The musician's brain as a model of neuroplasticity

Diffusion tensor and volumetric magnetic resonance imaging findings in the brains of professional musicians

Professional musicians represent an ideal model to study the training-induced brain plasticity. The current study aimed to investigate the brain volume and diffusion characteristics of musicians using structural magnetic resonance and diffusion tensor imaging (DTI). The combined use of volumetric and diffusion methods in studying musician brain has not been done in literature. Our study group consisted of seven male musicians playing an instrument and seven age- and gender-matched non-musicians. We evaluated the volumes of gray matter (GM), white matter (WM), and cerebrospinal fluid (CSF) and calculated total intracranial volume (TIV) and measured the fractional anisotropy (FA) of pre-selected WM bundles: corpus callosum (CC), corticospinal tract (CST), superior longitudinal fasciculus (SLF), forceps major (ForMaj), forceps minor (ForMin), and arcuate fasciculus (AF). The mean WM/TIV volume in musicians was higher compared to non-musicians. The mean FA was lower in CC, SLF, ForMaj, ForMin, and right AF but higher in right CST in the musicians. The mean value of the total number of fibers was larger in the CST, SLF, left AF, and ForMaj in the musicians. The observed differences were not statistically significant between the groups (p>0.05). However, increased GM volume was found in the musicians compared to the non-musicians in the right and left cerebellum and supramarginal and angular gyrus, left superior and inferior parietal lobule and as well as left middle temporal gyrus. Our findings suggest differing brain structure in musicians and the confirmation of the results on a larger population.

Increased functional connectivity in the ventral and dorsal streams during retrieval of novel words in professional musicians

Current models of speech and language processing postulate the involvement of two parallel processing streams (the dual stream model): a ventral stream involved in mapping sensory and phonological representations onto lexical and conceptual representations and a dorsal stream contributing to sound-to-motor mapping, articulation, and to how verbal information is encoded and manipulated in memory. Based on previous evidence showing that music training has an influence on language processing, cognitive functions, and word learning, we examined EEG-based intracranial functional connectivity in the ventral and dorsal streams while musicians and nonmusicians learned the meaning of novel words through picture-word associations. In accordance with the dual stream model, word learning was generally associated with increased beta functional connectivity in the ventral stream compared to the dorsal stream. In addition, in the linguistically most demanding "semantic task," musicians outperformed nonmusicians, and this behavioral advantage was accompanied by increased left-hemispheric theta connectivity in both streams. Moreover, theta coherence in the left dorsal pathway was positively correlated with the number of years of music training. These results provide evidence for a complex interplay within a network of brain regions involved in semantic processing and verbal memory functions, and suggest that intensive music training can modify its functional architecture leading to advantages in novel word learning.

Variation in occupational exposure associated with musculoskeletal complaints: a cross-sectional study among professional bassists

BACKGROUND

Variation in occupational exposure is assumed to have a protective effect against the development of musculoskeletal complaints (MSC), but this common assumption is not strongly supported by the literature. Among musicians, who have a high prevalence of MSC, many play more than one type of instrument (multi-instrumentalism) for many hours a day. Since multi-instrumentalism implies greater variation in ergonomic load of specific musculoskeletal areas than mono-instrumentalism, musicians are a suitable study population to test whether the above assumption is true.

PURPOSE

To investigate in a sample of professional bass players whether multi-instrumentalists are less likely to have MSC than mono-instrumentalists.

METHODS

Participants were 141 professional and professional student double bassists and bass guitarists. Demographic, MSC and exposure characteristics were collected online with self-constructed and existing questionnaires. Logistic regression analysis was used to test the association between multi- versus mono-instrumentalism and MSC, adjusted for confounders.

RESULTS

The prevalence of having MSC in the neck, back, right shoulder area and both wrist areas did not differ significantly between the two groups. Further analysis revealed that the likelihood of having MSC in the left shoulder area was higher in multi-instrumentalists compared to mono-instrumentalists (Odds ratio 0.30, 95% CI 0.119-0.753, p = 0.010).

CONCLUSION

In this sample of professional bass players, no protective effect of multi-instrumentalism against MSC was found. Multi-instrumentalism was associated with a higher prevalence of MSC in the left shoulder. This result challenges theoretical and clinical assumptions in occupational and pain medicine.

Social and Contextual Constraints on Embodied Perception

A number of papers have challenged research on physiological and psychological influences on perception by claiming to show that such findings can be explained by nonperceptual factors such as demand characteristics. Relatedly, calls for separating perception from judgment have been issued. However, such efforts fail to consider key processes known to shape judgment processes: people's inability to report accurately on their judgments, conversational dynamics of experimental research contexts, and misattribution and discounting processes. Indeed, the fact that initially observed effects of embodied influences disappear is predicted by an extensive amount of literature on judgments studied within social psychology. Thus, findings from such studies suggest that the initially presumed underlying processes are at work-namely, functional considerations that are informative in the context of preparing the body for action. In this article, I provide suggestions on how to conduct research on perception within the social constraints of experimental contexts.

Evolutionary Musicology Meets Embodied Cognition: Biocultural Coevolution and the Enactive Origins of Human Musicality

Despite evolutionary musicology's interdisciplinary nature, and the diverse methods it employs, the field has nevertheless tended to divide into two main positions. Some argue that music should be understood as a naturally selected adaptation, while others claim that music is a product of culture with little or no relevance for the survival of the species. We review these arguments, suggesting that while interesting and well-reasoned positions have been offered on both sides of the debate, the nature-or-culture (or adaptation vs. non-adaptation) assumptions that have traditionally driven the discussion have resulted in a problematic either/or dichotomy. We then consider an alternative "biocultural" proposal that appears to offer a way forward. As we discuss, this approach draws on a range of research in theoretical biology, archeology, neuroscience, embodied and ecological cognition, and dynamical systems theory (DST), positing a more integrated model that sees biological and cultural dimensions as aspects of the same evolving system. Following this, we outline the enactive approach to cognition, discussing the ways it aligns with the biocultural perspective. Put simply, the enactive approach posits a deep continuity between mind and life, where cognitive processes are explored in terms of how self-organizing living systems enact relationships with the environment that are relevant to their survival and well-being. It highlights the embodied and ecologically situated nature of living agents, as well as the active role they play in their own developmental processes. Importantly, the enactive approach sees cognitive and evolutionary processes as driven by a range of interacting factors, including the socio-cultural forms of activity that characterize the lives of more complex creatures such as ourselves. We offer some suggestions for how this approach might enhance and extend the biocultural model. To conclude we briefly consider the implications of this approach for practical areas such as music education.

Keeping brains young with making music

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.

Insula-based networks in professional musicians: Evidence for increased functional connectivity during resting state fMRI

Despite considerable research on experience-dependent neuroplasticity in professional musicians, detailed understanding of an involvement of the insula is only now beginning to emerge. We investigated the effects of musical training on intrinsic insula-based connectivity in professional classical musicians relative to nonmusicians using resting-state functional MRI. Following a tripartite scheme of insula subdivisions, coactivation profiles were analyzed for the posterior, ventral anterior, and dorsal anterior insula in both hemispheres. While whole-brain connectivity across all participants confirmed previously reported patterns, between-group comparisons revealed increased insular connectivity in musicians relative to nonmusicians. Coactivated regions encompassed constituents of large-scale networks involved in salience detection (e.g., anterior and middle cingulate cortex), affective processing (e.g., orbitofrontal cortex and temporal pole), and higher order cognition (e.g., dorsolateral prefrontal cortex and the temporoparietal junction), whereas no differences were found for the reversed group contrast. Importantly, these connectivity patterns were stronger in musicians who experienced more years of musical practice, including also sensorimotor regions involved in music performance (M1 hand area, S1, A1, and SMA). We conclude that musical training triggers significant reorganization in insula-based networks, potentially facilitating high-level cognitive and affective functions associated with the fast integration of multisensory information in the context of music performance. Hum Brain Mapp 38:4834-4849, 2017. © 2017 Wiley Periodicals, Inc.

The Posterior Parietal Cortex Subserves Precise Motor Timing in Professional Drummers

The synchronization task is a well-established paradigm for the investigation of motor timing with respect to an external pacing signal. It requires subjects to synchronize their finger taps in synchrony with a regular metronome. A specific significance of the posterior parietal cortex (PPC) for superior synchronization in professional drummers has been suggested. In non-musicians, modulation of the excitability of the left PPC by means of transcranial direct current stimulation (tDCS) modulates synchronization performance of the right hand. In order to determine the significance of the left PPC for superior synchronization in drummers, we here investigate the effects of cathodal and anodal tDCS in 20 professional drummers on auditory-motor synchronization of the right hand. A continuation and a reaction time task served as control conditions. Moreover, the interaction between baseline performance and tDCS polarity was estimated in precise as compared to less precise synchronizers according to median split. Previously published data from 16 non-musicians were re-analyzed accordingly in order to highlight possible differences of tDCS effects in drummers and non-musicians. TDCS was applied for 10 min with an intensity of 0.25 mA over the left PPC. Behavioral measures were determined prior to and immediately after tDCS. In drummers the overall analysis of synchronization performance revealed significantly larger tap-to-tone asynchronies following anodal tDCS with the tap preceding the tone replicating findings in non-musicians. No significant effects were found on control tasks. The analysis for participants with large as compared to small baseline asynchronies revealed that only in drummers with small asynchronies tDCS interfered with synchronization performance. The re-analysis of the data from non-musicians indicated the reversed pattern. The data support the hypothesis that the PPC is involved in auditory-motor synchronization and extend previous findings by showing that its functional significance varies with musical expertise.

Three Effective Ways to Nurture Our Brain

Abstract. A growing body of research suggests that physical activity, healthy eating, and music can, either directly or indirectly, have positive effects on our brain and cognition. More specifically, exercising and eating seem to enhance cognitive abilities, such as memory, creativity, and perception. They also improve academic performance and play a protective role from many degenerative diseases, including Alzheimer’s disease. Concerning music, research has shown that there exists a general positive relation between music aptitude and cognitive functioning. Furthermore, the presence of music seems to create a positive mood and a higher arousal, which translates into better performance in many cognitive tasks. This literature review provides an overview of the major empirical findings in this domain. Studies on both healthy and clinical individuals are reviewed and discussed. We conclude with suggestions for educators, policymakers, people in helping professions, and any others interested in making informed decisions about possible ways to nurture their own brain or the brain of the people they are trying to help. We also provide suggestions for additional research on this important topic.

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

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 38:2955-2970, 2017. © 2017 Wiley Periodicals, Inc.

Musicians' Online Performance during Auditory and Visual Statistical Learning Tasks

Musicians' brains are considered to be a functional model of neuroplasticity due to the structural and functional changes associated with long-term musical training. In this study, we examined implicit extraction of statistical regularities from a continuous stream of stimuli-statistical learning (SL). We investigated whether long-term musical training is associated with better extraction of statistical cues in an auditory SL (aSL) task and a visual SL (vSL) task-both using the embedded triplet paradigm. Online measures, characterized by event related potentials (ERPs), were recorded during a familiarization phase while participants were exposed to a continuous stream of individually presented pure tones in the aSL task or individually presented cartoon figures in the vSL task. Unbeknown to participants, the stream was composed of triplets. Musicians showed advantages when compared to non-musicians in the online measure (early N1 and N400 triplet onset effects) during the aSL task. However, there were no differences between musicians and non-musicians for the vSL task. Results from the current study show that musical training is associated with enhancements in extraction of statistical cues only in the auditory domain.

Thalamo-Sensorimotor Functional Connectivity Correlates with World Ranking of Olympic, Elite, and High Performance Athletes

Brain plasticity studies have shown functional reorganization in participants with outstanding motor expertise. Little is known about neural plasticity associated with exceptionally long motor training or of its predictive value for motor performance excellence. The present study utilised resting-state functional magnetic resonance imaging (rs-fMRI) in a unique sample of world-class athletes: Olympic, elite, and internationally ranked swimmers (n = 30). Their world ranking ranged from 1st to 250th: each had prepared for participation in the Olympic Games. Combining rs-fMRI graph-theoretical and seed-based functional connectivity analyses, it was discovered that the thalamus has its strongest connections with the sensorimotor network in elite swimmers with the highest world rankings (career best rank: 1–35). Strikingly, thalamo-sensorimotor functional connections were highly correlated with the swimmers' motor performance excellence, that is, accounting for 41% of the individual variance in best world ranking. Our findings shed light on neural correlates of long-term athletic performance involving thalamo-sensorimotor functional circuits.

Measuring social interaction in music ensembles

Music ensembles are an ideal test-bed for quantitative analysis of social interaction. Music is an inherently social activity, and music ensembles offer a broad variety of scenarios which are particularly suitable for investigation. Small ensembles, such as string quartets, are deemed a significant example of self-managed teams, where all musicians contribute equally to a task. In bigger ensembles, such as orchestras, the relationship between a leader (the conductor) and a group of followers (the musicians) clearly emerges. This paper presents an overview of recent research on social interaction in music ensembles with a particular focus on (i) studies from cognitive neuroscience; and (ii) studies adopting a computational approach for carrying out automatic quantitative analysis of ensemble music performances.

Musicians react faster and are better multisensory integrators

The results from numerous investigations suggest that musical training might enhance how senses interact. Despite repeated confirmation of anatomical and structural changes in visual, tactile, and auditory regions, significant changes have only been reported in the audiovisual domain and for the detection of audio-tactile incongruencies. In the present study, we aim at testing whether long-term musical training might also enhance other multisensory processes at a behavioural level. An audio-tactile reaction time task was administrated to a group of musicians and non-musicians. We found significantly faster reaction times with musicians for auditory, tactile, and audio-tactile stimulations. Statistical analyses between the combined uni- and multisensory reaction times revealed that musicians possess a statistical advantage when responding to multisensory stimuli compared to non-musicians. These results suggest for the first time that long-term musical training reduces simple non-musical auditory, tactile, and multisensory reaction times. Taken together with the previous results from other sensory modalities, these results strongly point towards musicians being better at integrating the inputs from various senses.

Shared somatosensory and motor functions in musicians

Skilled individuals are characterized by fine-tuned perceptual and motor functions. Here, we tested the idea that the sensory and motor functions of highly-trained individuals are coupled. We assessed the relationships among multifaceted somatosensory and motor functions of expert pianists. The results demonstrated a positive covariation between the acuity of weight discrimination and the precision of force control during piano keystrokes among the pianists but not among the non-musicians. However, neither the age of starting musical training nor the total amount of life-long piano practice was correlated with these sensory-motor functions in the pianists. Furthermore, a difference between the pianists and non-musicians was absent for the weight discrimination acuity but present for precise force control during keystrokes. The results suggest that individuals with innately superior sensory function had finer motor control only in a case of having undergone musical training. Intriguingly, the tactile spatial acuity of the fingertip was superior in the pianists compared with the non-musicians but was not correlated with any functions representing fine motor control among the pianists. The findings implicate the presence of two distinct mechanisms of sensorimotor learning elicited by musical training, which occur either independently in individual sensorimotor modalities or through interacting between modalities.

The Demise of the Synapse As the Locus of Memory: A Looming Paradigm Shift?

Synaptic plasticity is widely considered to be the neurobiological basis of learning and memory by neuroscientists and researchers in adjacent fields, though diverging opinions are increasingly being recognized. From the perspective of what we might call “classical cognitive science” it has always been understood that the mind/brain is to be considered a computational-representational system. Proponents of the information-processing approach to cognitive science have long been critical of connectionist or network approaches to (neuro-)cognitive architecture, pointing to the shortcomings of the associative psychology that underlies Hebbian learning as well as to the fact that synapses are practically unfit to implement symbols. Recent work on memory has been adding fuel to the fire and current findings in neuroscience now provide first tentative neurobiological evidence for the cognitive scientists' doubts about the synapse as the (sole) locus of memory in the brain. This paper briefly considers the history and appeal of synaptic plasticity as a memory mechanism, followed by a summary of the cognitive scientists' objections regarding these assertions. Next, a variety of tentative neuroscientific evidence that appears to substantiate questioning the idea of the synapse as the locus of memory is presented. On this basis, a novel way of thinking about the role of synaptic plasticity in learning and memory is proposed.

Temporal and spectral audiotactile interactions in musicians

Previous investigations have revealed that the complex sensory exposure of musical training alters audiovisual interactions. As of yet, there has been little evidence on the effects of musical training on audiotactile interactions at a behavioural level. Here, we tested audiotactile interaction in musicians using the audiotactile illusory flash and the parchment-skin illusion. Significant differences were only found between musicians and non-musicians for the audiotactile illusory flash. Both groups had similar task-relevant unisensory abilities, but unlike non-musicians, the number of auditory stimulations did not have a statistically important influence on the number of perceived tactile stimulations for musicians. Musicians and non-musicians similarly perceived the parchment-skin illusion. Spectral alterations of self-generated palmar sounds similarly altered the perception of wetness and dryness for both groups. These results suggest that musical training does not seem to alter multisensory interactions at large. The specificity of the sensory enhancement suggests that musical training specifically alters processes underlying the interaction of temporal audiotactile stimuli and not the global interaction between these modalities. These results are consistent with previous unisensory and multisensory investigations on sensory abilities related to audiotactile processing in musicians.

"If You Have to Ask, You'll Never Know": Effects of Specialised Stylistic Expertise on Predictive Processing of Music

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.

Reorganization of motor cortex and impairment of motor performance induced by hindlimb unloading are partially reversed by cortical IGF-1 administration

Immobilization, bed rest, or sedentary lifestyle, are known to induce a profound impairment in sensorimotor performance. These alterations are due to a combination of peripheral and central factors. Previous data conducted on a rat model of disuse (hindlimb unloading, HU) have shown a profound reorganization of motor cortex and an impairment of motor performance. Recently, our interest was turned towards the role of insulin-like growth factor 1 (IGF-1) in cerebral plasticity since this growth factor is considered as the mediator of beneficial effects of exercise on the central nervous system, and its cortical level is decreased after a 14-day period of HU. In the present study, we attempted to determine whether a chronic subdural administration of IGF-1 in HU rats could prevent deleterious effects of HU on the motor cortex and on motor activity. We demonstrated that HU induces a shrinkage of hindlimb cortical representation and an increase in current threshold to elicit a movement. Administration of IGF-1 in HU rats partially reversed these changes. The functional evaluation revealed that IGF-1 prevents the decrease in spontaneous activity found in HU rats and the changes in hip kinematics during overground locomotion, but had no effect of challenged locomotion (ladder rung walking test). Taken together, these data clearly indicate the implication of IGF-1 in cortical plastic mechanisms and in behavioral alteration induced by a decreased in sensorimotor activity.

Professional Music Training and Novel Word Learning: From Faster Semantic Encoding to Longer-lasting Word Representations

On the basis of previous results showing that music training positively influences different aspects of speech perception and cognition, the aim of this series of experiments was to test the hypothesis that adult professional musicians would learn the meaning of novel words through picture–word associations more efficiently than controls without music training (i.e., fewer errors and faster RTs). We also expected musicians to show faster changes in brain electrical activity than controls, in particular regarding the N400 component that develops with word learning. In line with these hypotheses, musicians outperformed controls in the most difficult semantic task. Moreover, although a frontally distributed N400 component developed in both groups of participants after only a few minutes of novel word learning, in musicians this frontal distribution rapidly shifted to parietal scalp sites, as typically found for the N400 elicited by known words. Finally, musicians showed evidence for better long-term memory for novel words 5 months after the main experimental session. Results are discussed in terms of cascading effects from enhanced perception to memory as well as in terms of multifaceted improvements of cognitive processing due to music training. To our knowledge, this is the first report showing that music training influences semantic aspects of language processing in adults. These results open new perspectives for education in showing that early music training can facilitate later foreign language learning. Moreover, the design used in the present experiment can help to specify the stages of word learning that are impaired in children and adults with word learning difficulties.

Mirror Visual Feedback Training Improves Intermanual Transfer in a Sport-Specific Task: A Comparison between Different Skill Levels

Mirror training therapy is a promising tool to initiate neural plasticity and facilitate the recovery process of motor skills after diseases such as stroke or hemiparesis by improving the intermanual transfer of fine motor skills in healthy people as well as in patients. This study evaluated whether these augmented performance improvements by mirror visual feedback (MVF) could be used for learning a sport-specific skill and if the effects are modulated by skill level. A sample of 39 young, healthy, and experienced basketball and handball players and 41 novices performed a stationary basketball dribble task at a mirror box in a standing position and received either MVF or direct feedback. After four training days using only the right hand, performance of both hands improved from pre- to posttest measurements. Only the left hand (untrained) performance of the experienced participants receiving MVF was more pronounced than for the control group. This indicates that intermanual motor transfer can be improved by MVF in a sport-specific task. However, this effect cannot be generalized to motor learning per se since it is modulated by individuals' skill level, a factor that might be considered in mirror therapy research.

Variability in functional brain networks predicts expertise during action observation

Observing an action performed by another individual activates, in the observer, similar circuits as those involved in the actual execution of that action. This activation is modulated by prior experience; indeed, sustained training in a particular motor domain leads to structural and functional changes in critical brain areas. Here, we capitalized on a novel graph-theory approach to electroencephalographic data (Fraiman et al., 2016) to test whether variability in functional brain networks implicated in Tango observation can discriminate between groups differing in their level of expertise. We found that experts and beginners significantly differed in the functional organization of task-relevant networks. Specifically, networks in expert Tango dancers exhibited less variability and a more robust functional architecture. Notably, these expertise-dependent effects were captured within networks derived from electrophysiological brain activity recorded in a very short time window (2s). In brief, variability in the organization of task-related networks seems to be a highly sensitive indicator of long-lasting training effects. This finding opens new methodological and theoretical windows to explore the impact of domain-specific expertise on brain plasticity, while highlighting variability as a fruitful measure in neuroimaging research.

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

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.

Reorganization of Human Cerebral Cortex: The Range of Changes Following Use and Injury

Animal and human research over the past decades have increasingly detailed the brain’s capacity for reorganization of neural network architecture to adapt to environmental needs. In this article, the authors outline the range of reorganization of human representational cortex, encompassing 1) reconstruction in concurrence with enhanced behaviorally relevant afferent activity (examples include skilled musicians and blind Braille readers); 2) injury-related response dynamics as, for instance, driven by loss of input (examples include stroke, amputation, or in blind individuals); and 3) maladaptive reorganization pushed by the interaction between neuroplastic processes and aberrant environmental requirements (examples include synchronicity of input nurturing focal hand dystonia). These types of neuroplasticity have consequences for both understanding pathological dynamics and therapeutic options. This will be illustrated in examples of motor and language rehabilitation after stroke, the treatment of focal hand dystonia, and concomitants of injury-related reorganization such as phantom limb pain.

Short-term Music Training Enhances Complex, Distributed Neural Communication during Music and Linguistic Tasks

Musical training is frequently associated with benefits to linguistic abilities, and recent focus has been placed on possible benefits of bilingualism to lifelong executive functions; however, the neural mechanisms for such effects are unclear. The aim of this study was to gain better understanding of the whole-brain functional effects of music and second-language training that could support such previously observed cognitive transfer effects. We conducted a 28-day longitudinal study of monolingual English-speaking 4- to 6-year-old children randomly selected to receive daily music or French language training, excluding weekends. Children completed passive EEG music note and French vowel auditory oddball detection tasks before and after training. Brain signal complexity was measured on source waveforms at multiple temporal scales as an index of neural information processing and network communication load. Comparing pretraining with posttraining, musical training was associated with increased EEG complexity at coarse temporal scales during the music and French vowel tasks in widely distributed cortical regions. Conversely, very minimal decreases in complexity at fine scales and trends toward coarse-scale increases were displayed after French training during the tasks. Spectral analysis failed to distinguish between training types and found overall theta (3.5-7.5 Hz) power increases after all training forms, with spatially fewer decreases in power at higher frequencies (>10 Hz). These findings demonstrate that musical training increased diversity of brain network states to support domain-specific music skill acquisition and music-to-language transfer effects.

Music Performance As an Experimental Approach to Hyperscanning Studies

Humans are fundamentally social and tend to create emergent organizations when interacting with each other; from dyads to families, small groups, large groups, societies, and civilizations. The study of the neuronal substrate of human social behavior is currently gaining momentum in the young field of social neuroscience. Hyperscanning is a neuroimaging technique by which we can study two or more brains simultaneously while participants interact with each other. The aim of this article is to discuss several factors that we deem important in designing hyperscanning experiments. We first review hyperscanning studies performed by means of electroencephalography (EEG) that have been relying on a continuous interaction paradigm. Then, we provide arguments for favoring ecological paradigms, for studying the emotional component of social interactions and for performing longitudinal studies, the last two aspects being largely neglected so far in the hyperscanning literature despite their paramount importance in social sciences. Based on these premises, we argue that music performance is a suitable experimental setting for hyperscanning and that for such studies EEG is an appropriate choice as neuroimaging modality.

Neurophysiological Correlates of Musical and Prosodic Phrasing: Shared Processing Mechanisms and Effects of Musical Expertise

The processing of prosodic phrase boundaries in language is immediately reflected by a specific event-related potential component called the Closure Positive Shift (CPS). A component somewhat reminiscent of the CPS in language has also been reported for musical phrases (i.e., the so-called 'music CPS'). However, in previous studies the quantification of the music-CPS as well as its morphology and timing differed substantially from the characteristics of the language-CPS. Therefore, the degree of correspondence between cognitive mechanisms of phrasing in music and in language has remained questionable. Here, we probed the shared nature of mechanisms underlying musical and prosodic phrasing by (1) investigating whether the music-CPS is present at phrase boundary positions where the language-CPS has been originally reported (i.e., at the onset of the pause between phrases), and (2) comparing the CPS in music and in language in non-musicians and professional musicians. For the first time, we report a positive shift at the onset of musical phrase boundaries that strongly resembles the language-CPS and argue that the post-boundary 'music-CPS' of previous studies may be an entirely distinct ERP component. Moreover, the language-CPS in musicians was found to be less prominent than in non-musicians, suggesting more efficient processing of prosodic phrases in language as a result of higher musical expertise.

Perceiving Action Identity

Can skilled performers, such as artists or athletes, recognize the products of their own actions? We recorded 12 pianists playing 12 mostly unfamiliar musical excerpts, half of them on a silent keyboard. Several months later, we played these performances back and asked the pianists to use a 5-point scale to rate whether they thought they were the person playing each excerpt (1 = no, 5 = yes). They gave their own performances significantly higher ratings than any other pianist's performances. In two later follow-up tests, we presented edited performances from which differences in tempo, overall dynamic (i.e., intensity) level, and dynamic nuances had been removed. The pianists' ratings did not change significantly, which suggests that the remaining information (expressive timing and articulation) was sufficient for self-recognition. Absence of sound during recording had no significant effect. These results are best explained by the hypothesis that an observer's action system is most strongly activated during perception of self-produced actions.

Functional Connectivity of the Dorsal Striatum in Female Musicians

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 functional connectivity analysis and graph theoretical analysis. The functional connectivity analysis indicated that compared with nonmusicians, musicians had significantly decreased connectivity between the left putamen and bilateral frontal operculum (FO) and between the left caudate nucleus and cerebellum. The graph theoretical analysis of the entire brain revealed that the degrees, which represent the numbers of connections, of the bilateral putamen were significantly lower in musicians than in nonmusicians. 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, suggesting that long-term musical training reshapes the functional network of the dorsal striatum to be less extensive or selective.

Maladaptive Plasticity Induces Degradation of Fine Motor Skills in Musicians

Abstract. Performing music at a professional level is probably one of the most complex human accomplishments requiring extensive training periods. The superior skills of musicians are mirrored in plastic adaptations of the brain involving gray and white matter increase in sensory motor and auditory areas and enlargement of receptive fields. Motor disturbances in musicians are common and include mild forms, such as temporary motor fatigue, painful overuse injuries following prolonged practice, anxiety-related motor failures during performances, and more persistent losses of motor control, termed “dynamic stereotypes.” Musician’s dystonia is characterized by a permanent loss of motor control when playing a musical instrument linked to genetic susceptibility and to maladaptive plasticity. In this review article, we argue that these motor failures developing on a continuum from motor fatigue to musician’s dystonia require client tailored treatment and accordingly specific psychological and neurological interventions.

Voxel-based morphometry in opera singers: Increased gray-matter volume in right somatosensory and auditory cortices

In contrast to instrumental musicians, professional singers do not train on a specific instrument but perfect a motor system that has already been extensively trained during speech motor development. Previous functional imaging studies suggest that experience with singing is associated with enhanced somatosensory-based vocal motor control. However, experience-dependent structural plasticity in vocal musicians has rarely been studied. We investigated voxel-based morphometry (VBM) in 27 professional classical singers and compared gray matter volume in regions of the "singing-network" to an age-matched group of 28 healthy volunteers with no special singing experience. We found right hemispheric volume increases in professional singers in ventral primary somatosensory cortex (larynx S1) and adjacent rostral supramarginal gyrus (BA40), as well as in secondary somatosensory (S2) and primary auditory cortices (A1). Moreover, we found that earlier commencement with vocal training correlated with increased gray-matter volume in S1. However, in contrast to studies with instrumental musicians, this correlation only emerged in singers who began their formal training after the age of 14years, when speech motor development has reached its first plateau. Structural data thus confirm and extend previous functional reports suggesting a pivotal role of somatosensation in vocal motor control with increased experience in singing. Results furthermore indicate a sensitive period for developing additional vocal skills after speech motor coordination has matured.

Rapid learning of associations between sound and action through observed movement. A TMS study

Research has established that there is a cognitive link between perception and production of the same movement. However, there has been relatively little research into the relevance of this for non-expert perceivers, such as music listeners who do not play instruments themselves. In two experiments we tested whether participants can quickly learn new associations between sounds and observed movement without performing those movements themselves. We measured motor evoked potentials (MEPs) in the first dorsal interosseous muscle of participants' right hands while test tones were heard and single transcranial magnetic stimulation (TMS) pulses were used to trigger motor activity. In Experiment 1 participants in a 'human' condition (n=4) learnt to associate the test tone with finger movement of the experimenter, while participants in a 'computer' condition (n=4) learnt that the test tone was triggered by a computer. Participants in the human condition showed a larger increase in MEPs compared with those in the computer condition. In a second experiment pairing between sounds and movement occurred without participants repeatedly observing the movement and we found no such difference between the human (n=4) and computer (n=4) conditions. These results suggest that observers can quickly learn to associate sound with movement, so it should not be necessary to have played an instrument to experience some motor resonance when hearing that instrument.

Beta-Band Functional Connectivity is Reorganized in Mild Cognitive Impairment after Combined Computerized Physical and Cognitive Training

Physical and cognitive idleness constitute significant risk factors for the clinical manifestation of age-related neurodegenerative diseases. In contrast, a physically and cognitively active lifestyle may restructure age-declined neuronal networks enhancing neuroplasticity. The present study, investigated the changes of brain's functional network in a group of elderly individuals at risk for dementia that were induced by a combined cognitive and physical intervention scheme. Fifty seniors meeting Petersen's criteria of Mild Cognitive Impairment were equally divided into an experimental (LLM), and an active control (AC) group. Resting state electroencephalogram (EEG) was measured before and after the intervention. Functional networks were estimated by computing the magnitude square coherence between the time series of all available cortical sources as computed by standardized low resolution brain electromagnetic tomography (sLORETA). A statistical model was used to form groups' characteristic weighted graphs. The introduced modulation was assessed by networks' density and nodes' strength. Results focused on the beta band (12-30 Hz) in which the difference of the two networks' density is maximum, indicating that the structure of the LLM cortical network changes significantly due to the intervention, in contrast to the network of AC. The node strength of LLM participants in the beta band presents a higher number of bilateral connections in the occipital, parietal, temporal and prefrontal regions after the intervention. Our results show that the combined training scheme reorganizes the beta-band functional connectivity of MCI patients. ClinicalTrials.gov Identifier: NCT02313935 https://clinicaltrials.gov/ct2/show/NCT02313935.

Music and Dyslexia: A New Musical Training Method to Improve Reading and Related Disorders

Numerous arguments in the recent neuroscientific literature support the use of musical training as a therapeutic tool among the arsenal already available to therapists and educators for treating children with dyslexia. In the present study, we tested the efficacy of a specially-designed Cognitivo-Musical Training (CMT) method based upon three principles: (1) music-language analogies: training dyslexics with music could contribute to improve brain circuits which are common to music and language processes; (2) the temporal and rhythmic features of music, which could exert a positive effect on the multiple dimensions of the “temporal deficit” characteristic of some types of dyslexia; and (3) cross-modal integration, based on converging evidence of impaired connectivity between brain regions in dyslexia and related disorders. Accordingly, we developed a series of musical exercises involving jointly and simultaneously sensory (visual, auditory, somatosensory) and motor systems, with special emphasis on rhythmic perception and production in addition to intensive training of various features of the musical auditory signal. Two separate studies were carried out, one in which dyslexic children received intensive musical exercises concentrated over 18 h during 3 consecutive days, and the other in which the 18 h of musical training were spread over 6 weeks. Both studies showed significant improvements in some untrained, linguistic and non-linguistic variables. The first one yielded significant improvement in categorical perception and auditory perception of temporal components of speech. The second study revealed additional improvements in auditory attention, phonological awareness (syllable fusion), reading abilities, and repetition of pseudo-words. Importantly, most improvements persisted after an untrained period of 6 weeks. These results provide new additional arguments for using music as part of systematic therapeutic and instructional practice for dyslexic children.

How do musical tonality and experience affect visual working memory?

The influence of music on the human brain has continued to attract increasing attention from neuroscientists and musicologists. Currently, tonal music is widely present in people's daily lives; however, atonal music has gradually become an important part of modern music. In this study, we conducted two experiments: the first one tested for differences in perception of distractibility between tonal music and atonal music. The second experiment tested how tonal music and atonal music affect visual working memory by comparing musicians and nonmusicians who were placed in contexts with background tonal music, atonal music, and silence. They were instructed to complete a delay matching memory task. The results show that musicians and nonmusicians have different evaluations of the distractibility of tonal music and atonal music, possibly indicating that long-term training may lead to a higher auditory perception threshold among musicians. For the working memory task, musicians reacted faster than nonmusicians in all background music cases, and musicians took more time to respond in the tonal background music condition than in the other conditions. Therefore, our results suggest that for a visual memory task, background tonal music may occupy more cognitive resources than atonal music or silence for musicians, leaving few resources left for the memory task. Moreover, the musicians outperformed the nonmusicians because of the higher sensitivity to background music, which also needs a further longitudinal study to be confirmed.

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

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.

It's Sad but I Like It: The Neural Dissociation Between Musical Emotions and Liking in Experts and Laypersons

Emotion-related areas of the brain, such as the medial frontal cortices, amygdala, and striatum, are activated during listening to sad or happy music as well as during listening to pleasurable music. Indeed, in music, like in other arts, sad and happy emotions might co-exist and be distinct from emotions of pleasure or enjoyment. Here we aimed at discerning the neural correlates of sadness or happiness in music as opposed those related to musical enjoyment. We further investigated whether musical expertise modulates the neural activity during affective listening of music. To these aims, 13 musicians and 16 non-musicians brought to the lab their most liked and disliked musical pieces with a happy and sad connotation. Based on a listening test, we selected the most representative 18 sec excerpts of the emotions of interest for each individual participant. Functional magnetic resonance imaging (fMRI) recordings were obtained while subjects listened to and rated the excerpts. The cortico-thalamo-striatal reward circuit and motor areas were more active during liked than disliked music, whereas only the auditory cortex and the right amygdala were more active for disliked over liked music. These results discern the brain structures responsible for the perception of sad and happy emotions in music from those related to musical enjoyment. We also obtained novel evidence for functional differences in the limbic system associated with musical expertise, by showing enhanced liking-related activity in fronto-insular and cingulate areas in musicians.

The curse of motor expertise: Use-dependent focal dystonia as a manifestation of maladaptive changes in body representation

Focal task-specific dystonia (FTSD) impairs not only motor dexterity, but also somatosensory perception involved in well-trained behavioral tasks. Occupations that carry a risk of developing FTSD include musician, writer, painter, surgeon, and golfer, which are characterized by repetitive and precise motor actions over a prolonged period. Behavioral studies have uncovered various undesirable effects of FTSD on sensorimotor functions, such as a loss of independent movement control, unintended muscular co-activation, awkward limb posture, and impairment of fine discrimination of tactile and proprioceptive sensations. Studies using neuroimaging and noninvasive brain stimulation techniques have related such sensorimotor malfunctions to maladaptive neuroplastic changes in the sensorimotor system, including the primary motor and somatosensory areas, premotor area, cerebellum, and basal ganglia. In this review, we summarize recent empirical findings regarding phenomenological and pathophysiological abnormalities associated with the development of FTSD. We particularly focused on maladaptive alterations of body representations underlying the degradation of fine motor control and somatosensory perception in FTSD patients.

Sensory feedback - Dependent neural de-orchestration: The effect of altered sensory feedback on Musician's Dystonia

PURPOSE

Musician's dystonia (MD) is a task-specific movement disorder related to extensive expert music performance training. Similar to other forms of focal dystonia, MD involves sensory deficits and abnormal patterns of sensorimotor integration. The present study investigated the impaired cortical sensorimotor network of pianists who suffer from MD by employing altered auditory and tactile feedback during scale playing with multichannel EEG.

METHODS

9 healthy professional pianists and 9 professional pianists suffering from right hand MD participated in an experiment that required repeated scale playing on a MIDI piano under altered sensory feedback while EEG was measured.

RESULTS

The comparison of EEG data in healthy pianists and pianists suffering from MD revealed a higher degree of inter-regional phase synchronisation between the frontal and parietal regions and between the temporal and central regions in the patient group and in conditions that are relevant to the long-trained auditory-motor coupling (normal auditory feedback and complete deprivation of auditory feedback), but such abnormalities decreased in conditions with delayed auditory feedback and altered tactile feedback.

CONCLUSIONS

These findings support the hypothesis that the impaired sensorimotor integration of MD patients is specific to the type of overtrained task that the patients were trained for and can be modified with altered sensory feedback.