private studio,…

  5. Música, comportamento social e relações interpessoais Music, social behavior and interpersonal relationships

    Directory of Open Access Journals (Sweden)

    Beatriz Ilari

    2006-04-01

    Full Text Available O objetivo desta investigação foi verificar o papel da música na atração interpessoal, escolha de parceiros e relacionamentos afetivos. Cinqüenta adultos não-músicos escolheram possíveis parceiros através de classificados pessoais, descreveram as características de ouvintes de 7 gêneros musicais diferentes e responderam a questões referentes ao uso da música em seus relacionamentos afetivos. Embora a música não tenha tido um efeito direto sobre a atração interpessoal e a escolha de parceiros, ela aparentou ter alguns efeitos indiretos nas relações interpessoais. Alguns estereótipos de personalidade associados aos gêneros musicais foram encontrados, sugerindo que o gosto musical pode influenciar na escolha de parceiros. Além disso, emergiram quatro categorias relacionadas ao uso da música no contexto das relações interpessoais: objetivos de excitação, fundo acústico, facilitadora de atividades que promovem a aproximação e artefato mnemônico. Os dados desta investigação reforçam a idéia de que a música exerce um papel importante nas relações interpessoais.The purpose of this study was to investigate the effects of music on interpersonal relationships by means of attraction, choice of partners, and romantic relationships. Fifty adult non-musicians chose potential partners in newspaper ads, described the characteristics of listeners of 7 different musical styles, and answered open-ended questions related to the uses of music in interpersonal relationships of a romantic nature. Although music did not seem to impact interpersonal attraction and choice of partners directly, it was found to impact social bonding in indirect ways. Personality types associated with musical styles emerged, suggesting that musical taste influences interpersonal relationships. Additionally, four categories related to the uses of music in the context of interpersonal relationships emerged including arousal goals, background, facilitator

  6. Learning piano melodies in visuo-motor or audio-motor training conditions and the neural correlates of their cross-modal transfer

    NARCIS (Netherlands)

    Engel, Annerose; Bangert, Marc; Horbank, David; Hijmans, Brenda S.; Wilkens, Katharina; Keller, Peter E.; Keysers, Christian

    2012-01-01

    To investigate the cross-modal transfer of movement patterns necessary to perform melodies on the piano, 22 non-musicians learned to play short sequences on a piano keyboard by 1) merely listening and replaying (vision of own fingers occluded) or 2) merely observing silent finger movements and

  7. Inter-individual differences in audio-motor learning of piano melodies and white matter fiber tract architecture

    NARCIS (Netherlands)

    Engel, Annerose; Hijmans, Brenda S; Cerliani, L.; Bangert, Marc; Nanetti, Luca; Keller, Peter E; Keysers, C.

    Humans vary substantially in their ability to learn new motor skills. Here, we examined inter-individual differences in learning to play the piano, with the goal of identifying relations to structural properties of white matter fiber tracts relevant to audio-motor learning. Non-musicians (n = 18)

  8. Inter-individual differences in audio-motor learning of piano melodies and white matter fiber tract architecture

    NARCIS (Netherlands)

    Engel, Annerose; Hijmans, Brenda S; Cerliani, L.; Bangert, Marc; Nanetti, Luca; Keller, Peter E; Keysers, C.

    2014-01-01

    Humans vary substantially in their ability to learn new motor skills. Here, we examined inter-individual differences in learning to play the piano, with the goal of identifying relations to structural properties of white matter fiber tracts relevant to audio-motor learning. Non-musicians (n = 18) le

  9. Learning piano melodies in visuo-motor or audio-motor training conditions and the neural correlates of their cross-modal transfer

    NARCIS (Netherlands)

    Engel, Annerose; Bangert, Marc; Horbank, David; Hijmans, Brenda S.; Wilkens, Katharina; Keller, Peter E.; Keysers, Christian

    2012-01-01

    To investigate the cross-modal transfer of movement patterns necessary to perform melodies on the piano, 22 non-musicians learned to play short sequences on a piano keyboard by 1) merely listening and replaying (vision of own fingers occluded) or 2) merely observing silent finger movements and repla

  10. Novice Collaboration in Solo and Accompaniment Improvisation

    DEFF Research Database (Denmark)

    Hansen, Anne-Marie; Andersen, Hans Jørgen

    2012-01-01

    This study investigates how non-musicians engaged in a solo-accompaniment music improvisation relationship. Seven user teams interacted with two electronic music instruments integrated in two pen tablets. One instrument was a melody instrument and the other a chord instru-ment. The study was done...

  11. Sex Differences in Music: A Female Advantage at Recognizing Familiar Melodies

    OpenAIRE

    Miles, Scott A.; Miranda, Robbin A.; Ullman, Michael T.

    2016-01-01

    Although sex differences have been observed in various cognitive domains, there has been little work examining sex differences in the cognition of music. We tested the prediction that women would be better than men at recognizing familiar melodies, since memories of specific melodies are likely to be learned (at least in part) by declarative memory, which shows female advantages. Participants were 24 men and 24 women, with half musicians and half non-musicians in each group. The two groups we...

  12. General Intelligence and Modality-specific Differences in Performance: A Response to Schellenberg (2008

    Directory of Open Access Journals (Sweden)

    Adam T. Tierney

    2009-04-01

    Full Text Available Tierney et al. (2008 reported that musicians performed better on an auditory sequence memory task when compared to non-musicians, but the two groups did not differ in performance on a sequential visuo-spatial memory task. Schellenberg (2008 claims that these results can be attributed entirely to differences in IQ. This explanation, however, cannot account for the fact that the musicians’ advantage was modality-specific.

  13. A Longitudinal Study on Children's Music Training Experience and Academic Development

    OpenAIRE

    Yang, Hua; Ma, Weiyi; Gong, Diankun; Hu, Jiehui; Yao, Dezhong

    2014-01-01

    This study examined the relation between long-term music training and child development based on 250 Chinese elementary school students' academic development of first language (L1), second language (L2), and mathematics. We found that musician children outperformed non-musician children only on musical achievement and second language development. Additionally, although music training appeared to be correlated with children's final academic development of L1, L2, and mathematics, it did not in...

  14. Musical practice and cognitive aging: two cross-sectional studies point to phonemic fluency as a potential candidate for a use-dependent adaptation

    OpenAIRE

    Fauvel, Baptiste; Groussard, Mathilde; Mutlu, Justine; Arenaza-Urquijo, Eider M.; Eustache, Francis; Desgranges, Béatrice; Platel, Hervé

    2014-01-01

    Because of permanent use-dependent brain plasticity, all lifelong individuals' experiences are believed to influence the cognitive aging quality. In older individuals, both former and current musical practices have been associated with better verbal skills, visual memory, processing speed, and planning function. This work sought for an interaction between musical practice and cognitive aging by comparing musician and non-musician individuals for two lifetime periods (middle and late adulthood...

  15. Musical practice and cognitive aging: two cross-sectional studies point to phonemic fluency as a potential candidate for a use-dependent adaptation

    OpenAIRE

    Fauvel, Baptiste; Mathilde, Groussard; Justine, Mutlu; M., Arenaza-Urquijo Eider; Francis, Eustache; Béatrice, Desgranges; Hervé, Platel

    2015-01-01

    Because of permanent use-dependent brain plasticity, all lifelong individuals' experiences are believed to influence the cognitive aging quality. In older individuals, both former and current musical practices have been associated with better verbal skills, visual memory, processing speed, and planning function. This work sought for an interaction between musical practice and cognitive aging by comparing musician and non-musician individuals for two lifetime periods (middle and late adulthood...

  16. Musical practice and cognitive aging: two cross-sectional studies point to phonemic fluency as a potential candidate for a use-dependent adaptation.

    OpenAIRE

    Fauvel, Baptiste; Mathilde, Groussard; Justine, Mutlu; Eider M., Arenaza-Urquijo; Francis, Eustache; Béatrice, Desgranges; Hervé, Platel

    2014-01-01

    International audience; Because of permanent use-dependent brain plasticity, all lifelong individuals' experiences are believed to influence the cognitive aging quality. In older individuals, both former and current musical practices have been associated with better verbal skills, visual memory, processing speed, and planning function. This work sought for an interaction between musical practice and cognitive aging by comparing musician and non-musician individuals for two lifetime periods (m...

  17. Transfer of Training between Music and Speech: Common Processing, Attention, and Memory

    OpenAIRE

    Mireille eBesson; Julie eChobert; Céline eMarie

    2011-01-01

    After a brief historical perspective of the relationship between language and music, we review our work on transfer of training from music to speech that aimed at testing the general hypothesis that musicians should be more sensitive than non-musicians to speech sounds. In light of recent results in the literature, we argue that when long-term experience in one domain influences acoustic processing in the other domain, results can be interpreted as common acoustic processing. But when long-te...

  18. Music and memory

    OpenAIRE

    Haefliger, Anna Berenika

    2013-01-01

    Abstract: Music and its different forms of use seem to benefit people in a number of ways. Research has suggested that extensive musical practice and musical listening enhances mental functioning in healthy adults and patients with neurodegenerative disease. Yet, the findings presented have not yet examined the effects both musical training and stimuli enhancement have on episodic memory recognition. 20 musicians and 20 non-musicians took part in an episodic memory task which evaluated m...

  19. Interactions with musical long-term memory are a critical component of musical working memory

    OpenAIRE

    Gorin, Simon; Majerus, Steve

    2013-01-01

    The nature and mechanisms of working memory (WM) for musical information remain poorly understood. The aim of this study is to show that musical WM strongly depends upon long-term memory (LTM) mechanisms and requires access to the long-term musical knowledge base. Two groups of participants (musicians and non-musicians) participated first in an implicit learning task during which they heard for about 30 minutes a continuous sequence of tones governed by a new musical grammar. Then, they perfo...

  20. Occurrence and co-existence of localized musculoskeletal symptoms and findings in work-attending orchestra musicians - an exploratory cross-sectional study

    Directory of Open Access Journals (Sweden)

    Paarup Helene M

    2012-10-01

    Full Text Available Abstract Background Due to ergonomic exposure musicians are at risk of work-related musculoskeletal disorders in the neck, back, and upper extremities. The literature confirms musculoskeletal problems in these anatomic regions among orchestra musicians. Methods An explorative cross-sectional study among 441 musicians from six Danish symphony orchestras; 216 underwent a clinical examination constructed for the purpose. Prior to the examination the musicians rated their maximally perceived trouble within the last week on a scheme blinded to the examiner. Accessibility to the clinical examination differed between orchestras. The aims were to assess the prevalence of 1 perceived symptoms within the previous week in the neck, back and limbs and of 2 clinical findings in the neck, back, and upper extremities, and 3 to investigate the co-existence of the perceived symptoms and clinical findings. Results Symptoms and findings were most common in the neck, back, and shoulders. Due to a poor co-existence between self-reported symptoms and clinical findings musicians experiencing bodily trouble could not be identified through this clinical examination. Free accessibility to the examination was of major importance to participation. Conclusions In compliance with the purpose, perceived symptoms within the previous week and present clinical findings were assessed. Although both symptoms and findings were most frequent in the neck, back, and shoulders the co-existence of anatomically localized symptoms and findings was generally quite poor in this study. Discrepancy between symptoms and findings might be caused by the participants currently attending work and therefore being relatively healthy, and the fluctuating nature of musculoskeletal problems. Furthermore from a comparison of different measuring units - self-reported symptoms being period prevalence rates and clinical findings point prevalence rates; a bias which may also be inherent in similar studies

  1. Intervention program in college instrumental musicians, with kinematics analysis of cello and flute playing: a combined program of yogic breathing and muscle strengthening-flexibility exercises.

    Science.gov (United States)

    Lee, Sang-Hie; Carey, Stephanie; Dubey, Rajiv; Matz, Rachel

    2012-06-01

    College musicians encounter health risks not dissimilar to those of professional musicians. Fifteen collegiate instrumental musicians participated in the intervention program of yogic-breathing and muscle-strengthening and flexibility exercises for 8 weeks. Pre- and post-intervention data from the Health-Pain-Injury Inventory (HPI) and the Physical & Musical-Performance Efficacy Assessment Survey (PME) were analyzed for the effects of the program on the musicians' physical and musical-performance efficacy. HPI results showed that the majority of our sample had healthy lifestyles and minimal pain and injuries but irregular eating and exercise habits. The pre-intervention PME data showed a high level of musical efficacy (i.e., awareness of music technique, tone, and flow) but a low-level of physical efficacy (i.e., awareness of posture, tension, and movement flexibility). Post-intervention data showed that the program improved physical efficacy by increased awareness of posture and tension. In 2 volunteer musicians, kinematics motion analysis was conducted for exploratory purposes. Our cellist played the scale using a larger range of motion (ROM) in right shoulder flexion and abduction and slightly increased rotation while keeping decreased right elbow ROM after the intervention program. The flutist shifted the body weight from one foot to the other more in the second playing post-intervention. These changes can be attributed to the increased physical efficacy that allowed freedom to express musicality. Findings from these case scenarios provide empirically based hypotheses for further study. We share our experience so that others may use our model and instruments to develop studies with larger samples.

  2. Intercorrência audiológica em músicas após um show de rock Hearing incidents in musicians after a rock concert

    Directory of Open Access Journals (Sweden)

    Marcela Pfeiffer

    2007-09-01

    acoustic reflex measurements, before and after the rock concert. The noise levels of the room and the stage were determined by means of a dosimeter. The results were compared and statically analyzed using the t Student test with significance criterion of p> 0.05. the noise level found in the room and stage during the concert was 98.5 dB. As for the behavioral aspects related to the noise, tinnitus was the most prevalent complaint among the subjects. In pure tone audiometry, statistically significant differences were found in the hearing thresholds, before and after exposure, mostly in the right ear for the high frequencies. The results were also statistically significant at the frequencies between 2000Hz and 6000Hz, for the right ear (p=2.7; p=2.59; p=3.7 e p=2.86, and at the frequency of 4000Hz, for the left ear (p=2.87. The right ear's acoustic reflex has shown the highest index of absence (40%; however, we found statistically significant differences in the presence of the acoustic reflex, before and after exposure, only for the left ear (p=3.64. CONCLUSION: musicians exposed to high sound pressure levels in rock concerts have shown temporary threshold shift at the pure tone audiometry and acoustic reflex measurements.

  3. Experience Drives Synchronization: The phase and Amplitude Dynamics of Neural Oscillations to Musical Chords Are Differentially Modulated by Musical Expertise.

    Science.gov (United States)

    Pallesen, Karen Johanne; Bailey, Christopher J; Brattico, Elvira; Gjedde, Albert; Palva, J Matias; Palva, Satu

    2015-01-01

    Musical expertise is associated with structural and functional changes in the brain that underlie facilitated auditory perception. We investigated whether the phase locking (PL) and amplitude modulations (AM) of neuronal oscillations in response to musical chords are correlated with musical expertise and whether they reflect the prototypicality of chords in Western tonal music. To this aim, we recorded magnetoencephalography (MEG) while musicians and non-musicians were presented with common prototypical major and minor chords, and with uncommon, non-prototypical dissonant and mistuned chords, while watching a silenced movie. We then analyzed the PL and AM of ongoing oscillations in the theta (4-8 Hz) alpha (8-14 Hz), beta- (14-30 Hz) and gamma- (30-80 Hz) bands to these chords. We found that musical expertise was associated with strengthened PL of ongoing oscillations to chords over a wide frequency range during the first 300 ms from stimulus onset, as opposed to increased alpha-band AM to chords over temporal MEG channels. In musicians, the gamma-band PL was strongest to non-prototypical compared to other chords, while in non-musicians PL was strongest to minor chords. In both musicians and non-musicians the long-latency (> 200 ms) gamma-band PL was also sensitive to chord identity, and particularly to the amplitude modulations (beats) of the dissonant chord. These findings suggest that musical expertise modulates oscillation PL to musical chords and that the strength of these modulations is dependent on chord prototypicality.

  4. Perception of hierarchical boundaries in music and its modulation by expertise.

    Science.gov (United States)

    Zhang, Jingjing; Jiang, Cunmei; Zhou, Linshu; Yang, Yufang

    2016-10-01

    Hierarchical structure with units of different timescales is a key feature of music. For the perception of such structures, the detection of each boundary is crucial. Here, using electroencephalography (EEG), we explore the perception of hierarchical boundaries in music, and test whether musical expertise modifies such processing. Musicians and non-musicians were presented with musical excerpts containing boundaries at three hierarchical levels, including section, phrase and period boundaries. Non-boundary was chosen as a baseline condition. Recordings from musicians showed CPS (closure positive shift) was evoked at all the three boundaries, and their amplitude increased as the hierarchical level became higher, which suggest that musicians could represent music events at different timescales in a hierarchical way. For non-musicians, the CPS was only elicited at the period boundary and undistinguishable negativities were induced at all the three boundaries. The results indicate that a different and less clear way was used by non-musicians in boundary perception. Our findings reveal, for the first time, an ERP correlate of perceiving hierarchical boundaries in music, and show that the phrasing ability could be enhanced by musical expertise. Copyright © 2016 Elsevier Ltd. All rights reserved.

  5. Acoustics and the Performance of Music Manual for Acousticians, Audio Engineers, Musicians, Architects and Musical Instrument Makers

    CERN Document Server

    Meyer, Jürgen

    2009-01-01

    Acoustics and the Performance of Music connects scientific understandings of acoustics with practical applications to musical performance. Of central importance are the tonal characteristics of musical instruments and the singing voice including detailed representations of directional characteristics. Furthermore, room acoustical concerns related to concert halls and opera houses are considered. Based on this, suggestions are made for musical performance. Included are seating arrangements within the orchestra and adaptations of performance techniques to the performance environment. In the presentation we dispense with complicated mathematical connections and deliberately aim for conceptual explanations accessible to musicians, particularly for conductors. The graphical representations of the directional dependence of sound radiation by musical instruments and the singing voice are unique. Since the first edition was published in 1978, this book has been completely revised and rewritten to include current rese...

  6. Impairments in musical abilities reflected in the auditory brainstem: evidence from congenital amusia.

    Science.gov (United States)

    Lehmann, Alexandre; Skoe, Erika; Moreau, Patricia; Peretz, Isabelle; Kraus, Nina

    2015-07-01

    Congenital amusia is a neurogenetic condition, characterized by a deficit in music perception and production, not explained by hearing loss, brain damage or lack of exposure to music. Despite inferior musical performance, amusics exhibit normal auditory cortical responses, with abnormal neural correlates suggested to lie beyond auditory cortices. Here we show, using auditory brainstem responses to complex sounds in humans, that fine-grained automatic processing of sounds is impoverished in amusia. Compared with matched non-musician controls, spectral amplitude was decreased in amusics for higher harmonic components of the auditory brainstem response. We also found a delayed response to the early transient aspects of the auditory stimulus in amusics. Neural measures of spectral amplitude and response timing correlated with participants' behavioral assessments of music processing. We demonstrate, for the first time, that amusia affects how complex acoustic signals are processed in the auditory brainstem. This neural signature of amusia mirrors what is observed in musicians, such that the aspects of the auditory brainstem responses that are enhanced in musicians are degraded in amusics. By showing that gradients of music abilities are reflected in the auditory brainstem, our findings have implications not only for current models of amusia but also for auditory functioning in general.

  7. Tone Language Speakers and Musicians Share Enhanced Perceptual and Cognitive Abilities for Musical Pitch: Evidence for Bidirectionality between the Domains of Language and Music

    OpenAIRE

    Bidelman, Gavin M.; Stefanie Hutka; Sylvain Moreno

    2013-01-01

    Psychophysiological evidence suggests that music and language are intimately coupled such that experience/training in one domain can influence processing required in the other domain. While the influence of music on language processing is now well-documented, evidence of language-to-music effects have yet to be firmly established. Here, using a cross-sectional design, we compared the performance of musicians to that of tone-language (Cantonese) speakers on tasks of auditory pitch acuity, musi...

  8. Tone language speakers and musicians share enhanced perceptual and cognitive abilities for musical pitch: evidence for bidirectionality between the domains of language and music.

    Directory of Open Access Journals (Sweden)

    Gavin M Bidelman

    Full Text Available Psychophysiological evidence suggests that music and language are intimately coupled such that experience/training in one domain can influence processing required in the other domain. While the influence of music on language processing is now well-documented, evidence of language-to-music effects have yet to be firmly established. Here, using a cross-sectional design, we compared the performance of musicians to that of tone-language (Cantonese speakers on tasks of auditory pitch acuity, music perception, and general cognitive ability (e.g., fluid intelligence, working memory. While musicians demonstrated superior performance on all auditory measures, comparable perceptual enhancements were observed for Cantonese participants, relative to English-speaking nonmusicians. These results provide evidence that tone-language background is associated with higher auditory perceptual performance for music listening. Musicians and Cantonese speakers also showed superior working memory capacity relative to nonmusician controls, suggesting that in addition to basic perceptual enhancements, tone-language background and music training might also be associated with enhanced general cognitive abilities. Our findings support the notion that tone language speakers and musically trained individuals have higher performance than English-speaking listeners for the perceptual-cognitive processing necessary for basic auditory as well as complex music perception. These results illustrate bidirectional influences between the domains of music and language.

  9. Tone language speakers and musicians share enhanced perceptual and cognitive abilities for musical pitch: evidence for bidirectionality between the domains of language and music.

    Science.gov (United States)

    Bidelman, Gavin M; Hutka, Stefanie; Moreno, Sylvain

    2013-01-01

    Psychophysiological evidence suggests that music and language are intimately coupled such that experience/training in one domain can influence processing required in the other domain. While the influence of music on language processing is now well-documented, evidence of language-to-music effects have yet to be firmly established. Here, using a cross-sectional design, we compared the performance of musicians to that of tone-language (Cantonese) speakers on tasks of auditory pitch acuity, music perception, and general cognitive ability (e.g., fluid intelligence, working memory). While musicians demonstrated superior performance on all auditory measures, comparable perceptual enhancements were observed for Cantonese participants, relative to English-speaking nonmusicians. These results provide evidence that tone-language background is associated with higher auditory perceptual performance for music listening. Musicians and Cantonese speakers also showed superior working memory capacity relative to nonmusician controls, suggesting that in addition to basic perceptual enhancements, tone-language background and music training might also be associated with enhanced general cognitive abilities. Our findings support the notion that tone language speakers and musically trained individuals have higher performance than English-speaking listeners for the perceptual-cognitive processing necessary for basic auditory as well as complex music perception. These results illustrate bidirectional influences between the domains of music and language.

  10. Tone Language Speakers and Musicians Share Enhanced Perceptual and Cognitive Abilities for Musical Pitch: Evidence for Bidirectionality between the Domains of Language and Music

    Science.gov (United States)

    Bidelman, Gavin M.; Hutka, Stefanie; Moreno, Sylvain

    2013-01-01

    Psychophysiological evidence suggests that music and language are intimately coupled such that experience/training in one domain can influence processing required in the other domain. While the influence of music on language processing is now well-documented, evidence of language-to-music effects have yet to be firmly established. Here, using a cross-sectional design, we compared the performance of musicians to that of tone-language (Cantonese) speakers on tasks of auditory pitch acuity, music perception, and general cognitive ability (e.g., fluid intelligence, working memory). While musicians demonstrated superior performance on all auditory measures, comparable perceptual enhancements were observed for Cantonese participants, relative to English-speaking nonmusicians. These results provide evidence that tone-language background is associated with higher auditory perceptual performance for music listening. Musicians and Cantonese speakers also showed superior working memory capacity relative to nonmusician controls, suggesting that in addition to basic perceptual enhancements, tone-language background and music training might also be associated with enhanced general cognitive abilities. Our findings support the notion that tone language speakers and musically trained individuals have higher performance than English-speaking listeners for the perceptual-cognitive processing necessary for basic auditory as well as complex music perception. These results illustrate bidirectional influences between the domains of music and language. PMID:23565267

  11. Enhanced Cortical Connectivity in Absolute Pitch Musicians: A Model for Local Hyperconnectivity

    Science.gov (United States)

    Loui, Psyche; Li, H. Charles; Hohmann, Anja; Schlaug, Gottfried

    2011-01-01

    Connectivity in the human brain has received increased scientific interest in recent years. Although connection disorders can affect perception, production, learning, and memory, few studies have associated brain connectivity with graded variations in human behavior, especially among normal individuals. One group of normal individuals who possess…

  12. Detecting scale violations in absence of mismatch requires music-syntactic analysis: a further look at the early right anterior negativity (ERAN).

    Science.gov (United States)

    Kalda, Tiina; Minati, Ludovico

    2012-07-01

    The purpose of this study was to determine whether infrequent scale violations in a sequence of in-key notes are detected when the deviants are matched for frequency of occurrence and preceding intervals with the control notes. We further investigated whether the detectability of scale violations is modulated by the presence of melodic context and by the level of musical training. Event related potentials were recorded from 14 musicians and 13 non-musicians. In non-musicians, the out-of-key notes elicited an early right anterior negativity (ERAN), which appeared prominently over right frontal sites only when presented within structured sequences; no effects were found when the out-of-key notes were presented within scrambled sequences. In musicians, the out-of-key notes elicited a similar bilateral ERAN in structured and scrambled sequences. Our findings suggest that scale information is processed at the level of music-syntactic analysis, and that the detection of deviants does not require activation of auditory sensory memory by mismatch effects. Scales are perceived as a broader context, not just as online interval relations. Additional melodic context information appears necessary to support the representation of scale deviants in non-musicians, but not in musically-trained individuals, likely as a consequence of stronger pre-existing representations.

  13. How Different Are Our Perceptions of Equal-Tempered and Microtonal Intervals? A Behavioural and EEG Survey

    Science.gov (United States)

    Bailes, Freya; Dean, Roger T.; Broughton, Mary C.

    2015-01-01

    For listeners familiar with Western twelve-tone equal-tempered (12-TET) music, a novel microtonal tuning system is expected to present additional processing challenges. We aimed to determine whether this was the case, focusing on the extent to which our perceptions can be considered bottom-up (psychoacoustic and primarily perceptual) and top-down (dependent on familiarity and cognitive processing). We elicited both overt response ratings, and covert event-related potentials (ERPs), so as to compare subjective impressions of sounds with the neurophysiological processing of the acoustic signal. We hypothesised that microtonal intervals are perceived differently from 12-TET intervals, and that the responses of musicians (n = 10) and non-musicians (n = 10) are distinct. Two-note chords were presented comprising 12-TET intervals (consonant and dissonant) or microtonal (quarter tone) intervals, and ERP, subjective roughness ratings, and liking ratings were recorded successively. Musical experience mediated the perception of differences between dissonant and microtone intervals, with non-musicians giving similar ratings for each, and musicians preferring dissonant over the less commonly used microtonal intervals, rating them as less rough. ERP response amplitude was greater for consonant intervals than other intervals. Musical experience interacted with interval type, suggesting that musical expertise facilitates the sensory and perceptual discrimination of microtonal intervals from 12-TET intervals, and an increased ability to categorize such intervals. Non-musicians appear to have perceived microtonal intervals as instances of neighbouring 12-TET intervals. PMID:26285010

  14. Melodic multi-feature paradigm reveals auditory profiles in music-sound encoding

    Directory of Open Access Journals (Sweden)

    Mari eTervaniemi

    2014-07-01

    Full Text Available Musical expertise modulates preattentive neural sound discrimination. However, this evidence up to great extent originates from paradigms using very simple stimulation. Here we use a novel melody paradigm (revealing the auditory profile for six sound parameters in parallel to compare memory-related MMN and attention-related P3a responses recorded from non-musicians and Finnish Folk musicians. MMN emerged in both groups of participants for all sound changes (except for rhythmic changes in non-musicians. In Folk musicians, the MMN was enlarged for mistuned sounds when compared with non-musicians. This is taken to reflect their familiarity with pitch information which is in key position in Finnish folk music when compared with e.g., rhythmic information. The MMN was followed by P3a after timbre changes, rhythm changes, and melody transposition. The MMN and P3a topographies differentiated the groups for all sound changes. Thus, the melody paradigm offers a fast and cost-effective means for determining the auditory profile for music-sound encoding and also, importantly, for probing the effects of musical expertise on it.

  15. How Different Are Our Perceptions of Equal-Tempered and Microtonal Intervals? A Behavioural and EEG Survey.

    Directory of Open Access Journals (Sweden)

    Freya Bailes

    Full Text Available For listeners familiar with Western twelve-tone equal-tempered (12-TET music, a novel microtonal tuning system is expected to present additional processing challenges. We aimed to determine whether this was the case, focusing on the extent to which our perceptions can be considered bottom-up (psychoacoustic and primarily perceptual and top-down (dependent on familiarity and cognitive processing. We elicited both overt response ratings, and covert event-related potentials (ERPs, so as to compare subjective impressions of sounds with the neurophysiological processing of the acoustic signal. We hypothesised that microtonal intervals are perceived differently from 12-TET intervals, and that the responses of musicians (n = 10 and non-musicians (n = 10 are distinct. Two-note chords were presented comprising 12-TET intervals (consonant and dissonant or microtonal (quarter tone intervals, and ERP, subjective roughness ratings, and liking ratings were recorded successively. Musical experience mediated the perception of differences between dissonant and microtone intervals, with non-musicians giving similar ratings for each, and musicians preferring dissonant over the less commonly used microtonal intervals, rating them as less rough. ERP response amplitude was greater for consonant intervals than other intervals. Musical experience interacted with interval type, suggesting that musical expertise facilitates the sensory and perceptual discrimination of microtonal intervals from 12-TET intervals, and an increased ability to categorize such intervals. Non-musicians appear to have perceived microtonal intervals as instances of neighbouring 12-TET intervals.

  16. Neck muscle function in violinists/violists with and without neck pain.

    Science.gov (United States)

    Steinmetz, Anke; Claus, Andrew; Hodges, Paul W; Jull, Gwendolen A

    2016-04-01

    Neck pain is associated with changes in neuromuscular control of cervical muscles. Violin and viola playing requires good function of the flexor muscles to stabilize the instrument. This study investigated the flexor muscle behaviour in violin/viola players with and without neck pain using the craniocervical flexion test (CCFT). In total, 12 violin/viola players with neck pain, 21 violin/viola players without neck pain in the preceding 12 weeks and 21 pain-free non-musicians were included. Activity of the sternocleidomastoid muscles (SCM) was measured with surface electromyography (EMG) during the CCFT. Violin/viola players with neck pain displayed greater normalised SCM EMG amplitudes during CCFT than the pain-free musicians and non-musicians (P neck pain in violinists/violists is associated with altered behaviour of the superficial neck flexor muscles consistent with neck pain, despite the specific use of the deep and superficial neck flexors during violin playing.

  17. Body movement enhances the extraction of temporal structures in auditory sequences.

    Science.gov (United States)

    Su, Yi-Huang; Pöppel, Ernst

    2012-05-01

    Auditory and motor systems interact in processing auditory rhythms. This study investigated the effect of intuitive body movement, such as head nodding or foot tapping, on listeners' ability to entrain to the pulse of an auditory sequence. A pulse-finding task was employed using an isochronous sequence of tones in which tones were omitted at pseudorandom positions. Musicians and non-musicians identified their subjectively fitting pulse either using periodic body movement or through listening only. The identified pulse was measured subsequently by finger tapping. Movement appeared to assist pulse extraction especially for non-musicians. The chosen pulse tempi tended to be faster with movement. Additionally, movement led to higher synchronization stabilities of the produced pulse along the sequence, regardless of musical training. These findings demonstrated the facilitatory role of body movement in entraining to auditory rhythms and its interaction with musical training.

  18. Music training enhances rapid neural plasticity of n1 and p2 source activation for unattended sounds.

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    Seppänen, Miia; Hämäläinen, Jarmo; Pesonen, Anu-Katriina; Tervaniemi, Mari

    2012-01-01

    Neurocognitive studies have demonstrated that long-term music training enhances the processing of unattended sounds. It is not clear, however, whether music training also modulates rapid (within tens of minutes) neural plasticity for sound encoding. To study this phenomenon, we examined whether adult musicians display enhanced rapid neural plasticity compared to non-musicians. More specifically, we compared the modulation of P1, N1, and P2 responses to standard sounds between four unattended passive blocks. Among the standard sounds, infrequently presented deviant sounds were presented (the so-called oddball paradigm). In the middle of the experiment (after two blocks), an active task was presented. Source analysis for event-related potentials (ERPs) showed that N1 and P2 source activation was selectively decreased in musicians after 15 min of passive exposure to sounds and that P2 source activation was found to be re-enhanced after the active task in musicians. Additionally, ERP analysis revealed that in both musicians and non-musicians, P2 ERP amplitude was enhanced after 15 min of passive exposure but only at the frontal electrodes. Furthermore, in musicians, the N1 ERP was enhanced after the active discrimination task but only at the parietal electrodes. Musical training modulates the rapid neural plasticity reflected in N1 and P2 source activation for unattended regular standard sounds. Enhanced rapid plasticity of N1 and P2 is likely to reflect faster auditory perceptual learning in musicians.

  19. Exploratory factor analysis of Kenny Music Performance Anxiety Inventory (K-MPAI in a Brazilian musician sample

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    Ana Elisa Medeiros Barbar

    2015-10-01

    Full Text Available Abstract Background The Kenny Music Performance Anxiety Inventory (K-MPAI is very significant among the available instruments which measures Musical Performance Anxiety (MPA. Objective The aim of this study is to find evidence of validity of the Kenny Music Performance Anxiety Inventory (K-MPAI, in its translated and adapted Brazilian version, through the study of its factor structure. Methods A convenience sample of 230 amateur musicians completed the K-MPAI. Results The initial factor analysis yielded eight factors, explaining 62.4% of variance. However, due to the factors’ composition and internal consistency values lower than 0.50, the number of factors was later set at three, considering the internal consistency of those, the theoretical propositions and symptomatology aspects that supported the construction of scale. They were named “Worries and insecurity” (α = 0.82, “Depression and hopelessness” (α = 0.77 and “Early parental relationships” (α = 0.57. Discussion/Conclusions These results point to the scale’s construct validity, since they support the theoretical basis used for the development of the K-MPAI and the clinical manifestations of the MPA.

  20. Receptive amusia: temporal auditory processing deficit in a professional musician following a left temporo-parietal lesion.

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    Di Pietro, Marie; Laganaro, Marina; Leemann, Béatrice; Schnider, Armin

    2004-01-01

    This study examined the musical processing in a professional musician who suffered from amusia after a left temporo-parietal stroke. The patient showed preserved metric judgement and normal performance in all aspects of melodic processing. By contrast, he lost the ability to discriminate or reproduce rhythms. Arrhythmia was only observed in the auditory modality: discrimination of auditorily presented rhythms was severely impaired, whereas performance was normal in the visual modality. Moreover, a length effect was observed in discrimination of rhythm, while this was not the case for melody discrimination. The arrhythmia could not be explained by low-level auditory processing impairments such as interval and length discrimination and the impairment was limited to auditory input, since the patient produced correct rhythmic patterns from a musical score. Since rhythm processing was selectively disturbed in the auditory modality, the arrhythmia cannot be attributed to a impairment of supra-modal temporal processing. Rather, our findings suggest modality-specific encoding of musical temporal information. Besides, it is proposed that the processing of auditory rhythmic sequences involves a specific left hemispheric temporal buffer.

  1. The neuroscience of musical improvisation.

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    Beaty, Roger E

    2015-04-01

    Researchers have recently begun to examine the neural basis of musical improvisation, one of the most complex forms of creative behavior. The emerging field of improvisation neuroscience has implications not only for the study of artistic expertise, but also for understanding the neural underpinnings of domain-general processes such as motor control and language production. This review synthesizes functional magnetic resonance imagining (fMRI) studies of musical improvisation, including vocal and instrumental improvisation, with samples of jazz pianists, classical musicians, freestyle rap artists, and non-musicians. A network of prefrontal brain regions commonly linked to improvisatory behavior is highlighted, including the pre-supplementary motor area, medial prefrontal cortex, inferior frontal gyrus, dorsolateral prefrontal cortex, and dorsal premotor cortex. Activation of premotor and lateral prefrontal regions suggests that a seemingly unconstrained behavior may actually benefit from motor planning and cognitive control. Yet activation of cortical midline regions points to a role of spontaneous cognition characteristic of the default network. Together, such results may reflect cooperation between large-scale brain networks associated with cognitive control and spontaneous thought. The improvisation literature is integrated with Pressing's theoretical model, and discussed within the broader context of research on the brain basis of creative cognition.

  2. What musicians do to induce the sensation of groove in simple and complex melodies, and how listeners perceive it

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    Guy eMadison

    2014-08-01

    Full Text Available Groove is the experience of wanting to move when hearing music, such as snapping fingers or tapping feet. This is a central aspect of much music, in particular of music intended for dancing. While previous research has found considerable consistency in ratings of groove across individuals, it remains unclear how groove is induced, that is, what are the physical properties of the acoustic signal that differ between more and less groove-inducing versions. Here, we examined this issue with a performance experiment, in which 4 musicians performed 6 simple and 6 complex melodies in two conditions with the intention of minimizing and maximizing groove. Analyses of rhythmical and temporal properties from the performances demonstrated some general effects. For example, more groove was associated with more notes on faster metrical levels and syncopation, and less groove was associated with deadpan timing and destruction of the regular pulse. We did not observe that deviations from the metrical grid (i.e. micro-timing were a predictor of groove. A listener experiment confirmed that the musicians’ manipulations had the intended effects on the experience of groove. A Brunswikian lens model was applied, which estimates the performer-perceiver communication across the two experiments. It showed that the communication achievement for simple melodies was 0.62, and that the matching of performers’ and listeners’ use of 9 rhythmical cues was 0.83. For complex melodies with an already high level of groove, the corresponding values were 0.39 and 0.34, showing that it was much more difficult to take out groove from musical structures designed to induce groove.

  3. The difference between standing and sitting in 3 different seat inclinations on abdominal muscle activity and chest and abdominal expansion in woodwind and brass musicians

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    Bronwen Jane Ackermann

    2014-08-01

    Full Text Available Wind instrumentalists require a sophisticated functioning of their respiratory system to control their air stream, which provides the power for optimal musical performance. The air supply must be delivered into the instrument in a steady and controlled manner and with enough power by the action of the expiratory musculature to produce the desired level of sound at the correct pitch. It is suggested that playing posture may have an impact on the abdominal muscle activity controlling this expired air, but there is no research on musicians to support this theory. This study evaluated chest and abdominal expansion, via respiratory inductive plethysmography, as well as activation patterns of lower and upper abdominal musculature, using surface electromyography, during performance of a range of typical orchestral repertoire by 113 woodwind and brass players. Each of the five orchestral excerpts was played in one of four randomly allocated postures: standing; sitting flat; sitting inclined forwards; and sitting inclined backwards.Musicians showed a clear preference for playing in standing rather than sitting. In standing, the chest expansion range and maximum values were greater (p<0.01, while the abdominal expansion was less than in all sitting postures (p<0.01. Chest expansion patterns did not vary between the three sitting postures, while abdominal expansion was reduced in the forward inclined posture compared to the other sitting postures (p<0.05. There was no significant variation in abdominal muscle activation between the sitting postures, but the level of activation in sitting was only 2/3 of the significantly higher level observed in standing (p<0.01.This study has demonstrated significant differences in respiratory mechanics between sitting and standing postures in wind musicians during playing of typical orchestral repertoire. Further research is needed to clarify the complex respiratory mechanisms supporting musical performance.

  4. Experience Playing a Musical Instrument and Overnight Sleep Enhance Performance on a Sequential Typing Task

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    Tucker, Matthew A.; Nguyen, Nam; Stickgold, Robert

    2016-01-01

    The smooth, coordinated fine motor movements required to play a musical instrument are not only highly valued in our society; they also predict academic success in areas that generalize beyond the motor domain, including reading and math readiness, and verbal abilities. Interestingly, motor skills that overlap with those required to play a musical instrument (e.g., sequential finger tapping) markedly improve (get faster) over a night of sleep, but not after a day spent awake. Here we studied whether individuals who play musical instruments that require fine finger motor skill are better able to learn and consolidate a simple motor skill task compared to those who do not play an instrument, and whether sleep-specific motor skill benefits interact with those imparted by musical experience. We used the motor sequence task (MST), which taps into a core skill learned and used by musicians, namely, the repetition of learned sequences of key presses. Not surprisingly, we found that musicians were faster than non-musicians throughout the learning session, typing more correct sequences per 30-sec trial. In the 12hrs that followed learning we found that sleep and musical experience both led to greater improvement in performance. Surprisingly, musicians retested after a day of wake performed slightly better than non-musicians who had slept between training and retest, suggesting that musicians have the capacity to consolidate a motor skill across waking hours, while non-musicians appear to lack this capacity. These findings suggest that the musically trained brain is optimized for motor skill consolidation across both wake and sleep, and that sleep may simply promote a more effective use of this machinery. In sum, there may be something special about musicians, perhaps a neurophysiological advantage, that leads to both the expected—greater motor speed at learning—and the surprising—greater motor skill improvement over time. PMID:27472398

  5. Experience Playing a Musical Instrument and Overnight Sleep Enhance Performance on a Sequential Typing Task.

    Science.gov (United States)

    Tucker, Matthew A; Nguyen, Nam; Stickgold, Robert

    2016-01-01

    The smooth, coordinated fine motor movements required to play a musical instrument are not only highly valued in our society; they also predict academic success in areas that generalize beyond the motor domain, including reading and math readiness, and verbal abilities. Interestingly, motor skills that overlap with those required to play a musical instrument (e.g., sequential finger tapping) markedly improve (get faster) over a night of sleep, but not after a day spent awake. Here we studied whether individuals who play musical instruments that require fine finger motor skill are better able to learn and consolidate a simple motor skill task compared to those who do not play an instrument, and whether sleep-specific motor skill benefits interact with those imparted by musical experience. We used the motor sequence task (MST), which taps into a core skill learned and used by musicians, namely, the repetition of learned sequences of key presses. Not surprisingly, we found that musicians were faster than non-musicians throughout the learning session, typing more correct sequences per 30-sec trial. In the 12hrs that followed learning we found that sleep and musical experience both led to greater improvement in performance. Surprisingly, musicians retested after a day of wake performed slightly better than non-musicians who had slept between training and retest, suggesting that musicians have the capacity to consolidate a motor skill across waking hours, while non-musicians appear to lack this capacity. These findings suggest that the musically trained brain is optimized for motor skill consolidation across both wake and sleep, and that sleep may simply promote a more effective use of this machinery. In sum, there may be something special about musicians, perhaps a neurophysiological advantage, that leads to both the expected-greater motor speed at learning-and the surprising-greater motor skill improvement over time.

  6. Musical practice and cognitive aging: two cross-sectional studies point to phonemic fluency as a potential candidate for a use-dependent adaptation.

    Science.gov (United States)

    Fauvel, Baptiste; Groussard, Mathilde; Mutlu, Justine; Arenaza-Urquijo, Eider M; Eustache, Francis; Desgranges, Béatrice; Platel, Hervé

    2014-01-01

    Because of permanent use-dependent brain plasticity, all lifelong individuals' experiences are believed to influence the cognitive aging quality. In older individuals, both former and current musical practices have been associated with better verbal skills, visual memory, processing speed, and planning function. This work sought for an interaction between musical practice and cognitive aging by comparing musician and non-musician individuals for two lifetime periods (middle and late adulthood). Long-term memory, auditory-verbal short-term memory, processing speed, non-verbal reasoning, and verbal fluencies were assessed. In Study 1, measures of processing speed and auditory-verbal short-term memory were significantly better performed by musicians compared with controls, but both groups displayed the same age-related differences. For verbal fluencies, musicians scored higher than controls and displayed different age effects. In Study 2, we found that lifetime period at training onset (childhood vs. adulthood) was associated with phonemic, but not semantic, fluency performances (musicians who had started to practice in adulthood did not perform better on phonemic fluency than non-musicians). Current frequency of training did not account for musicians' scores on either of these two measures. These patterns of results are discussed by setting the hypothesis of a transformative effect of musical practice against a non-causal explanation.

  7. Thai Rate-Varied Vowel Length Perception and the Impact of Musical Experience.

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    Cooper, Angela; Wang, Yue; Ashley, Richard

    2017-03-01

    Musical experience has been demonstrated to play a significant role in the perception of non-native speech contrasts. The present study examined whether or not musical experience facilitated the normalization of speaking rate in the perception of non-native phonemic vowel length contrasts. Native English musicians and non-musicians (as well as native Thai control listeners) completed identification and AX (same-different) discrimination tasks with Thai vowels contrasting in phonemic length at three speaking rates. Results revealed facilitative effects of musical experience in the perception of Thai vowel length categories. Specifically, the English musicians patterned similarly to the native Thai listeners, demonstrating higher accuracy at identifying and discriminating between-category vowel length distinctions than at discriminating within-category durational differences due to speaking rate variations. The English musicians also outperformed non-musicians at between-category vowel length discriminations across speaking rates, indicating musicians' superiority in perceiving categorical phonemic length differences. These results suggest that musicians' attunement to rhythmic and temporal information in music transferred to facilitating their ability to normalize contextual quantitative variations (due to speaking rate) and perceive non-native temporal phonemic contrasts.

  8. Effect of skill level on recall of visually presented patterns of musical notes.

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    Kalakoski, Virpi

    2007-04-01

    Expertise effects in music were studied in a new task: the construction of mental representations from separate fragments. Groups of expert musicians and non-musicians were asked to recall note patterns presented visually note by note. Skill-level, musical well-formedness of the note patterns and presentation mode were varied. The musicians recalled note patterns better than the non-musicians, even though the presentation was visual and successive. Furthermore, only musicians' performance was affected by musical well-formedness of the note patterns when visual gestalt properties, verbal rehearsability, and familiarity of the stimuli were controlled. Musicians were also able to use letter names referring to notes as efficiently as visual notes, which indicates that the better recall of musicians cannot be explained by perceptual visual chunking. These results and the effect of skill level on the distribution of recall errors indicate that the ability to chunk incoming information into meaningful units does not require that complete familiar patterns are accessible to encoding processes, yet previous knowledge stored in long-term memory affects representation construction in working memory. The present method offers a new reliable tool, and its implications to the research on construction of representations and musical imagery are discussed.

  9. Musical Expertise Increases Top–Down Modulation Over Hippocampal Activation during Familiarity Decisions

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    Pierre Gagnepain

    2017-09-01

    Full Text Available The hippocampus has classically been associated with episodic memory, but is sometimes also recruited during semantic memory tasks, especially for the skilled exploration of familiar information. Cognitive control mechanisms guiding semantic memory search may benefit from the set of cognitive processes at stake during musical training. Here, we examined using functional magnetic resonance imaging, whether musical expertise would promote the top–down control of the left inferior frontal gyrus (LIFG over the generation of hippocampally based goal-directed thoughts mediating the familiarity judgment of proverbs and musical items. Analyses of behavioral data confirmed that musical experts more efficiently access familiar melodies than non-musicians although such increased ability did not transfer to verbal semantic memory. At the brain level, musical expertise specifically enhanced the recruitment of the hippocampus during semantic access to melodies, but not proverbs. Additionally, hippocampal activation contributed to speed of access to familiar melodies, but only in musicians. Critically, causal modeling of neural dynamics between LIFG and the hippocampus further showed that top–down excitatory regulation over the hippocampus during familiarity decision specifically increases with musical expertise – an effect that generalized across melodies and proverbs. At the local level, our data show that musical expertise modulates the online recruitment of hippocampal response to serve semantic memory retrieval of familiar melodies. The reconfiguration of memory network dynamics following musical training could constitute a promising framework to understand its ability to preserve brain functions.

  10. Degree of musical expertise modulates higher order brain functioning.

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    Oechslin, Mathias S; Van De Ville, Dimitri; Lazeyras, François; Hauert, Claude-Alain; James, Clara E

    2013-09-01

    Using functional magnetic resonance imaging, we show for the first time that levels of musical expertise stepwise modulate higher order brain functioning. This suggests that degree of training intensity drives such cerebral plasticity. Participants (non-musicians, amateurs, and expert musicians) listened to a comprehensive set of specifically composed string quartets with hierarchically manipulated endings. In particular, we implemented 2 irregularities at musical closure that differed in salience but were both within the tonality of the piece (in-key). Behavioral sensitivity scores (d') of both transgressions perfectly separated participants according to their level of musical expertise. By contrasting brain responses to harmonic transgressions against regular endings, functional brain imaging data showed compelling evidence for stepwise modulation of brain responses by both violation strength and expertise level in a fronto-temporal network hosting universal functions of working memory and attention. Additional independent testing evidenced an advantage in visual working memory for the professionals, which could be predicted by musical training intensity. The here introduced findings of brain plasticity demonstrate the progressive impact of musical training on cognitive brain functions that may manifest well beyond the field of music processing.

  11. Moral development, executive functioning, peak experiences and brain patterns in professional and amateur classical musicians: interpreted in light of a Unified Theory of Performance.

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    Travis, Frederick; Harung, Harald S; Lagrosen, Yvonne

    2011-12-01

    This study compared professional and amateur classical musicians matched for age, gender, and education on reaction times during the Stroop color-word test, brainwaves during an auditory ERP task and during paired reaction-time tasks, responses on the Gibbs Sociomoral Reflection questionnaire, and self-reported frequencies of peak experiences. Professional musicians were characterized by: (1) lower color-word interference effects (Stroop task), (2) faster categorization of rare expected stimuli (P3b), and a trend for faster processing of rare unexpected stimuli (P3a), (3) higher scores on the Sociomoral Reflection questionnaire, and (4) more frequent peak experiences during rest, tasks, and sleep. Both groups had high values on the Brain Integration Scale. These findings are interpreted in light of a Unified Theory of Performance, which posits that effectiveness in any area is influenced by one's level of mind-brain development-emotional, cognitive, moral, ego and cortical development-with higher mind-brain development supporting greater effectiveness in any domain.

  12. What Happens When the Musicians Leave? Case Study of a Jessie’s Fund Project to Develop Teachers’ Skills and Confidence

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    Tom Northey

    2013-07-01

    Full Text Available This article describes a project delivered by Jessie’s Fund, a UK charity which supports children through music therapy and creative music work. The project took place between January and July 2012 and involved staff and pupils from a special school in the north of England. The article describes briefly how music is delivered in special schools across the UK and explains some of the challenges Jessie’s Fund has faced in having a lasting impact on how schools cover the music curriculum for children with complex needs. In 2012 Jessie’s Fund partnered with a special school in the north of England to design a new approach which focused intensively on the development needs of staff. Jessie’s Fund musicians visited pairs of staff over a period of six months to build their skills and confidence in leading music sessions with their pupils. The project was considerably more effective than some previous ‘musician-led’ activities and had a significant, whole-school impact. This article describes the work that took place, the responses from the staff involved and how Jessie’s Fund intends to use this learning for future projects.

  13. Ocorrência de sinais e sintomas de disfunção temporomandibular em músicos Occurrence of signs and symptoms of temporomandibular dysfunction in musicians

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    José Stechman Neto

    2009-01-01

    Full Text Available OBJETIVO: Verificar a prevalência de sinais e sintomas de disfunção temporomandibular em grupos de músicos profissionais, intérpretes de instrumentos de sopro e de cordas. MÉTODOS: Participaram 92 músicos, com idades entre 18 e 58 anos. Foram entrevistados 70 músicos intérpretes de instrumentos de sopro (76,08% e 22 músicos intérpretes de instrumentos de cordas (23,91% pertencentes à Orquestra Sinfônica do Paraná, à Banda da Polícia Militar do Paraná ou à Banda do Exército. Foi realizada entrevista que constou de questões referentes à identificação, tempo de prática do instrumento e presença de sinais, sintomas e hábitos relacionados às disfunções temporomandibulares. Comparou-se as respostas dos músicos por meio do teste de diferença de proporções. RESULTADOS: Trinta e nove músicos (42,3% percebem que rangem e/ou apertam os dentes, 23 (25% reportaram sentir dor na articulação temporomandibular, 39 músicos (42% relataram escutar ruídos na articulação temporomandibular, 37 (40% sensação de plenitude auricular e 33 (35% presença de zumbido. Não houve diferença significativa entre os instrumentistas de sopro e de corda no que se refere à presença de sinais e sintomas de disfunção temporomandibular. CONCLUSÃO: A somatória dos fatores apresentados coloca os praticantes de determinados instrumentos musicais como um grupo suscetível a apresentar sinais e sintomas de disfunção temporomandibular, incluindo sintomas auditivos, podendo tal prática ser considerada tanto um fator desencadeante, quanto um fator agravante ou perpetuador de um problema já existente.PURPOSE: To verify the prevalence of signs and symptoms of temporomandibular dysfunction in groups of professional musicians, interpreters of brass and string instruments. METHODS: Ninety two musicians, with ages varying from 18 to 58 years, participated on the study. Seventy musicians who played brass instruments (76.08% and 22 musicians who

  14. Queixas musculoesqueléticas em músicos: prevalência e fatores de risco Playing-related musculoskeletal complaints among musicians: prevalence and risk factors

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    Annemarie Frank

    2007-06-01

    Full Text Available Disfunções musculoesqueléticas relacionadas à prática instrumental são freqüentes entre músicos, atingindo acima de 70% dos componentes de orquestras. O exercício da música como profissão requer ampla diferenciação e produtividade de capacidades tanto psicológicas, mentais, como também físicas. Muitos fatores de risco contribuem para o surgimento de queixas musculoesqueléticas durante a prática musical, entre eles: a técnica individual, as condições físicas do músico e o instrumento em si. Podem ocorrer distúrbios reumatológicos, neurológicos, dermatológicos e psicológicos, assim como problemas de visão e audição e do complexo orofacial. As queixas no aparelho motor manifestam-se, muitas vezes, como dor, fraqueza ou tensão. Os diagnósticos do membro superior mais freqüentemente estabelecidos são as tendinopatias, mialgias e a síndrome do superuso. O médico e o terapeuta responsáveis devem conhecer as atividades e cargas do músico profissional, para que sejam proporcionadas avaliação e estratégia terapêutica adequadas.Playing-related musculoskeletal complaints are often found among musicians, taking a toll in more than 70% of professional musicians in orchestras. Professional musical performance requires a high level of differenciation and efficiency of psychological, mental and physical skills. Many risk factors can contribute to the development of musculoskeletal conditions in this special population, like the individual technique, physical fitness of the musician and the instrument itself. Many rheumatic, neurological, dermatological, and psychiatric problems are reported, as well as dysfunctions of the visual, auditive and oral system. The musculoskeletal complaints often manifest as pain, weakness or tension, and the most common diagnoses of the upper limb are tendinopathies, myalgia and overuse syndromes. It is necessary for the skilfull physician and physical therapist to have a thorough knowledge

  15. The impact of instrument-specific musical training on rhythm perception and production

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    Tomas Edward Matthews

    2016-02-01

    Full Text Available Various studies have shown that musical training can improve rhythmic perception and production. These findings tell us that music training can result in rhythm processing advantages but they do not tell us whether practicing a particular instrument could lead to specific effects on rhythm perception or production. The current study used a battery of four rhythm perception and production tasks that were designed to test both higher- and lower-level aspects of rhythm processing. Four groups of musicians (drummers, singers, pianists, string players and a control group of non-musicians were tested. Within-task differences in performance showed that factors such as meter, metrical complexity, tempo and beat phase significantly affected the ability to perceive and synchronize taps to a rhythm or beat. Musicians showed better performance on all rhythm tasks compared to non-musicians. Interestingly, our results revealed no significant differences between musician groups for the vast majority of task measures. This is despite the fact that all musicians were selected to have the majority of their training on the target instrument, had on average more than ten years of experience on their instrument, and were currently practicing. These results suggest that general musical experience is more important than specialized musical experience with regards to perception and production of rhythms.

  16. Music expertise shapes audiovisual temporal integration windows for speech, sinewave speech, and music.

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    Lee, Hweeling; Noppeney, Uta

    2014-01-01

    This psychophysics study used musicians as a model to investigate whether musical expertise shapes the temporal integration window for audiovisual speech, sinewave speech, or music. Musicians and non-musicians judged the audiovisual synchrony of speech, sinewave analogs of speech, and music stimuli at 13 audiovisual stimulus onset asynchronies (±360, ±300 ±240, ±180, ±120, ±60, and 0 ms). Further, we manipulated the duration of the stimuli by presenting sentences/melodies or syllables/tones. Critically, musicians relative to non-musicians exhibited significantly narrower temporal integration windows for both music and sinewave speech. Further, the temporal integration window for music decreased with the amount of music practice, but not with age of acquisition. In other words, the more musicians practiced piano in the past 3 years, the more sensitive they became to the temporal misalignment of visual and auditory signals. Collectively, our findings demonstrate that music practicing fine-tunes the audiovisual temporal integration window to various extents depending on the stimulus class. While the effect of piano practicing was most pronounced for music, it also generalized to other stimulus classes such as sinewave speech and to a marginally significant degree to natural speech.

  17. Face Recognition, Musical Appraisal, and Emotional Crossmodal Bias.

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    Invitto, Sara; Calcagnì, Antonio; Mignozzi, Arianna; Scardino, Rosanna; Piraino, Giulia; Turchi, Daniele; De Feudis, Irio; Brunetti, Antonio; Bevilacqua, Vitoantonio; de Tommaso, Marina

    2017-01-01

    Recent research on the crossmodal integration of visual and auditory perception suggests that evaluations of emotional information in one sensory modality may tend toward the emotional value generated in another sensory modality. This implies that the emotions elicited by musical stimuli can influence the perception of emotional stimuli presented in other sensory modalities, through a top-down process. The aim of this work was to investigate how crossmodal perceptual processing influences emotional face recognition and how potential modulation of this processing induced by music could be influenced by the subject's musical competence. We investigated how emotional face recognition processing could be modulated by listening to music and how this modulation varies according to the subjective emotional salience of the music and the listener's musical competence. The sample consisted of 24 participants: 12 professional musicians and 12 university students (non-musicians). Participants performed an emotional go/no-go task whilst listening to music by Albeniz, Chopin, or Mozart. The target stimuli were emotionally neutral facial expressions. We examined the N170 Event-Related Potential (ERP) and behavioral responses (i.e., motor reaction time to target recognition and musical emotional judgment). A linear mixed-effects model and a decision-tree learning technique were applied to N170 amplitudes and latencies. The main findings of the study were that musicians' behavioral responses and N170 is more affected by the emotional value of music administered in the emotional go/no-go task and this bias is also apparent in responses to the non-target emotional face. This suggests that emotional information, coming from multiple sensory channels, activates a crossmodal integration process that depends upon the stimuli emotional salience and the listener's appraisal.

  18. Face Recognition, Musical Appraisal, and Emotional Crossmodal Bias

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    Sara Invitto

    2017-08-01

    Full Text Available Recent research on the crossmodal integration of visual and auditory perception suggests that evaluations of emotional information in one sensory modality may tend toward the emotional value generated in another sensory modality. This implies that the emotions elicited by musical stimuli can influence the perception of emotional stimuli presented in other sensory modalities, through a top-down process. The aim of this work was to investigate how crossmodal perceptual processing influences emotional face recognition and how potential modulation of this processing induced by music could be influenced by the subject's musical competence. We investigated how emotional face recognition processing could be modulated by listening to music and how this modulation varies according to the subjective emotional salience of the music and the listener's musical competence. The sample consisted of 24 participants: 12 professional musicians and 12 university students (non-musicians. Participants performed an emotional go/no-go task whilst listening to music by Albeniz, Chopin, or Mozart. The target stimuli were emotionally neutral facial expressions. We examined the N170 Event-Related Potential (ERP and behavioral responses (i.e., motor reaction time to target recognition and musical emotional judgment. A linear mixed-effects model and a decision-tree learning technique were applied to N170 amplitudes and latencies. The main findings of the study were that musicians' behavioral responses and N170 is more affected by the emotional value of music administered in the emotional go/no-go task and this bias is also apparent in responses to the non-target emotional face. This suggests that emotional information, coming from multiple sensory channels, activates a crossmodal integration process that depends upon the stimuli emotional salience and the listener's appraisal.

  19. Face Recognition, Musical Appraisal, and Emotional Crossmodal Bias

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    Invitto, Sara; Calcagnì, Antonio; Mignozzi, Arianna; Scardino, Rosanna; Piraino, Giulia; Turchi, Daniele; De Feudis, Irio; Brunetti, Antonio; Bevilacqua, Vitoantonio; de Tommaso, Marina

    2017-01-01

    Recent research on the crossmodal integration of visual and auditory perception suggests that evaluations of emotional information in one sensory modality may tend toward the emotional value generated in another sensory modality. This implies that the emotions elicited by musical stimuli can influence the perception of emotional stimuli presented in other sensory modalities, through a top-down process. The aim of this work was to investigate how crossmodal perceptual processing influences emotional face recognition and how potential modulation of this processing induced by music could be influenced by the subject's musical competence. We investigated how emotional face recognition processing could be modulated by listening to music and how this modulation varies according to the subjective emotional salience of the music and the listener's musical competence. The sample consisted of 24 participants: 12 professional musicians and 12 university students (non-musicians). Participants performed an emotional go/no-go task whilst listening to music by Albeniz, Chopin, or Mozart. The target stimuli were emotionally neutral facial expressions. We examined the N170 Event-Related Potential (ERP) and behavioral responses (i.e., motor reaction time to target recognition and musical emotional judgment). A linear mixed-effects model and a decision-tree learning technique were applied to N170 amplitudes and latencies. The main findings of the study were that musicians' behavioral responses and N170 is more affected by the emotional value of music administered in the emotional go/no-go task and this bias is also apparent in responses to the non-target emotional face. This suggests that emotional information, coming from multiple sensory channels, activates a crossmodal integration process that depends upon the stimuli emotional salience and the listener's appraisal. PMID:28824392

  20. Keeping brains young with making music.

    Science.gov (United States)

    Rogenmoser, Lars; Kernbach, Julius; Schlaug, Gottfried; Gaser, Christian

    2017-08-16

    Music-making is a widespread leisure and professional activity that has garnered interest over the years due to its effect on brain and cognitive development and its potential as a rehabilitative and restorative therapy of brain dysfunctions. We investigated whether music-making has a potential age-protecting effect on the brain. For this, we studied anatomical magnetic resonance images obtained from three matched groups of subjects who differed in their lifetime dose of music-making activities (i.e., professional musicians, amateur musicians, and non-musicians). For each subject, we calculated a so-called BrainAGE score which corresponds to the discrepancy (in years) between chronological age and the "age of the brain", with negative values reflecting an age-decelerating brain and positive values an age-accelerating brain, respectively. The index of "brain age" was estimated using a machine-learning algorithm that was trained in a large independent sample to identify anatomical correlates of brain-aging. Compared to non-musicians, musicians overall had lower BrainAGE scores, with amateur musicians having the lowest scores suggesting that music-making has an age-decelerating effect on the brain. Unlike the amateur musicians, the professional musicians showed a positive correlation between their BrainAGE scores and years of music-making, possibly indicating that engaging more intensely in just one otherwise enriching activity might not be as beneficial than if the activity is one of several that an amateur musician engages in. Intense music-making activities at a professional level could also lead to stress-related interferences and a less enriched environment than that of amateur musicians, possibly somewhat diminishing the otherwise positive effect of music-making.

  1. Diferenças nas prioridades axiológicas de músicos e advogados Differences o value priorities between musicians and lawyers

    Directory of Open Access Journals (Sweden)

    Alvaro Tamayo

    1998-01-01

    Full Text Available O objetivo desta pesquisa foi verificar se as conseqüências do exercício das profissões de músico e advogado são, respectivamente, relevantes para a obtenção de metas motivacionais inerentes às prioridades axiológicas do indivíduo. A teoria dos valores de Schwartz foi utilizada para estudar a relação entre as prioridades axiológicas com o comportamento profissional de músicos e advogados. O inventário de valores foi administrado a uma amostra de 122 sujeitos, sendo 71 advogados e 51 músicos profissionais. O tempo de atuação médio na área profissional foi de 9,3 anos (D. P. = 9,42. A Anova 2X2 (gênero e profissão foi calculada ao nível de cada um dos dez tipos motivacionais de valores e de cada um dos quatro fatores de segunda ordem. Os músicos deram mais importância do que os advogados ao hedonismo e à estimulação. Os advogados enfatizaram mais do que os músicos três tipos motivacionais de valores: conformidade, segurança e poder. O perfil dos músicos é caracterizado pela procura de mudança, de sensações novas e de prazer. É o pólo do individualismo, da autonomia intelectual e afetiva e da abertura à mudança. No pólo oposto desta dimensão encontra-se a tendência ao conservadorismo, ao coletivismo, a preservar o status quo, que foi a característica do perfil dos advogados. Assim, estas duas profissões são baseadas em motivações opostas. De um lado, a motivação a inovar, a criar, a procurar formas novas de pensar e de sentir mesmo às custas de errar e, do outro lado, a motivação a conservar e a respeitar as tradições, as normas e os usos da sociedade.The objective of this research was to know whether the consequences of practicing professions such as lawyer and musician are relevant to obtain motivational aims inherent to the individual’s axiological priorities. Schwartz’s theory of values which emphasizes the motivational bases of values has been used. A sample of 122 subjects, 71

  2. Rockeras en Chile: negación de la reivindicación Women Rock Musicians in Chile: Negation of Self-Assertion

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    Guadalupe Becker

    2010-06-01

    Full Text Available A través de un estudio comparativo de algunas rockeras nacionales, el presente trabajo busca reflexionar críticamente acerca del rol adjudicado a la mujer dentro de los círculos fuertemente masculinos que circundan este movimiento musical, junto con examinar cómo se refleja en performances y atributos musicales que responden a otros paradigmas simbólicos.Based on a comparative study of some women rock musicians from Chile, this article presents a critical reflection about the roles cast on women within the predominantly male rock circuits in Chile. Besides, an analysis is presented of the relationships of these roles with performances and musical attributes pertaining to other symbolic paradigms.

  3. Matter over mind: a randomised-controlled trial of single-session biofeedback training on performance anxiety and heart rate variability in musicians.

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    Ruth Wells

    Full Text Available BACKGROUND: Musical performance is a skilled activity performed under intense pressure, thus is often a profound source of anxiety. In other contexts, anxiety and its concomitant symptoms of sympathetic nervous system arousal have been successfully ameliorated with HRV biofeedback (HRV BF, a technique involving slow breathing which augments autonomic and emotional regulatory capacity. OBJECTIVE: This randomised-controlled study explored the impact of a single 30-minute session of HRV BF on anxiety in response to a highly stressful music performance. METHODS: A total of 46 trained musicians participated in this study and were randomly allocated to a slow breathing with or without biofeedback or no-treatment control group. A 3 Group×2 Time mixed experimental design was employed to compare the effect of group before and after intervention on performance anxiety (STAI-S and frequency domain measures of HRV. RESULTS: Slow breathing groups (n=30 showed significantly greater improvements in high frequency (HF and LF/HF ratio measures of HRV relative to control (n=15 during 5 minute recordings of performance anticipation following the intervention (effect size: η(2 =0.122 and η(2 =0.116, respectively. The addition of biofeedback to a slow breathing protocol did not produce differential results. While intervention groups did not exhibit an overall reduction in self-reported anxiety, participants with high baseline anxiety who received the intervention (n=15 displayed greater reductions in self-reported state anxiety relative to those in the control condition (n=7 (r=0.379. CONCLUSIONS: These findings indicate that a single session of slow breathing, regardless of biofeedback, is sufficient for controlling physiological arousal in anticipation of psychosocial stress associated with music performance and that slow breathing is particularly helpful for musicians with high levels of anxiety. Future research is needed to further examine the effects of

  4. Characteristics of corticospinal projections to the intrinsic hand muscles in skilled harpists.

    Science.gov (United States)

    Buick, Alison R; Kennedy, Niamh C; Carson, Richard G

    2016-01-26

    The process of learning to play a musical instrument necessarily alters the functional organisation of the cortical motor areas that are involved in generating the required movements. In the case of the harp, the demands placed on the motor system are quite specific. During performance, all digits with the sole exception of the little finger are used to pluck the strings. With a view to elucidating the impact of having acquired this highly specialised musical skill on the characteristics of corticospinal projections to the intrinsic hand muscles, focal transcranial magnetic stimulation (TMS) was used to elicit motor evoked potentials (MEPs) in three muscles (of the left hand): abductor pollicis brevis (APB); first dorsal interosseous (FDI); and abductor digiti minimi (ADM) in seven harpists. Seven non-musicians served as controls. With respect to the FDI muscle-which moves the index finger, the harpists exhibited reliably larger MEP amplitudes than those in the control group. In contrast, MEPs evoked in the ADM muscle-which activates the little finger, were smaller in the harpists than in the non-musicians. The locations on the scalp over which magnetic stimulation elicited discriminable responses in ADM also differed between the harpists and the non-musicians. This specific pattern of variation in the excitability of corticospinal projections to these intrinsic hand muscles exhibited by harpists is in accordance with the idiosyncratic functional demands that are imposed in playing this instrument. Crown Copyright © 2015. Published by Elsevier Ireland Ltd. All rights reserved.

  5. Does tonality boost short-term memory in congenital amusia?

    Science.gov (United States)

    Albouy, Philippe; Schulze, Katrin; Caclin, Anne; Tillmann, Barbara

    2013-11-06

    Congenital amusia is a neuro-developmental disorder of music perception and production. Recent findings have demonstrated that this deficit is linked to an impaired short-term memory for tone sequences. As it has been shown before that non-musicians' implicit knowledge of musical regularities can improve short-term memory for tone information, the present study investigated if this type of implicit knowledge could also influence amusics' short-term memory performance. Congenital amusics and their matched controls, who were non-musicians, had to indicate whether sequences of five tones, presented in pairs, were the same or different; half of the pairs respected musical regularities (tonal sequences) and the other half did not (atonal sequences). As previously reported for non-musician participants, the control participants showed better performance (as measured with d') for tonal sequences than for atonal ones. While this improvement was not observed in amusics, both control and amusic participants showed faster response times for tonal sequences than for atonal sequences. These findings suggest that some implicit processing of tonal structures is potentially preserved in congenital amusia. This observation is encouraging as it strengthens the perspective to exploit implicit knowledge to help reducing pitch perception and memory deficits in amusia. © 2013 Elsevier B.V. All rights reserved.

  6. Experience Drives Synchronization: The phase and Amplitude Dynamics of Neural Oscillations to Musical Chords Are Differentially Modulated by Musical Expertise.

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    Karen Johanne Pallesen

    Full Text Available Musical expertise is associated with structural and functional changes in the brain that underlie facilitated auditory perception. We investigated whether the phase locking (PL and amplitude modulations (AM of neuronal oscillations in response to musical chords are correlated with musical expertise and whether they reflect the prototypicality of chords in Western tonal music. To this aim, we recorded magnetoencephalography (MEG while musicians and non-musicians were presented with common prototypical major and minor chords, and with uncommon, non-prototypical dissonant and mistuned chords, while watching a silenced movie. We then analyzed the PL and AM of ongoing oscillations in the theta (4-8 Hz alpha (8-14 Hz, beta- (14-30 Hz and gamma- (30-80 Hz bands to these chords. We found that musical expertise was associated with strengthened PL of ongoing oscillations to chords over a wide frequency range during the first 300 ms from stimulus onset, as opposed to increased alpha-band AM to chords over temporal MEG channels. In musicians, the gamma-band PL was strongest to non-prototypical compared to other chords, while in non-musicians PL was strongest to minor chords. In both musicians and non-musicians the long-latency (> 200 ms gamma-band PL was also sensitive to chord identity, and particularly to the amplitude modulations (beats of the dissonant chord. These findings suggest that musical expertise modulates oscillation PL to musical chords and that the strength of these modulations is dependent on chord prototypicality.

  7. A longitudinal study on children's music training experience and academic development.

    Science.gov (United States)

    Yang, Hua; Ma, Weiyi; Gong, Diankun; Hu, Jiehui; Yao, Dezhong

    2014-07-28

    This study examined the relation between long-term music training and child development based on 250 Chinese elementary school students' academic development of first language (L1), second language (L2), and mathematics. We found that musician children outperformed non-musician children only on musical achievement and second language development. Additionally, although music training appeared to be correlated with children's final academic development of L1, L2, and mathematics, it did not independently contribute to the development of L1 or mathematical skills. Our findings suggest caution in interpreting the positive findings on the non-musical cognitive benefits of music learning.

  8. Effects of musicianship and experimental task on perceptual segmentation

    DEFF Research Database (Denmark)

    Hartmann, Martin; Lartillot, Olivier; Toiviainen, Petri

    2015-01-01

    The perceptual structure of music is a fundamental issue in music psychology that can be systematically addressed via computational models. This study estimated the contribution of spectral, rhythmic and tonal descriptors for prediction of perceptual segmentation across stimuli. In a real-time task...... important to predict segmentation by listeners. Our results suggest that musicians pay attention to more features than non-musicians, including more high-level structure interactions. Prediction of non-real-time annotations involved more features, particularly interactions thereof, suggesting high context...

  9. Neurophysiological Evidence That Musical Training Influences the Recruitment of Right Hemispheric Homologues for Speech Perception

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    McNeel Gordon Jantzen

    2014-03-01

    Full Text Available Musicians have a more accurate temporal and tonal representation of auditory stimuli than their non-musician counterparts (Kraus & Chandrasekaran, 2010; Parbery-Clark, Skoe, & Kraus, 2009; Zendel & Alain, 2008; Musacchia, Sams, Skoe, & Kraus, 2007. Musicians who are adept at the production and perception of music are also more sensitive to key acoustic features of speech such as voice onset timing and pitch. Together, these data suggest that musical training may enhance the processing of acoustic information for speech sounds. In the current study, we sought to provide neural evidence that musicians process speech and music in a similar way. We hypothesized that for musicians, right hemisphere areas traditionally associated with music are also engaged for the processing of speech sounds. In contrast we predicted that in non-musicians processing of speech sounds would be localized to traditional left hemisphere language areas. Speech stimuli differing in voice onset time was presented using a dichotic listening paradigm. Subjects either indicated aural location for a specified speech sound or identified a specific speech sound from a directed aural location. Musical training effects and organization of acoustic features were reflected by activity in source generators of the P50. This included greater activation of right middle temporal gyrus (MTG and superior temporal gyrus (STG in musicians. The findings demonstrate recruitment of right hemisphere in musicians for discriminating speech sounds and a putative broadening of their language network. Musicians appear to have an increased sensitivity to acoustic features and enhanced selective attention to temporal features of speech that is facilitated by musical training and supported, in part, by right hemisphere homologues of established speech processing regions of the brain.

  10. Psicodinâmica do trabalho dos músicos de uma banda de blues The psychodynamics of work of musicians of a blues band

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    Daniela Tavares Ferreira de Assis

    2008-04-01

    Full Text Available O presente artigo apresenta dados de uma pesquisa que levantou as vivências de prazer e sofrimento de cinco componentes de uma banda de blues, e o trabalho como construtor de identidade por meio do discurso de profissionais: uma banda de blues com renome no mercado fonográfico da região Centro-Oeste do Brasil. O delineamento deste estudo privilegiou os preceitos "dejourianos" como perspectiva norteadora de prazer e sofrimento. Os dados coletados através de entrevistas foram tratados por meio da Análise Gráfica do Discurso de Lane (1985. Como resultados, emergiram categorias relacionadas à percepção que tinham sobre: as condições de trabalho, as relações de trabalho, organização de trabalho, as vivências de prazer e sofrimento no trabalho e as estratégias de enfrentamento. Como indicadores de prazer e sofrimento, foram citados: a dupla jornada de trabalho, o sentido do trabalho de criação vinculado á arte e o preconceito social que enfrentam pelo fato de ser artista e trabalhar à noite.This article presents the results of a research that was carried out with blues band musicians in the center-west region of Brazil. It seeks to learn about the suffering and pleasure experiences of the five components of this blues band, which is famous in the region. The delineation of this study had privileged the concepts developed by Dejours as a guideline, focusing on the pleasure and suffering experiences. Data had been collected by interview and had been treated by Lane's Graphic Analysis of Speech. The results indicate pleasure and suffering experiences as: double work journey, sense of work as a creative one and related to art, and social prejudice for being artists and working at night. Categories related to the musicians' perceptions had also emerged involving work conditions, work relations, organization, pleasure and suffering experiences and strategies of confrontation.

  11. Expertise in musical improvisation and creativity: the mediation of idea evaluation.

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    Oded M Kleinmintz

    Full Text Available The current study explored the influence of musical expertise, and specifically training in improvisation on creativity, using the framework of the twofold model, according to which creativity involves a process of idea generation and idea evaluation. Based on the hypothesis that a strict evaluation phase may have an inhibiting effect over the generation phase, we predicted that training in improvisation may have a "releasing effect" on the evaluation system, leading to greater creativity. To examine this hypothesis, we compared performance among three groups--musicians trained in improvisation, musicians not trained in improvisation, and non-musicians--on divergent thinking tasks and on their evaluation of creativity. The improvisation group scored higher on fluency and originality compared to the other two groups. Among the musicians, evaluation of creativity mediated how experience in improvisation was related to originality and fluency scores. It is concluded that deliberate practice of improvisation may have a "releasing effect" on creativity.

  12. Expertise in musical improvisation and creativity: the mediation of idea evaluation.

    Science.gov (United States)

    Kleinmintz, Oded M; Goldstein, Pavel; Mayseless, Naama; Abecasis, Donna; Shamay-Tsoory, Simone G

    2014-01-01

    The current study explored the influence of musical expertise, and specifically training in improvisation on creativity, using the framework of the twofold model, according to which creativity involves a process of idea generation and idea evaluation. Based on the hypothesis that a strict evaluation phase may have an inhibiting effect over the generation phase, we predicted that training in improvisation may have a "releasing effect" on the evaluation system, leading to greater creativity. To examine this hypothesis, we compared performance among three groups--musicians trained in improvisation, musicians not trained in improvisation, and non-musicians--on divergent thinking tasks and on their evaluation of creativity. The improvisation group scored higher on fluency and originality compared to the other two groups. Among the musicians, evaluation of creativity mediated how experience in improvisation was related to originality and fluency scores. It is concluded that deliberate practice of improvisation may have a "releasing effect" on creativity.

  13. Preservation of cognitive and musical abilities of a musician following surgery for chronic drug-resistant temporal lobe epilepsy: a case report.

    Science.gov (United States)

    Hegde, Shantala; Bharath, Rose Dawn; Rao, Malla Bhaskara; Shiva, Karthik; Arimappamagan, Arivazhagan; Sinha, Sanjib; Rajeswaran, Jamuna; Satishchandra, Parthasarathy

    2016-12-01

    Mesial temporal lobe epilepsy (TLE) affects a range of cognitive functions and musical abilities. We report a 16-year-old boy diagnosed with drug-resistant right-medial TLE. He is a professional musician, trained in Carnatic classical music. Clinical, electrophysiological, magnetic resonance imaging (MRI) and positron emission tomography evaluation localized the seizure focus to the right medial temporal lobe. Patient underwent detailed neuropsychological evaluation and functional MRI (fMRI) for musical abilities prior to surgery. He underwent an awake craniotomy and tailored resection of lateral neocortex as well as amygdalohippocampectomy under guidance of cortical stimulation and clinical monitoring. The superior temporal gyrus where activation was revealed on task-based fMRI was preserved. At 16-month follow-up, there was no seizure recurrence and his cognitive functions including musical abilities did not deteriorate with surgery. The task-based fMRI while listening to music revealed bilateral frontotemporal activation. There was evidence of increased left frontotemporal connectivity during the postsurgical period in the resting state fMRI. It is hypothesized that the intact neuropsychological and musical abilities might be as a result of intense musical training from an early age despite the illness leading to functional and neural adaptation of the brain might have contributed to his preserved cognitive functions and musical skills. Intense musical training at a young age perhaps not only honed a range of cognitive functions but also resulted in functionally more efficient cognitive networks despite the surgical resection.

  14. Pleasurable music affects reinforcement learning according to the listener

    Science.gov (United States)

    Gold, Benjamin P.; Frank, Michael J.; Bogert, Brigitte; Brattico, Elvira

    2013-01-01

    Mounting evidence links the enjoyment of music to brain areas implicated in emotion and the dopaminergic reward system. In particular, dopamine release in the ventral striatum seems to play a major role in the rewarding aspect of music listening. Striatal dopamine also influences reinforcement learning, such that subjects with greater dopamine efficacy learn better to approach rewards while those with lesser dopamine efficacy learn better to avoid punishments. In this study, we explored the practical implications of musical pleasure through its ability to facilitate reinforcement learning via non-pharmacological dopamine elicitation. Subjects from a wide variety of musical backgrounds chose a pleasurable and a neutral piece of music from an experimenter-compiled database, and then listened to one or both of these pieces (according to pseudo-random group assignment) as they performed a reinforcement learning task dependent on dopamine transmission. We assessed musical backgrounds as well as typical listening patterns with the new Helsinki Inventory of Music and Affective Behaviors (HIMAB), and separately investigated behavior for the training and test phases of the learning task. Subjects with more musical experience trained better with neutral music and tested better with pleasurable music, while those with less musical experience exhibited the opposite effect. HIMAB results regarding listening behaviors and subjective music ratings indicate that these effects arose from different listening styles: namely, more affective listening in non-musicians and more analytical listening in musicians. In conclusion, musical pleasure was able to influence task performance, and the shape of this effect depended on group and individual factors. These findings have implications in affective neuroscience, neuroaesthetics, learning, and music therapy. PMID:23970875

  15. Pleasurable music affects reinforcement learning according to the listener.

    Science.gov (United States)

    Gold, Benjamin P; Frank, Michael J; Bogert, Brigitte; Brattico, Elvira

    2013-01-01

    Mounting evidence links the enjoyment of music to brain areas implicated in emotion and the dopaminergic reward system. In particular, dopamine release in the ventral striatum seems to play a major role in the rewarding aspect of music listening. Striatal dopamine also influences reinforcement learning, such that subjects with greater dopamine efficacy learn better to approach rewards while those with lesser dopamine efficacy learn better to avoid punishments. In this study, we explored the practical implications of musical pleasure through its ability to facilitate reinforcement learning via non-pharmacological dopamine elicitation. Subjects from a wide variety of musical backgrounds chose a pleasurable and a neutral piece of music from an experimenter-compiled database, and then listened to one or both of these pieces (according to pseudo-random group assignment) as they performed a reinforcement learning task dependent on dopamine transmission. We assessed musical backgrounds as well as typical listening patterns with the new Helsinki Inventory of Music and Affective Behaviors (HIMAB), and separately investigated behavior for the training and test phases of the learning task. Subjects with more musical experience trained better with neutral music and tested better with pleasurable music, while those with less musical experience exhibited the opposite effect. HIMAB results regarding listening behaviors and subjective music ratings indicate that these effects arose from different listening styles: namely, more affective listening in non-musicians and more analytical listening in musicians. In conclusion, musical pleasure was able to influence task performance, and the shape of this effect depended on group and individual factors. These findings have implications in affective neuroscience, neuroaesthetics, learning, and music therapy.

  16. Pleasurable music affects reinforcement learning according to the listener

    Directory of Open Access Journals (Sweden)

    Benjamin P Gold

    2013-08-01

    Full Text Available Mounting evidence links the enjoyment of music to brain areas implicated in emotion and the dopaminergic reward system. In particular, dopamine release in the ventral striatum seems to play a major role in the rewarding aspect of music listening. Striatal dopamine also influences reinforcement learning, such that subjects with greater dopamine efficacy learn better to approach rewards while those with lesser dopamine efficacy learn better to avoid punishments. In this study, we explored the practical implications of musical pleasure through its ability to facilitate reinforcement learning via non-pharmacological dopamine elicitation. Subjects from a wide variety of musical backgrounds chose a pleasurable and a neutral piece of music from an experimenter-compiled database, and then listened to one or both of these pieces (according to pseudo-random group assignment as they performed a reinforcement learning task dependent on dopamine transmission. We assessed musical backgrounds as well as typical listening patterns with the new Helsinki Inventory of Music and Affective Behaviors (HIMAB, and separately investigated behavior for the training and test phases of the learning task. Subjects with more musical experience trained better with neutral music and tested better with pleasurable music, while those with less musical experience exhibited the opposite effect. HIMAB results regarding listening behaviors and subjective music ratings indicate that these effects arose from different listening styles: namely, more affective listening in non-musicians and more analytical listening in musicians. In conclusion, musical pleasure was able to influence task performance, and the shape of this effect depended on group and individual factors. These findings have implications in affective neuroscience, neuroaesthetics, learning, and music therapy.

  17. Emotional Intent Modulates The Neural Substrates Of Creativity: An fMRI Study of Emotionally Targeted Improvisation in Jazz Musicians.

    Science.gov (United States)

    McPherson, Malinda J; Barrett, Frederick S; Lopez-Gonzalez, Monica; Jiradejvong, Patpong; Limb, Charles J

    2016-01-04

    Emotion is a primary motivator for creative behaviors, yet the interaction between the neural systems involved in creativity and those involved in emotion has not been studied. In the current study, we addressed this gap by using fMRI to examine piano improvisation in response to emotional cues. We showed twelve professional jazz pianists photographs of an actress representing a positive, negative or ambiguous emotion. Using a non-ferromagnetic thirty-five key keyboard, the pianists improvised music that they felt represented the emotion expressed in the photographs. Here we show that activity in prefrontal and other brain networks involved in creativity is highly modulated by emotional context. Furthermore, emotional intent directly modulated functional connectivity of limbic and paralimbic areas such as the amygdala and insula. These findings suggest that emotion and creativity are tightly linked, and that the neural mechanisms underlying creativity may depend on emotional state.

  18. A multifactorial conceptual model of peripheral neuromusculoskeletal predisposing factors in task-specific focal hand dystonia in musicians: etiologic and therapeutic implications.

    Science.gov (United States)

    Leijnse, J N A L; Hallett, M; Sonneveld, G J

    2015-02-01

    A model is presented showing how peripheral factors may cause a process of movement adaptation that leads to task-specific focal hand dystonia in musicians (FHDM). To acquire a playing technique, the hand must find effective and physiologically sustainable movements within a complex set of functional demands and anatomic, ergonomic, and physiological constraints. In doing so, individually discriminating constraints may become effective, such as limited anatomic independence of finger muscles/tendons, limited joint ranges of motion, or (subclinical) neuromusculoskeletal defects. These factors may, depending on the instrument-specific playing requirements, compromise or exclude functional playing movements. The controller (i.e., the brain) then needs to develop alternative motions to execute the task, which is called compensation. We hypothesize that, if this compensation process does not converge to physiologically sustainable muscle activation patterns that satisfy all constraints, compensation could increase indefinitely under the pressure of practice. Dystonic symptoms would become manifest when overcompensation occurs, resulting in motor patterns that fail in proper task execution. The model presented in this paper only concerns the compensatory processes preceding such overcompensations and does not aim to explain the nature of the dystonic motions themselves. While the model considers normal learning processes in the development of compensations, neurological predispositions could facilitate developing overcompensations or further abnormal motor programs. The model predicts that if peripheral factors are involved, FHDM symptoms would be preceded by long-term gradual changes in playing movements, which could be validated by prospective studies. Furthermore, the model implies that treatment success might be enhanced by addressing the conflict between peripheral factors and playing tasks before decompensating/retraining the affected movements.

  19. Keeping an Eye on the Conductor: Neural Correlates of Visuo-motor Synchronization and Musical Experience

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    Kentaro eOno

    2015-04-01

    Full Text Available For orchestra musicians, synchronized playing under a conductor’s direction is necessary to achieve optimal performance. Previous studies using simple auditory/visual stimuli have reported cortico-subcortical networks underlying synchronization and that training improves the accuracy of synchronization. However, it is unclear whether people who played regularly under a conductor and non-musicians activate the same networks when synchronizing with a conductor’s gestures. We conducted a functional magnetic resonance imaging (fMRI experiment testing nonmusicians and musicians who regularly play music under a conductor. Participants were required to tap the rhythm they perceived from silent movies displaying either conductor’s gestures or a swinging metronome. Musicians performed tapping under a conductor with more precision than nonmusicians. Results from fMRI measurement showed greater activity in the anterior part of the left superior frontal gyrus (SFG in musicians with more frequent practice under a conductor. Conversely, tapping with the metronome did not show any difference between musicians and nonmusicians, indicating that the expertise effect in tapping under the conductor does not result in a general increase in tapping performance for musicians. These results suggest that orchestra musicians have developed an advanced ability to predict conductor’s next action from the gestures.

  20. Keeping an eye on the conductor: neural correlates of visuo-motor synchronization and musical experience.

    Science.gov (United States)

    Ono, Kentaro; Nakamura, Akinori; Maess, Burkhard

    2015-01-01

    For orchestra musicians, synchronized playing under a conductor's direction is necessary to achieve optimal performance. Previous studies using simple auditory/visual stimuli have reported cortico-subcortical networks underlying synchronization and that training improves the accuracy of synchronization. However, it is unclear whether people who played regularly under a conductor and non-musicians activate the same networks when synchronizing with a conductor's gestures. We conducted a functional magnetic resonance imaging (fMRI) experiment testing nonmusicians and musicians who regularly play music under a conductor. Participants were required to tap the rhythm they perceived from silent movies displaying either conductor's gestures or a swinging metronome. Musicians performed tapping under a conductor with more precision than nonmusicians. Results from fMRI measurement showed greater activity in the anterior part of the left superior frontal gyrus (SFG) in musicians with more frequent practice under a conductor. Conversely, tapping with the metronome did not show any difference between musicians and nonmusicians, indicating that the expertize effect in tapping under the conductor does not result in a general increase in tapping performance for musicians. These results suggest that orchestra musicians have developed an advanced ability to predict conductor's next action from the gestures.