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Yasuhara M, Uehara K, Oku T, Shiotani S, Nambu I, Furuya S. Robustness and adaptability of sensorimotor skills in expert piano performance. iScience 2024; 27:110400. [PMID: 39156646 PMCID: PMC11326920 DOI: 10.1016/j.isci.2024.110400] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 11/25/2023] [Revised: 03/31/2024] [Accepted: 06/25/2024] [Indexed: 08/20/2024] Open
Abstract
Skillful sequential action requires the delicate balance of sensorimotor control, encompassing both robustness and adaptability. However, it remains unknown whether both motor and neural responses triggered by sensory perturbation undergo plastic adaptation as a consequence of extensive sensorimotor experience. We assessed the effects of transiently delayed tone production on the subsequent motor actions and event-related potentials (ERPs) during piano performance by comparing pianists and non-musicians. Following the perturbation, the inter-keystroke interval was abnormally prolonged in non-musicians but not in pianists. By contrast, the keystroke velocity following the perturbation was increased only in the pianists. A regression model demonstrated that the change in the inter-keystroke interval covaried with the ERPs, particularly at the frontal and parietal regions. The alteration in the keystroke velocity was associated with the P300 component of the temporal region. These findings suggest that different neural mechanisms underlie robust and adaptive sensorimotor skills across proficiency level.
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Affiliation(s)
- Masaki Yasuhara
- Department of Science of Technology Innovation, Nagaoka University of Technology, Nagaoka 9402137, Japan
| | - Kazumasa Uehara
- Tokyo Research, Sony Computer Science Laboratories Inc, Tokyo 1410022, Japan
- Department of Computer Science and Engineering, Toyohashi University of Technology, Toyohashi 4418580, Japan
| | - Takanori Oku
- Tokyo Research, Sony Computer Science Laboratories Inc, Tokyo 1410022, Japan
- NeuroPiano Institute, Kyoto 6008086, Japan
| | - Sachiko Shiotani
- Tokyo Research, Sony Computer Science Laboratories Inc, Tokyo 1410022, Japan
- NeuroPiano Institute, Kyoto 6008086, Japan
| | - Isao Nambu
- Graduate School of Engineering, Nagaoka University of Technology, Nagaoka 9402137, Japan
| | - Shinichi Furuya
- Tokyo Research, Sony Computer Science Laboratories Inc, Tokyo 1410022, Japan
- NeuroPiano Institute, Kyoto 6008086, Japan
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2
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Martins M, Reis AM, Gaser C, Castro SL. Individual differences in rhythm perception modulate music-related motor learning: a neurobehavioral training study with children. Sci Rep 2023; 13:21552. [PMID: 38057419 PMCID: PMC10700636 DOI: 10.1038/s41598-023-48132-2] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Abstract] [Key Words] [MESH Headings] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Received: 03/10/2023] [Accepted: 11/22/2023] [Indexed: 12/08/2023] Open
Abstract
Rhythm and motor function are intrinsically linked to each other and to music, but the rhythm-motor interplay during music training, and the corresponding brain mechanisms, are underexplored. In a longitudinal training study with children, we examined the role of rhythm predisposition in the fine motor improvements arising from music training, and which brain regions would be implicated. Fifty-seven 8-year-olds were assigned to either a 6-month music training (n = 21), sports training (n = 18), or a control group (n = 18). They performed rhythm and motor tasks, and structural brain scans before and after training were collected. Better ability to perceive rhythm before training was related to less gray matter volume in regions of the cerebellum, fusiform gyrus, supramarginal gyrus, ventral diencephalon, amygdala, and inferior/middle temporal gyri. Music training improved motor performance, and greater improvements correlated with better pre-training rhythm discrimination. Music training also induced a loss of gray matter volume in the left cerebellum and fusiform gyrus, and volume loss correlated with higher motor gains. No such effects were found in the sports and control groups. In summary, children with finer-tuned rhythm perception abilities were prone to finer motor improvements through music training, and this rhythm-motor link was to some extent subserved by the left cerebellum and fusiform gyrus. These findings have implications for models on music-related plasticity and rhythm cognition, and for programs targeting motor function.
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Affiliation(s)
- Marta Martins
- University Institute of Lisbon (ISCTE-IUL), 1649-026, Lisboa, Portugal
- Center for Psychology, Faculty of Psychology and Education Sciences, University of Porto, 4200-319, Porto, Portugal
| | | | - Christian Gaser
- Department of Psychiatry and Psychotherapy, Jena University Hospital, 07743, Jena, Germany
- Department of Neurology, Jena University Hospital, 07743, Jena, Germany
| | - São Luís Castro
- Center for Psychology, Faculty of Psychology and Education Sciences, University of Porto, 4200-319, Porto, Portugal.
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3
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Rosso M, van Kerrebroeck B, Maes PJ, Leman M. Embodied perspective-taking enhances interpersonal synchronization: A body-swap study. iScience 2023; 26:108099. [PMID: 37920667 PMCID: PMC10618832 DOI: 10.1016/j.isci.2023.108099] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 04/04/2023] [Revised: 06/20/2023] [Accepted: 09/27/2023] [Indexed: 11/04/2023] Open
Abstract
Humans exhibit a strong tendency to synchronize movements with each other, with visual perspective potentially influencing interpersonal synchronization. By manipulating the visual scenes of participants engaged in a joint finger-tapping task, we examined the effects of 1st person and 2nd person visual perspectives on their coordination dynamics. We hypothesized that perceiving the partner's movements from their 1st person perspective would enhance spontaneous interpersonal synchronization, potentially mediated by the embodiment of the partner's hand. We observed significant differences in attractor dynamics across visual perspectives. Specifically, participants in 1st person coupling were unable to maintain de-coupled trajectories as effectively as in 2nd person coupling. Our findings suggest that visual perspective influences coordination dynamics in dyadic interactions, engaging error-correction mechanisms in individual brains as they integrate the partner's hand into their body representation. Our results have the potential to inform the development of applications for motor training and rehabilitation.
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Affiliation(s)
- Mattia Rosso
- IPEM - Institute for Systematic Musicology, Ghent University, 9000 Ghent, Flanders, Belgium
- PSITEC - Psychologie: Interactions, Temps, Emotions, Cognition - ULR 4072, University of Lille, 59650 Lille, Hauts-de-France, France
| | - Bavo van Kerrebroeck
- IPEM - Institute for Systematic Musicology, Ghent University, 9000 Ghent, Flanders, Belgium
- SPL - Sequence Production Lab, McGill University, Montreal, Quebec H3A 1B1, Canada
- IDMIL – Input Devices. And Music Interaction Laboratory, McGill University, Montréal, Québec H3A 1E3, Canada
| | - Pieter-Jan Maes
- IPEM - Institute for Systematic Musicology, Ghent University, 9000 Ghent, Flanders, Belgium
| | - Marc Leman
- IPEM - Institute for Systematic Musicology, Ghent University, 9000 Ghent, Flanders, Belgium
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Uehara K, Yasuhara M, Koguchi J, Oku T, Shiotani S, Morise M, Furuya S. Brain network flexibility as a predictor of skilled musical performance. Cereb Cortex 2023; 33:10492-10503. [PMID: 37566918 DOI: 10.1093/cercor/bhad298] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Abstract] [Key Words] [MESH Headings] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Received: 04/29/2023] [Revised: 07/25/2023] [Accepted: 07/26/2023] [Indexed: 08/13/2023] Open
Abstract
Interactions between the body and the environment are dynamically modulated by upcoming sensory information and motor execution. To adapt to this behavioral state-shift, brain activity must also be flexible and possess a large repertoire of brain networks so as to switch them flexibly. Recently, flexible internal brain communications, i.e. brain network flexibility, have come to be recognized as playing a vital role in integrating various sensorimotor information. Therefore, brain network flexibility is one of the key factors that define sensorimotor skill. However, little is known about how flexible communications within the brain characterize the interindividual variation of sensorimotor skill and trial-by-trial variability within individuals. To address this, we recruited skilled musical performers and used a novel approach that combined multichannel-scalp electroencephalography, behavioral measurements of musical performance, and mathematical approaches to extract brain network flexibility. We found that brain network flexibility immediately before initiating the musical performance predicted interindividual differences in the precision of tone timbre when required for feedback control, but not for feedforward control. Furthermore, brain network flexibility in broad cortical regions predicted skilled musical performance. Our results provide novel evidence that brain network flexibility plays an important role in building skilled sensorimotor performance.
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Affiliation(s)
- Kazumasa Uehara
- Neural Information Dynamics Laboratory, Department of Computer Science and Engineering, Toyohashi University of Technology, Toyohashi, Japan
- Sony Computer Science Laboratories Inc, Tokyo 1410022, Japan
| | - Masaki Yasuhara
- Sony Computer Science Laboratories Inc, Tokyo 1410022, Japan
- Neural Engineering Laboratory, Department of Science of Technology Innovation, Nagaoka University of Technology, Nagaoka, Japan
| | - Junya Koguchi
- Sony Computer Science Laboratories Inc, Tokyo 1410022, Japan
- Graduate School of Advanced Mathematical Sciences, Meiji University, Tokyo, Japan
| | | | | | - Masanori Morise
- Sony Computer Science Laboratories Inc, Tokyo 1410022, Japan
- School of Interdisciplinary Mathematical Sciences, Meiji University, Tokyo, Japan
| | - Shinichi Furuya
- Sony Computer Science Laboratories Inc, Tokyo 1410022, Japan
- NeuroPiano Institute, Kyoto 6008086, Japan
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Furuya S, Tanibuchi R, Nishioka H, Kimoto Y, Hirano M, Oku T. Passive somatosensory training enhances piano skill in adolescent and adult pianists: A preliminary study. Ann N Y Acad Sci 2023; 1519:167-172. [PMID: 36398868 DOI: 10.1111/nyas.14939] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Indexed: 11/19/2022]
Abstract
Sensory afferent information, such as auditory and somatosensory feedback while moving, plays a crucial role in both control and learning of motor performance across the lifespan. Music performance requires skillful integration of multimodal sensory information for the production of dexterous movements. However, it has not been understood what roles somatosensory afferent information plays in the acquisition and sophistication of specialized motor skills of musicians across different stages of development. In the present preliminary study, we addressed this issue by using a novel technique with a hand exoskeleton robot that can externally move the fingers of pianists. Short-term exposure to fast and complex finger movements generated by the exoskeleton (i.e., passive movements) increased the maximum rate of repetitive piano keystrokes by the pianists. This indicates that somatosensory inputs derived from the externally generated motions enhanced the quickness of the sequential finger movements in piano performance, even though the pianists did not voluntarily move the fingers. The enhancement of motor skill through passive somatosensory training using the exoskeleton was more pronounced in adolescent pianists than adult pianists. These preliminary results implicate a sensitive period of neuroplasticity of the somatosensory-motor system of trained pianists, which emphasizes the importance of somatosensory-motor training in professional music education during adolescence.
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Affiliation(s)
- Shinichi Furuya
- Sony Computer Science Laboratories Inc., Tokyo, Japan.,NeuroPiano Institute, Kyoto, Japan.,Sophia University, Tokyo, Japan
| | - Ryuya Tanibuchi
- Sony Computer Science Laboratories Inc., Tokyo, Japan.,Sophia University, Tokyo, Japan
| | - Hayato Nishioka
- Sony Computer Science Laboratories Inc., Tokyo, Japan.,NeuroPiano Institute, Kyoto, Japan
| | - Yudai Kimoto
- Sony Computer Science Laboratories Inc., Tokyo, Japan.,Sophia University, Tokyo, Japan
| | - Masato Hirano
- Sony Computer Science Laboratories Inc., Tokyo, Japan.,NeuroPiano Institute, Kyoto, Japan
| | - Takanori Oku
- Sony Computer Science Laboratories Inc., Tokyo, Japan.,NeuroPiano Institute, Kyoto, Japan.,Sophia University, Tokyo, Japan
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Popp NJ, Hernandez-Castillo CR, Gribble PL, Diedrichsen J. The role of feedback in the production of skilled finger sequences. J Neurophysiol 2022; 127:829-839. [PMID: 35235441 PMCID: PMC8957329 DOI: 10.1152/jn.00319.2021] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Abstract] [Key Words] [MESH Headings] [Grants] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Received: 07/11/2021] [Revised: 02/28/2022] [Accepted: 03/01/2022] [Indexed: 11/22/2022] Open
Abstract
Actions involving fine control of the hand, for example, grasping an object, rely heavily on sensory information from the fingertips. Although the integration of feedback during the execution of individual movements is well understood, less is known about the use of sensory feedback in the control of skilled movement sequences. To address this gap, we trained participants to produce sequences of finger movements on a keyboard-like device over a 4-day training period. Participants received haptic, visual, and auditory feedback indicating the occurrence of each finger press. We then either transiently delayed or advanced the feedback for a single press by a small amount of time (30 or 60 ms). We observed that participants rapidly adjusted their ongoing finger press by either accelerating or prolonging the ongoing press, in accordance with the direction of the perturbation. Furthermore, we could show that this rapid behavioral modulation was driven by haptic feedback. Although these feedback-driven adjustments reduced in size with practice, they were still clearly present at the end of training. In contrast to the directionally specific effect we observed on the perturbed press, a feedback perturbation resulted in a delayed onset of the subsequent presses irrespective of perturbation direction or feedback modality. This observation is consistent with a hierarchical organization of even very skilled and fast movement sequences, with different levels reacting distinctly to sensory perturbations.NEW & NOTEWORTHY Sensory feedback is important during the execution of a movement. However, little is known about how sensory feedback is used during the production of movement sequences. Here, we show two distinct feedback processes in the execution of fast finger movement sequences. By transiently delaying or advancing the feedback of a single press within a sequence, we observed a directionally specific effect on the perturbed press and a directionally non-specific effect on the subsequent presses.
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Affiliation(s)
- Nicola J Popp
- The Brain and Mind Institute, University of Western Ontario, London, Ontario, Canada
| | | | - Paul L Gribble
- The Brain and Mind Institute, University of Western Ontario, London, Ontario, Canada
- Department of Psychology, University of Western Ontario, London, Ontario, Canada
- Department of Physiology & Pharmacology, University of Western Ontario, London, Ontario, Canada
- Haskins Laboratories, New Haven, Connecticut
| | - Jörn Diedrichsen
- The Brain and Mind Institute, University of Western Ontario, London, Ontario, Canada
- Department of Statistical and Actuarial Sciences, University of Western Ontario, London, Ontario, Canada
- Department of Computer Science, University of Western Ontario, London, Ontario, Canada
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7
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Back to feedback: aberrant sensorimotor control in music performance under pressure. Commun Biol 2021; 4:1367. [PMID: 34916581 PMCID: PMC8677784 DOI: 10.1038/s42003-021-02879-4] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Abstract] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 03/10/2021] [Accepted: 11/05/2021] [Indexed: 11/14/2022] Open
Abstract
Precisely timed production of dexterous actions is often destabilized in anxiogenic situations. Previous studies demonstrated that cognitive functions such as attention and working memory as well as autonomic nervous functions are susceptible to psychological stress in skillful performance while playing sports or musical instruments. However, it is not known whether the degradation of sensorimotor functions underlies such a compromise of skillful performance due to psychophysiological distress. Here, we addressed this issue through a set of behavioral experiments. After artificially delaying the timing of tone production while playing the piano, the local tempo was abnormally disrupted only under pressure. The results suggest that psychological stress degraded the temporal stability of movement control due to an abnormal increase in feedback gain. A learning experiment further demonstrated that the temporal instability of auditory-motor control under pressure was alleviated after practicing piano while ignoring delayed auditory feedback but not after practicing while compensating for the delayed feedback. Together, these findings suggest an abnormal transition from feedforward to feedback control in expert piano performance with psychological stress, which can be mitigated through specialized sensorimotor training that involves piano practice while volitionally ignoring the artificially delayed provision of auditory feedback. In order to establish if the degradation of sensorimotor functions underlies the stress-associated disruption of skilful performance, Furuya et al examined participants undergoing a piano playing task under stress. Their data suggests the occurrence of a stress-induced transition from feedforward to feedback control, which can be mitigated through sensorimotor training involving piano practice while volitionally ignoring the artificially delayed provision of auditory feedback.
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8
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Grau-Sánchez J, Münte TF, Altenmüller E, Duarte E, Rodríguez-Fornells A. Potential benefits of music playing in stroke upper limb motor rehabilitation. Neurosci Biobehav Rev 2020; 112:585-599. [PMID: 32092314 DOI: 10.1016/j.neubiorev.2020.02.027] [Citation(s) in RCA: 35] [Impact Index Per Article: 8.8] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Received: 10/30/2019] [Revised: 02/19/2020] [Accepted: 02/20/2020] [Indexed: 12/18/2022]
Abstract
Music-based interventions have emerged as a promising tool in stroke motor rehabilitation as they integrate most of the principles of motor training and multimodal stimulation. This paper aims to review the use of music in the rehabilitation of upper extremity motor function after stroke. First, we review the evidence supporting current music-based interventions including Music-supported Therapy, Music glove, group music therapy, Rhythm- and music-based intervention, and Musical sonification. Next, we describe the mechanisms that may be responsible for the effectiveness of these interventions, focusing on motor learning aspects, how multimodal stimulation may boost motor performance, and emotional and motivational aspects related to music. Then, we discuss methodological concerns in music therapy research related to modifications of therapy protocols, evaluation of patients and study designs. Finally, we highlight clinical considerations for the implementation of music-based interventions in clinical settings.
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Affiliation(s)
- Jennifer Grau-Sánchez
- Cognition and Brain Plasticity Group, Bellvitge Biomedical Research Institute (IDIBELL), L'Hospitalet de Llobregat, Barcelona, 08097, Spain; Escola Universitària d'Infermeria i Teràpia Ocupacional de Terrassa (EUIT), Universitat Autònoma de Barcelona, Terrassa, Catalonia, Spain.
| | - Thomas F Münte
- Department of Neurology, University of Lübeck, Lübeck, Germany
| | - Eckart Altenmüller
- Institute of Music Physiology and Musicians' Medicine, Hannover University of Music, Drama and Media, Hannover, Germany
| | - Esther Duarte
- Department of Physical Medicine and Rehabilitation, Hospitals del Mar i l'Esperança, Parc de Salut Mar, Barcelona, Spain
| | - Antoni Rodríguez-Fornells
- Cognition and Brain Plasticity Group, Bellvitge Biomedical Research Institute (IDIBELL), L'Hospitalet de Llobregat, Barcelona, 08097, Spain; Department of Cognition, Development and Educational Science, Campus Bellvitge, University of Barcelona, L'Hospitalet de Llobregat, Barcelona, 08097, Spain; Catalan Institution for Research and Advanced Studies, ICREA, Barcelona, Spain.
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9
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Neuromuscular and biomechanical functions subserving finger dexterity in musicians. Sci Rep 2019; 9:12224. [PMID: 31434947 PMCID: PMC6704118 DOI: 10.1038/s41598-019-48718-9] [Citation(s) in RCA: 13] [Impact Index Per Article: 2.6] [Reference Citation Analysis] [Abstract] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 03/12/2019] [Accepted: 08/12/2019] [Indexed: 12/20/2022] Open
Abstract
Exceptional finger dexterity enables skillful motor actions such as those required for musical performance. However, it has been not known whether and in what manner neuromuscular or biomechanical features of the fingers subserve the dexterity. We aimed to identify the features firstly differentiating the finger dexterity between trained and untrained individuals and secondly accounting for the individual differences in the dexterity across trained individuals. To this aim, two studies were conducted. The first study compared the finger dexterity and several neuromuscular and biomechanical characteristics of the fingers between pianists and non-musicians. As a measure of the dexterity, we used the maximum rate of repetitive finger movements. The results showed no differences in any biomechanical constraints of the fingers between the two groups (i.e. anatomical connectivity between the fingers and range of motion). However, the pianists exhibited faster finger movements and more independent control of movements between the fingers. These observations indicate expertise-dependent enhancement of the finger dexterity and reduction of neuromuscular constraints on movement independence between the fingers. The second study assessed individual differences in the finger dexterity between trained pianists. A penalized regression determined an association of the maximum movement speed of the fingers with both muscular strength and biomechanical characteristics of the fingers, but not with neuromuscular constraints of the fingers. None of these features covaried with measures of early and deliberate piano practice. These findings indicate that distinct biological factors of finger motor dexterity differentiate between the effects of piano practicing and individual differences across skilled pianists.
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Mathias B, Gehring WJ, Palmer C. Electrical Brain Responses Reveal Sequential Constraints on Planning during Music Performance. Brain Sci 2019; 9:E25. [PMID: 30696038 PMCID: PMC6406892 DOI: 10.3390/brainsci9020025] [Citation(s) in RCA: 7] [Impact Index Per Article: 1.4] [Reference Citation Analysis] [Abstract] [Key Words] [Grants] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 01/11/2019] [Revised: 01/21/2019] [Accepted: 01/26/2019] [Indexed: 12/20/2022] Open
Abstract
Elements in speech and music unfold sequentially over time. To produce sentences and melodies quickly and accurately, individuals must plan upcoming sequence events, as well as monitor outcomes via auditory feedback. We investigated the neural correlates of sequential planning and monitoring processes by manipulating auditory feedback during music performance. Pianists performed isochronous melodies from memory at an initially cued rate while their electroencephalogram was recorded. Pitch feedback was occasionally altered to match either an immediately upcoming Near-Future pitch (next sequence event) or a more distant Far-Future pitch (two events ahead of the current event). Near-Future, but not Far-Future altered feedback perturbed the timing of pianists' performances, suggesting greater interference of Near-Future sequential events with current planning processes. Near-Future feedback triggered a greater reduction in auditory sensory suppression (enhanced response) than Far-Future feedback, reflected in the P2 component elicited by the pitch event following the unexpected pitch change. Greater timing perturbations were associated with enhanced cortical sensory processing of the pitch event following the Near-Future altered feedback. Both types of feedback alterations elicited feedback-related negativity (FRN) and P3a potentials and amplified spectral power in the theta frequency range. These findings suggest similar constraints on producers' sequential planning to those reported in speech production.
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Affiliation(s)
- Brian Mathias
- Department of Psychology, McGill University, Montreal, QC H3A 1B1, Canada.
- Research Group Neural Mechanisms of Human Communication, Max Planck Institute for Human Cognitive and Brain Sciences, 04103 Leipzig, Germany.
| | - William J Gehring
- Department of Psychology, University of Michigan, Ann Arbor, MI 48109, USA.
| | - Caroline Palmer
- Department of Psychology, McGill University, Montreal, QC H3A 1B1, Canada.
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11
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The influence of pitch feedback on learning of motor -timing and sequencing: A piano study with novices. PLoS One 2018; 13:e0207462. [PMID: 30485336 PMCID: PMC6261582 DOI: 10.1371/journal.pone.0207462] [Citation(s) in RCA: 3] [Impact Index Per Article: 0.5] [Reference Citation Analysis] [Abstract] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 04/26/2018] [Accepted: 10/30/2018] [Indexed: 12/02/2022] Open
Abstract
Audio-motor coordination is a fundamental requirement in the learning and execution of sequential actions such as music performance. Predictive motor control mechanisms determine the sequential content and timing of upcoming tones and thereby facilitate accurate performance. To study the role of auditory-motor predictions at early stages of acquiring piano performance skills, we conducted an experiment in which non-musicians learned to play a musical sequence on the piano in synchrony with a metronome. Three experimental conditions compared errors and timing. The first consisted of normal auditory feedback using conventional piano key-to-tone mappings. The second employed fixed-pitch auditory feedback consisting of a single tone that was given with each key stroke. In the third condition, for each key stroke a tone was randomly drawn from the set of tones associated with the normal sequence. The results showed that when auditory feedback tones were randomly assigned, participants produced more sequencing errors (i.e., a higher percentage of incorrect key strokes) compared to when auditory feedback was normal or consisted of a single tone of fixed pitch. Furthermore, synchronization with the metronome was most accurate in the fixed-pitch single-tone condition. These findings suggest that predictive motor control mechanisms support sequencing and timing, and that these sensorimotor processes are dissociable even at early stages of acquiring complex motor skills such as music performance.
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12
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Schaeffner S, Koch I, Philipp AM. Sensory-motor modality compatibility in multitasking: The influence of processing codes. Acta Psychol (Amst) 2018; 191:210-218. [PMID: 30312892 DOI: 10.1016/j.actpsy.2018.09.012] [Citation(s) in RCA: 5] [Impact Index Per Article: 0.8] [Reference Citation Analysis] [Abstract] [Key Words] [MESH Headings] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Received: 06/20/2017] [Revised: 08/24/2018] [Accepted: 09/26/2018] [Indexed: 11/16/2022] Open
Abstract
Sensory-motor modality compatibility is defined as the similarity between the sensory modality and the modality of response-related effects. Previous dual-task and task-switching studies have shown higher performance costs for coordinating relatively incompatible sensory-motor modality mappings (i.e., auditory-manual and visual-vocal) compared to more compatible mappings (i.e., auditory-vocal and visual-manual). Until now, however, little attention has been paid to potential variability in effects of modality compatibility depending on different processing codes. In the present study, we independently varied the processing codes of input and output (nonverbal-spatial, nonverbal-nominal, verbal-spatial, verbal-nominal) while participants switched between incompatible and compatible sensory-motor modality mappings. Beside higher switch costs for switching between incompatible sensory-motor modality mappings than for switching between compatible mappings, the results revealed stronger effects of modality compatibility on switch costs for verbal input than for nonverbal input codes. This suggests that priming mechanisms between sensory input and compatible motor output are modulated by the processing code of the sensory input. As possible explanations, we assume a higher degree of concordance with output processing codes as well as stronger associations with potential response effects for verbal than for nonverbal input.
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Affiliation(s)
| | - Iring Koch
- RWTH Aachen University, Institute of Psychology, Aachen, Germany
| | - Andrea M Philipp
- RWTH Aachen University, Institute of Psychology, Aachen, Germany
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13
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Herrojo Ruiz M, Maess B, Altenmüller E, Curio G, Nikulin VV. Cingulate and cerebellar beta oscillations are engaged in the acquisition of auditory-motor sequences. Hum Brain Mapp 2017; 38:5161-5179. [PMID: 28703919 PMCID: PMC6866917 DOI: 10.1002/hbm.23722] [Citation(s) in RCA: 21] [Impact Index Per Article: 3.0] [Reference Citation Analysis] [Abstract] [Key Words] [MESH Headings] [Grants] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Received: 01/06/2017] [Revised: 06/24/2017] [Accepted: 06/27/2017] [Indexed: 12/15/2022] Open
Abstract
Singing, music performance, and speech rely on the retrieval of complex sounds, which are generated by the corresponding actions and are organized into sequences. It is crucial in these forms of behavior that the serial organization (i.e., order) of both the actions and associated sounds be monitored and learned. To investigate the neural processes involved in the monitoring of serial order during the initial learning of sensorimotor sequences, we performed magnetoencephalographic recordings while participants explicitly learned short piano sequences under the effect of occasional alterations of auditory feedback (AAF). The main result was a prominent and selective modulation of beta (13-30 Hz) oscillations in cingulate and cerebellar regions during the processing of AAF that simulated serial order errors. Furthermore, the AAF-induced modulation of beta oscillations was associated with higher error rates, reflecting compensatory changes in sequence planning. This suggests that cingulate and cerebellar beta oscillations play a role in tracking serial order during initial sensorimotor learning and in updating the mapping of the sensorimotor representations. The findings support the notion that the modulation of beta oscillations is a candidate mechanism for the integration of sequential motor and auditory information during an early stage of skill acquisition in music performance. This has potential implications for singing and speech. Hum Brain Mapp 38:5161-5179, 2017. © 2017 Wiley Periodicals, Inc.
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Affiliation(s)
- María Herrojo Ruiz
- Neurophysics GroupDepartment of Neurology, Campus Benjamin Franklin, Charité – Universitätsmedizin BerlinBerlin12203Germany
- Department of PsychologyWhitehead Building, Goldsmiths, University of LondonLondonSE14 6NWUnited Kingdom
| | - Burkhard Maess
- Research Group “MEG and cortical networks”Max Planck Institute for Human, Cognitive and Brain SciencesLeipzigD‐04103Germany
| | - Eckart Altenmüller
- Institute of Music Physiology and Musicians' MedicineHanover University of Music, Drama, and MediaHanoverGermany
| | - Gabriel Curio
- Neurophysics GroupDepartment of Neurology, Campus Benjamin Franklin, Charité – Universitätsmedizin BerlinBerlin12203Germany
- Bernstein Center for Computational NeuroscienceBerlin10115Germany
| | - Vadim V. Nikulin
- Neurophysics GroupDepartment of Neurology, Campus Benjamin Franklin, Charité – Universitätsmedizin BerlinBerlin12203Germany
- Department of NeurologyMax Planck Institute for Human Cognitive and Brain SciencesLeipzigD‐04103Germany
- Center for Cognition and Decision MakingNational Research University Higher School of EconomicsRussian Federation
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Wakita M. Interaction between Perceived Action and Music Sequences in the Left Prefrontal Area. Front Hum Neurosci 2017; 10:656. [PMID: 28082884 PMCID: PMC5186772 DOI: 10.3389/fnhum.2016.00656] [Citation(s) in RCA: 2] [Impact Index Per Article: 0.3] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 05/10/2016] [Accepted: 12/08/2016] [Indexed: 11/23/2022] Open
Abstract
Observing another person's piano play and listening to a melody interact with the observer's execution of piano play. This interaction is thought to occur because the execution of musical-action and the perception of both musical-action and musical-sound share a common representation in which the frontoparietal network is involved. However, it is unclear whether the perceptions of observed piano play and listened musical sound use a common neural resource. The present study used near-infrared spectroscopy to determine whether the interaction between the perception of musical-action and musical-sound sequences appear in the left prefrontal area. Measurements were obtained while participants watched videos that featured hands playing familiar melodies on a piano keyboard. Hand movements were paired with either a congruent or an incongruent melody. Two groups of participants (nine well-trained and nine less-trained) were instructed to identify the melody according to hand movements and to ignore the accompanying auditory track. Increased cortical activation was detected in the well-trained participants when hand movements were paired with incongruent melodies. Therefore, an interference effect was detected regarding the processing of action and sound sequences, indicating that musical-action sequences may be perceived with a representation that is also used for the perception of musical-sound sequences. However, in less-trained participants, such a contrast was not detected between conditions despite both groups featuring comparable key-touch reading abilities. Therefore, the current results imply that the left prefrontal area is involved in translating temporally structured sequences between domains. Additionally, expertise may be a crucial factor underlying this translation.
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Affiliation(s)
- Masumi Wakita
- Department of Neuroscience, Primate Research Institute, Kyoto University Inuyama, Japan
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15
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Tominaga K, Lee A, Altenmüller E, Miyazaki F, Furuya S. Kinematic Origins of Motor Inconsistency in Expert Pianists. PLoS One 2016; 11:e0161324. [PMID: 27537686 PMCID: PMC4990412 DOI: 10.1371/journal.pone.0161324] [Citation(s) in RCA: 13] [Impact Index Per Article: 1.6] [Reference Citation Analysis] [Abstract] [MESH Headings] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 12/04/2015] [Accepted: 08/03/2016] [Indexed: 11/19/2022] Open
Abstract
For top performers, including athletes and musicians, even subtle inconsistencies in rhythm and force during movement production decrease the quality of performance. However, extensive training over many years beginning in childhood is unable to perfect dexterous motor performance so that it is without any error. To gain insight into the biological mechanisms underlying the subtle defects of motor actions, the present study sought to identify the kinematic origins of inconsistency of dexterous finger movements in musical performance. Seven highly-skilled pianists who have won prizes at international piano competitions played a short sequence of tones with the right hand at a predetermined tempo. Time-varying joint angles of the fingers were recorded using a custom-made data glove, and the timing and velocity of the individual keystrokes were recorded from a digital piano. Both ridge and stepwise multiple regression analyses demonstrated an association of the inter-trial variability of the inter-keystroke interval (i.e., rhythmic inconsistency) with both the rotational velocity of joints of the finger used for a keystroke (i.e., striking finger) and the movement independence between the striking and non-striking fingers. This indicates a relationship between rhythmic inconsistency in musical performance and the dynamic features of movements in not only the striking finger but also the non-striking fingers. In contrast, the inter-trial variability of the key-descending velocity (i.e., loudness inconsistency) was associated mostly with the kinematic features of the striking finger at the moment of the keystroke. Furthermore, there was no correlation between the rhythmic and loudness inconsistencies. The results suggest distinct kinematic origins of inconsistencies in rhythm and loudness in expert musical performance.
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Affiliation(s)
- Kenta Tominaga
- Department of Engineering Science, Osaka University, 1–3 Machikaneyama, Toyonaka, Osaka, 5608531, Japan
| | - André Lee
- Neurologische Klinik und Poliklinik, Klinikum rechts der Isar, Technische Universität München, Munich, Germany
- Institute for Music Physiology and Musicians’ Medicine, Hannover University for Music, Drama and Media, Emmichplatz 1, 30175 Hannover, Germany
| | - Eckart Altenmüller
- Institute for Music Physiology and Musicians’ Medicine, Hannover University for Music, Drama and Media, Emmichplatz 1, 30175 Hannover, Germany
| | - Fumio Miyazaki
- Department of Engineering Science, Osaka University, 1–3 Machikaneyama, Toyonaka, Osaka, 5608531, Japan
| | - Shinichi Furuya
- Institute for Music Physiology and Musicians’ Medicine, Hannover University for Music, Drama and Media, Emmichplatz 1, 30175 Hannover, Germany
- Musical Skill and Injury Center (MuSIC), Sophia University, Tokyo, Japan
- * E-mail:
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16
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Chong HJ, Kim SJ, Yoo GE. Differential effects of type of keyboard playing task and tempo on surface EMG amplitudes of forearm muscles. Front Psychol 2015; 6:1277. [PMID: 26388798 PMCID: PMC4554952 DOI: 10.3389/fpsyg.2015.01277] [Citation(s) in RCA: 4] [Impact Index Per Article: 0.4] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 05/21/2015] [Accepted: 08/11/2015] [Indexed: 11/25/2022] Open
Abstract
Despite increasing interest in keyboard playing as a strategy for repetitive finger exercises in fine motor skill development and hand rehabilitation, comparative analysis of task-specific finger movements relevant to keyboard playing has been less extensive. This study examined, whether there were differences in surface EMG activity levels of forearm muscles associated with different keyboard playing tasks. Results demonstrated higher muscle activity with sequential keyboard playing in a random pattern compared to individuated playing or sequential playing in a successive pattern. Also, the speed of finger movements was found as a factor that affect muscle activity levels, demonstrating that faster tempo elicited significantly greater muscle activity than self-paced tempo. The results inform our understanding of the type of finger movements involved in different types of keyboard playing at different tempi. This helps to consider the efficacy and fatigue level of keyboard playing tasks when being used as an intervention for amateur pianists or individuals with impaired fine motor skills.
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Affiliation(s)
- Hyun Ju Chong
- Department of Music Therapy, Graduate School, Ewha Womans University Seoul, South Korea
| | - Soo Ji Kim
- Music Therapy Education, Graduate School of Education, Ewha Womans University Seoul, South Korea
| | - Ga Eul Yoo
- Department of Music Therapy, Graduate School, Ewha Womans University Seoul, South Korea
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17
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Abstract
The roles of the motor cortex in the acquisition and performance of skilled finger movements have been extensively investigated over decades. Yet it is still not known whether these roles of motor cortex are expertise-dependent. The present study addresses this issue by comparing the effects of noninvasive transcranial direction current stimulation (tDCS) on the fine control of sequential finger movements in highly trained pianists and musically untrained individuals. Thirteen pianists and 13 untrained controls performed timed-sequence finger movements with each of the right and left hands before and after receiving bilateral tDCS over the primary motor cortices. The results demonstrate an improvement of fine motor control in both hands in musically untrained controls, but deterioration in pianists following anodal tDCS over the contralateral cortex and cathodal tDCS over the ipsilateral cortex compared with the sham stimulation. However, this change in motor performance was not evident after stimulating with the opposite montage. These findings support the notion that changes in dexterous finger movements induced by bihemispheric tDCS are expertise-dependent.
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18
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Manning FC, Schutz M. Movement Enhances Perceived Timing in the Absence of Auditory Feedback. TIMING & TIME PERCEPTION 2015. [DOI: 10.1163/22134468-03002037] [Citation(s) in RCA: 4] [Impact Index Per Article: 0.4] [Reference Citation Analysis] [Abstract] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Indexed: 11/19/2022]
Abstract
Moving (tapping) to a beat can objectively improve the perception of timing. Here we examine whether auditory feedback from tapping is a requirement for this improvement. In this experiment, two groups of participants heard a series of isochronous beats, and identified whether a probe tone after a short silence was consistent with the timing of the preceding sequence. On half of the trials, participants tapped along on an electronic drum pad up to and including the probe tone, and on half of the trials they listened without tapping. In the auditory feedback (AF) group sounds from tapping were available to participants and in the no auditory feedback (NAF) group these sounds were masked using white noise. In both groups, movement improved timing judgments of the probe tone, however this improvement was more pronounced when auditory feedback was present. Additionally, tapping was more accurate when auditory feedback was available. While previously we demonstrated an effect of movement on perceived timing, here we clarify that movement alone is sufficient to trigger this improvement (independent of the movement’s auditory consequences). We identify the importance of auditory feedback as a cue for movement timing, which subsequently affects perceived timing of an external stimulus. Additionally we have demonstrated that movement alone can improve timing perception, independent of the auditory feedback caused by this movement.
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19
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Brown RM, Zatorre RJ, Penhune VB. Expert music performance: cognitive, neural, and developmental bases. PROGRESS IN BRAIN RESEARCH 2015; 217:57-86. [DOI: 10.1016/bs.pbr.2014.11.021] [Citation(s) in RCA: 44] [Impact Index Per Article: 4.9] [Reference Citation Analysis] [Track Full Text] [Subscribe] [Scholar Register] [Indexed: 01/24/2023]
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20
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Furuya S, Nakamura A, Nagata N. Acquisition of individuated finger movements through musical practice. Neuroscience 2014; 275:444-54. [DOI: 10.1016/j.neuroscience.2014.06.031] [Citation(s) in RCA: 22] [Impact Index Per Article: 2.2] [Reference Citation Analysis] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Received: 02/18/2014] [Revised: 06/14/2014] [Accepted: 06/16/2014] [Indexed: 12/22/2022]
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21
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Pfordresher PQ, Beasley RTE. Making and monitoring errors based on altered auditory feedback. Front Psychol 2014; 5:914. [PMID: 25191294 PMCID: PMC4138776 DOI: 10.3389/fpsyg.2014.00914] [Citation(s) in RCA: 12] [Impact Index Per Article: 1.2] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 02/07/2014] [Accepted: 07/31/2014] [Indexed: 11/13/2022] Open
Abstract
Previous research has demonstrated that altered auditory feedback (AAF) disrupts music performance and causes disruptions in both action planning and the perception of feedback events. It has been proposed that this disruption occurs because of interference within a shared representation for perception and action (Pfordresher, 2006). Studies reported here address this claim from the standpoint of error monitoring. In Experiment 1 participants performed short melodies on a keyboard while hearing no auditory feedback, normal auditory feedback, or alterations to feedback pitch on some subset of events. Participants overestimated error frequency when AAF was present but not for normal feedback. Experiment 2 introduced a concurrent load task to determine whether error monitoring requires executive resources. Although the concurrent task enhanced the effect of AAF, it did not alter participants' tendency to overestimate errors when AAF was present. A third correlational study addressed whether effects of AAF are reduced for a subset of the population who may lack the kind of perception/action associations that lead to AAF disruption: poor-pitch singers. Effects of manipulations similar to those presented in Experiments 1 and 2 were reduced for these individuals. We propose that these results are consistent with the notion that AAF interference is based on associations between perception and action within a forward internal model of auditory-motor relationships.
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Affiliation(s)
- Peter Q Pfordresher
- Auditory Perception and Action Laboratory, Department of Psychology, University at Buffalo-State University of New York Buffalo, NY, USA
| | - Robertson T E Beasley
- Auditory Perception and Action Laboratory, Department of Psychology, University at Buffalo-State University of New York Buffalo, NY, USA
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22
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van Vugt FT, Furuya S, Vauth H, Jabusch HC, Altenmüller E. Playing beautifully when you have to be fast: spatial and temporal symmetries of movement patterns in skilled piano performance at different tempi. Exp Brain Res 2014; 232:3555-67. [PMID: 25059908 DOI: 10.1007/s00221-014-4036-4] [Citation(s) in RCA: 14] [Impact Index Per Article: 1.4] [Reference Citation Analysis] [Abstract] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Received: 10/21/2013] [Accepted: 07/05/2014] [Indexed: 10/25/2022]
Abstract
Humans are capable of learning a variety of motor skills such as playing the piano. Performance of these skills is subject to multiple constraints, such as musical phrasing or speed requirements, and these constraints vary from one context to another. In order to understand how the brain controls highly skilled movements, we investigated pianists playing musical scales with their left or right hand at various speeds. Pianists showed systematic temporal deviations away from regularity. At slow tempi, pianists slowed down at the beginning and end of the movement (which we call phrasal template). At fast tempi, temporal deviation traces consisted of three peak delays caused by a thumb-under manoeuvre (which we call neuromuscular template). Intermediate tempi were a linear combination trade-off between these two. We introduce and cross-validate a simple four-parameter model that predicted the timing deviation of each individual note across tempi (R(2) = 0.70). The model can be fitted on the data of individual pianists, providing a novel quantification of expert performance. The present study shows that the motor system can generate complex movements through a dynamic combination of simple movement templates. This provides insight into how the motor system flexibly adapts to varying contextual constraints.
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Affiliation(s)
- Floris T van Vugt
- Institute of Music Physiology and Musicians' Medicine, University of Music, Drama, and Media, Emmichplatz 1, 30175, Hanover, Germany,
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23
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van der Steen MCM, Molendijk EBD, Altenmüller E, Furuya S. Expert pianists do not listen: the expertise-dependent influence of temporal perturbation on the production of sequential movements. Neuroscience 2014; 269:290-8. [PMID: 24709043 DOI: 10.1016/j.neuroscience.2014.03.058] [Citation(s) in RCA: 13] [Impact Index Per Article: 1.3] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Received: 02/01/2014] [Revised: 03/26/2014] [Accepted: 03/27/2014] [Indexed: 10/25/2022]
Abstract
Auditory information plays an important role in fine motor control such as speech and musical performance. The purpose of this study was to assess expertise-dependent differences in the role of temporal information of auditory feedback in the production of sequential movements. Differences in motor responses to the transient delay of tone production during musical performance between expert pianists and non-musicians were evaluated. Compared to expert pianists, non-musicians showed more pronounced movement disruptions following the delayed auditory feedback. For example, in response to a perturbation the inter-keystroke interval was prolonged and the key-press was longer in non-musicians, while the expert pianist marginally shortened both measures. These distinct differences between groups suggest that extensive musical training influences feedback control in sequential finger movements. Furthermore, there was a significant positive correlation between the age at which the expert pianists commenced their musical training and the amount of disruption. Overall, these findings suggest that expert pianists have a higher level of robustness against perturbations and depend less on auditory feedback during the performance of sequential movements.
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Affiliation(s)
- M C Marieke van der Steen
- Institute of Music Physiology and Musicians' Medicine, University of Music, Drama, and Media, Emmichplatz 1, 30175 Hanover, Germany; Max Planck Research Group "Music Cognition and Action", Max Planck Institute for Human Cognitive and Brain Sciences, Leipzig, Germany
| | - E B D Molendijk
- Institute of Music Physiology and Musicians' Medicine, University of Music, Drama, and Media, Emmichplatz 1, 30175 Hanover, Germany
| | - E Altenmüller
- Institute of Music Physiology and Musicians' Medicine, University of Music, Drama, and Media, Emmichplatz 1, 30175 Hanover, Germany
| | - S Furuya
- Institute of Music Physiology and Musicians' Medicine, University of Music, Drama, and Media, Emmichplatz 1, 30175 Hanover, Germany.
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24
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Transfer of piano practice in fast performance of skilled finger movements. BMC Neurosci 2013; 14:133. [PMID: 24175946 PMCID: PMC4228459 DOI: 10.1186/1471-2202-14-133] [Citation(s) in RCA: 13] [Impact Index Per Article: 1.2] [Reference Citation Analysis] [Abstract] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 08/09/2013] [Accepted: 10/30/2013] [Indexed: 11/24/2022] Open
Abstract
Background Transfer of learning facilitates the efficient mastery of various skills without practicing all possible sensory-motor repertoires. The present study assessed whether motor practice at a submaximal speed, which is typical in sports and music performance, results in an increase in a maximum speed of finger movements of trained and untrained skills. Results Piano practice of sequential finger movements at a submaximal speed over days progressively increased the maximum speed of trained movements. This increased maximum speed of finger movements was maintained two months after the practice. The learning transferred within the hand to some extent, but not across the hands. Conclusions The present study confirmed facilitation of fast finger movements following a piano practice at a submaximal speed. In addition, the findings indicated the intra-manual transfer effects of piano practice on the maximum speed of skilled finger movements.
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25
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Furuya S, Altenmüller E. Flexibility of movement organization in piano performance. Front Hum Neurosci 2013; 7:173. [PMID: 23882199 PMCID: PMC3712142 DOI: 10.3389/fnhum.2013.00173] [Citation(s) in RCA: 44] [Impact Index Per Article: 4.0] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 02/27/2013] [Accepted: 06/20/2013] [Indexed: 11/25/2022] Open
Abstract
Piano performance involves a large repertoire of highly skilled movements. The acquisition of these exceptional skills despite innate neural and biomechanical constraints requires a sophisticated interaction between plasticity of the neural system and organization of a redundant number of degrees of freedom (DOF) in the motor system. Neuroplasticity subserving virtuosity of pianists has been documented in neuroimaging studies investigating effects of long-term piano training on structure and function of the cortical and subcortical regions. By contrast, recent behavioral studies have advanced the understanding of neuromuscular strategies and biomechanical principles behind the movement organization that enables skilled piano performance. Here we review the motor control and biomechanics literature, introducing the importance of describing motor behaviors not only for understanding mechanisms responsible for skillful motor actions in piano playing, but also for advancing diagnosis and rehabilitation of movement disorders caused by extensive piano practice.
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Affiliation(s)
- Shinichi Furuya
- Institute for Music Physiology and Musician's Medicine, Hannover University of Music, Drama and Media Hannover, Germany
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26
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Gebel B, Braun C, Kaza E, Altenmüller E, Lotze M. Instrument specific brain activation in sensorimotor and auditory representation in musicians. Neuroimage 2013; 74:37-44. [DOI: 10.1016/j.neuroimage.2013.02.021] [Citation(s) in RCA: 22] [Impact Index Per Article: 2.0] [Reference Citation Analysis] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Received: 09/11/2012] [Revised: 02/07/2013] [Accepted: 02/11/2013] [Indexed: 10/27/2022] Open
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27
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Finger-specific loss of independent control of movements in musicians with focal dystonia. Neuroscience 2013; 247:152-63. [PMID: 23707706 DOI: 10.1016/j.neuroscience.2013.05.025] [Citation(s) in RCA: 35] [Impact Index Per Article: 3.2] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Received: 03/01/2013] [Revised: 04/22/2013] [Accepted: 05/15/2013] [Indexed: 11/22/2022]
Abstract
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.
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28
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Furuya S, Nitsche MA, Paulus W, Altenmüller E. Early optimization in finger dexterity of skilled pianists: implication of transcranial stimulation. BMC Neurosci 2013; 14:35. [PMID: 23496918 PMCID: PMC3616936 DOI: 10.1186/1471-2202-14-35] [Citation(s) in RCA: 24] [Impact Index Per Article: 2.2] [Reference Citation Analysis] [Abstract] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 12/21/2012] [Accepted: 03/07/2013] [Indexed: 11/10/2022] Open
Abstract
BACKGROUND It has been shown that non-invasive transcranial direct current stimulation (tDCS) facilitates motor functions in healthy adults and stroke patients. However, little is known about neuroplastic changes induced by tDCS in highly-trained individuals. Here we addressed this issue by assessing the effect of tDCS on dexterity of finger movements in healthy adult pianists. Twelve pianists practiced bimanual keystrokes in an in-phase manner while bilateral tDCS (left anodal/right cathodal or vice versa) of the primary motor cortex was performed. Before and after stimulation, each participant was asked to perform the trained successive keystrokes, and to repetitively strike a key with each of the fingers as fast and accurate as possible while keeping the remaining fingers immobilized voluntarily. RESULTS In contrast to previous findings in untrained individuals, tDCS yielded overall no apparent improvement of fine control of finger movements in the professional pianists. However, for some movement features, pianists who commenced training at later age demonstrated larger improvements of fine motor control following tDCS. CONCLUSIONS These findings, in combination with lack of any correlation between the age at which pianists commenced the training and motor improvements for sham stimulation conditions, supports the idea that selectively late-started players benefit from tDCS, which we interpret as early optimization of neuroplasticity of the motor system.
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Affiliation(s)
- Shinichi Furuya
- Institute for Music Physiology and Musicians' Medicine, Hannover University of Music, Drama and Media, Hannover, Germany.
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29
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“Deafness” effects in detecting alterations to auditory feedback during sequence production. PSYCHOLOGICAL RESEARCH 2013; 78:96-112. [PMID: 23344903 DOI: 10.1007/s00426-013-0477-9] [Citation(s) in RCA: 2] [Impact Index Per Article: 0.2] [Reference Citation Analysis] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Received: 09/21/2012] [Accepted: 01/07/2013] [Indexed: 10/27/2022]
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30
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Furuya S, Soechting JF. Speed invariance of independent control of finger movements in pianists. J Neurophysiol 2012; 108:2060-8. [PMID: 22815403 DOI: 10.1152/jn.00378.2012] [Citation(s) in RCA: 27] [Impact Index Per Article: 2.3] [Reference Citation Analysis] [Abstract] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Indexed: 11/22/2022] Open
Abstract
Independent control of finger movements characterizes skilled motor behaviors such as tool use and musical performance. The purpose of the present study was to identify the effect of movement frequency (tempo) on individuated finger movements in piano playing. Joint motion at the digits was recorded while 5 expert pianists were playing 30 excerpts from musical pieces with different fingering and key locations either at a predetermined normal tempo or as fast as possible. Principal component analysis and cluster analysis using an expectation-maximization algorithm determined three distinct patterns of finger movement coordination for a keypress with each of the index, middle, ring, and little fingers at each of the two tempi. The finger kinematics of each coordination pattern was overall similar across the tempi. Tone sequences assigned into each cluster were also similar for both tempi. A linear regression analysis determined no apparent difference in the amount of movement covariation between the striking and nonstriking fingers at both metacarpo-phalangeal and proximal-interphalangeal joints across the two tempi, which indicated no effect of tempo on independent finger movements in piano playing. In addition, the standard deviation of interkeystroke interval across strokes did not differ between the two tempi, indicating maintenance of rhythmic accuracy of keystrokes. Strong temporal constraints on finger movements during piano playing may underlie the maintained independent control of fingers over a wider range of tempi, a feature being likely to be specific to skilled pianists.
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Affiliation(s)
- Shinichi Furuya
- Department of Neuroscience, University of Minnesota, Minneapolis, Minnesota, USA.
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31
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Abstract
Dexterous use of the hand represents a sophisticated sensorimotor function. In behaviors such as playing the piano, it can involve strong temporal and spatial constraints. The purpose of this study was to determine fundamental patterns of covariation of motion across joints and digits of the human hand. Joint motion was recorded while 5 expert pianists played 30 excerpts from musical pieces, which featured ∼50 different tone sequences and fingering. Principal component analysis and cluster analysis using an expectation-maximization algorithm revealed that joint velocities could be categorized into several patterns, which help to simplify the description of the movements of the multiple degrees of freedom of the hand. For the thumb keystroke, two distinct patterns of joint movement covariation emerged and they depended on the spatiotemporal patterns of the task. For example, the thumb-under maneuver was clearly separated into two clusters based on the direction of hand translation along the keyboard. While the pattern of the thumb joint velocities differed between these clusters, the motions at the metacarpo-phalangeal and proximal-phalangeal joints of the four fingers were more consistent. For a keystroke executed with one of the fingers, there were three distinct patterns of joint rotations, across which motion at the striking finger was fairly consistent, but motion of the other fingers was more variable. Furthermore, the amount of movement spillover of the striking finger to the adjacent fingers was small irrespective of the finger used for the keystroke. These findings describe an unparalleled amount of independent motion of the fingers.
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Affiliation(s)
- Shinichi Furuya
- Department of Neuroscience, University of Minnesota, Minneapolis, Minnesota, USA.
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Furuya S, Goda T, Katayose H, Miwa H, Nagata N. Distinct Inter-Joint Coordination during Fast Alternate Keystrokes in Pianists with Superior Skill. Front Hum Neurosci 2011; 5:50. [PMID: 21660290 PMCID: PMC3107480 DOI: 10.3389/fnhum.2011.00050] [Citation(s) in RCA: 33] [Impact Index Per Article: 2.5] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 03/27/2011] [Accepted: 05/12/2011] [Indexed: 11/13/2022] Open
Abstract
Musical performance requires motor skills to coordinate the movements of multiple joints in the hand and arm over a wide range of tempi. However, it is unclear whether the coordination of movement across joints would differ for musicians with different skill levels and how inter-joint coordination would vary in relation to music tempo. The present study addresses these issues by examining the kinematics and muscular activity of the hand and arm movements of professional and amateur pianists who strike two keys alternately with the thumb and little finger at various tempi. The professionals produced a smaller flexion velocity at the thumb and little finger and greater elbow pronation and supination velocity than did the amateurs. The experts also showed smaller extension angles at the metacarpo-phalangeal joint of the index and middle fingers, which were not being used to strike the keys. Furthermore, muscular activity in the extrinsic finger muscles was smaller for the experts than for the amateurs. These findings indicate that pianists with superior skill reduce the finger muscle load during keystrokes by taking advantage of differences in proximal joint motion and hand postural configuration. With an increase in tempo, the experts showed larger and smaller increases in elbow velocity and finger muscle co-activation, respectively, compared to the amateurs, highlighting skill level-dependent differences in movement strategies for tempo adjustment. Finally, when striking as fast as possible, individual differences in the striking tempo among players were explained by their elbow velocities but not by their digit velocities. These findings suggest that pianists who are capable of faster keystrokes benefit more from proximal joint motion than do pianists who are not capable of faster keystrokes. The distinct movement strategy for tempo adjustment in pianists with superior skill would therefore ensure a wider range of musical expression.
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Affiliation(s)
- Shinichi Furuya
- School of Science and Technology, Kwansei Gakuin University Hyogo, Japan
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