The musician's brain as a model of neuroplasticity

Swinging in the brain: shared neural substrates for behaviors related to sequencing and music

Music consists of precisely patterned sequences of both movement and sound that engage the mind in a multitude of experiences. We move in response to music and we move in order to make music. Because of the intimate coupling between perception and action, music provides a panoramic window through which we can examine the neural organization of complex behaviors that are at the core of human nature. Although the cognitive neuroscience of music is still in its infancy, a considerable behavioral and neuroimaging literature has amassed that pertains to neural mechanisms that underlie musical experience. Here we review neuroimaging studies of explicit sequence learning and temporal production--findings that ultimately lay the groundwork for understanding how more complex musical sequences are represented and produced by the brain. These studies are also brought into an existing framework concerning the interaction of attention and time-keeping mechanisms in perceiving complex patterns of information that are distributed in time, such as those that occur in music.

Effective behavioral treatment of focal hand dystonia in musicians alters somatosensory cortical organization

New perspectives in neurorehabilitation suggest that behavioral treatments of movement disorders may modify the functional organization of central somatosensory neural networks. On the basis of the assumption that use-dependent reorganization in these networks contributes to the fundamental abnormalities seen in focal dystonia, we treated 10 affected musicians and measured the concomitant somatosensory changes by using whole-head magnetoencephalography. We found that effective treatment, using the method of sensory motor retuning, leads to alterations in the functional organization of the somatosensory cortex. Specifically, before treatment, somatosensory relationships of the individual fingers differ between the affected and unaffected hands, whereas after treatment, finger representations contralateral to the dystonic side become more similar to the less-affected side. Further, somatosensory finger representations are ordered more according to homuncular principles after treatment. In addition, the observed physiologic changes correlated with behavioral data. These results confirm that plastic changes in parallel with emergent neurological dysfunction may be reversed by context-specific, intensive training-based remediation.

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

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.

N100m in children possessing absolute pitch

We recorded the auditory evoked magnetic fields from children with and without absolute pitch under the following conditions: (a) hearing 1000 Hz pure tones inattentively, (b) hearing eight random tones inattentively and (c) listening to eight random tones and identifying each tone. We calculated the appearance rate of N100m as the ratio of the subjects who had N100m. There was a significant positive correlation between the appearance rate of N100m and age in both groups. There was also a significant positive correlation between the appearance rate of N100m and the kinds of the task only in children without absolute pitch. These results suggest that, in the children with absolute pitch, N100m was elicited equally in every session because of their automatically driven auditory attention. No significant correlation was found between the appearance rate of N100m and the possession of absolute pitch.

An fMRI study of music sight-reading

The brain areas involved in music reading were investigated using fMRI. In order to evaluate the specificity of these areas we compared reading music notation to reading verbal and number notations in a task that required professional pianists to play the notes (in musical and verbal notations) and the numbers displayed on a 5-key keyboard. Overall, the three tasks revealed a similar pattern of activated brain areas. However, direct contrasts between the music notation and the verbal or the numerical notation tasks also revealed specific major foci of activation in the right occipito-temporal junction, superior parietal lobule and the intraparietal sulcus. We interpret the right occipito-temporal difference as due to differences at the encoding level between notes, words and numbers. This area might be analogous to one described for words, called the visual word form area. The parietal activations are discussed in terms of visuo-motor transcoding pathways that differ for the three types of notations used. Finally, we present a model of music reading that can possibly explain our findings.