Mental practice promotes motor anticipation: evidence from skilled music performance

A machine-learning method isolating changes in wrist kinematics that identify age-related changes in arm movement

Normal aging often results in an increase in physiological tremors and slowing of the movement of the hands, which can impair daily activities and quality of life. This study, using lightweight wearable non-invasive sensors, aimed to detect and identify age-related changes in wrist kinematics and response latency. Eighteen young (ages 18-20) and nine older (ages 49-57) adults performed two standard tasks with wearable inertial measurement units on their wrists. Frequency analysis revealed 5 kinematic variables distinguishing older from younger adults in a postural task, with best discrimination occurring in the 9-13 Hz range, agreeing with previously identified frequency range of age-related tremors, and achieving excellent classifier performance (0.86 AUROC score and 89% accuracy). In a second pronation-supination task, analysis of angular velocity in the roll axis identified a 71 ms delay in initiating arm movement in the older adults. This study demonstrates that an analysis of simple kinematic variables sampled at 100 Hz frequency with commercially available sensors is reliable, sensitive, and accurate at detecting age-related increases in physiological tremor and motor slowing. It remains to be seen if such sensitive methods may be accurate in distinguishing physiological tremors from tremors that occur in neurological diseases, such as Parkinson's Disease.

Editorial: Modeling and Fantasy Rehearsal: From Self-Injury to Self-Efficacy

Trendy depictions of nonsuicidal self-injury in the media appear to promote real-life self-injury, according to an analysis by Lee and colleagues1, published in this issue. The researchers studied rates of emergency visits to all hospitals in Korea for self-injury, before and after video broadcasts disseminated a song called "Barcode." The song compared parallel cuts on the forearm to the barcodes used at checkout counters; an appealing protagonist glamorized self-injury. The timing of increases in rates of self-injury supported the hypothesis that the song engendered imitation -- that social contagion can be fostered by the mass media. In response to this finding, editorial comment places this article in the context of vast amounts of other research on the role of modeling (a.k.a. imitation learning) and fantasy rehearsal (a.k.a. imaginal practice) as general principles of human learning and behavior. Numerous scientists have documented the role of imitation learning, both before and after seminal studies by Albert Bandura. Research strongly contradicts the "catharsis hypothesis" and supports social learning theory's predictions that symbolically enacting aggressive actions does not "get anger out" or "release aggression," but provides practice that promotes behaviors in the same response class. A large set of studies supports the conclusion that media violence tends to increase real-life aggression. Fantasy rehearsal has been used to produce results similar to real-life practice for skills in sports, surgery, dance, musical performance, anxiety reduction, anger control, social skills, and cognitive restructuring. Nonetheless, the idea that media models and technology-assisted fantasy rehearsal have real-life effects has been forcefully disputed, and thus research such as the present study on "Barcode" must continue. But this editorial declares that the time has come when the available evidence demands energetically and systematically finding, creating, and harnessing positive models and positive fantasy rehearsal methods in the service of healthy psychological functioning. It declares that such a time arrived long ago.

The multisensory nature of human action imagery

Imagination can appeal to all our senses and may, therefore, manifest in very different qualities (e.g., visual, tactile, proprioceptive, or kinesthetic). One line of research addresses action imagery that refers to a process by which people imagine the execution of an action without actual body movements. In action imagery, visual and kinesthetic aspects of the imagined action are particularly important. However, other sensory modalities may also play a role. The purpose of the paper will be to address issues that include: (i) the creation of an action image, (ii) how the brain generates images of movements and actions, (iii) the richness and vividness of action images. We will further address possible causes that determine the sensory impression of an action image, like task specificity, instruction and experience. In the end, we will outline open questions and future directions.

Hand and Foot Selection in Mental Body Rotations Involves Motor-Cognitive Interactions

Action imagery involves the mental representation of an action without overt execution, and can contribute to perspective taking, such as that required for left-right judgments in mental body rotation tasks. It has been shown that perspective (back view, front view), rotational angle (head-up, head-down), and abstractness (abstract, realistic) of the stimulus material influences speed and correctness of the judgement. The present studies investigated whether left-right judgements are more difficult on legs than on arms and whether the type of limb interacts with the other factors. Furthermore, a combined score for speed and accuracy was explored to eliminate possible tradeoffs and to obtain the best possible measure of subjects' individual ability. Study 1 revealed that the front view is more difficult than the back view because it involves a vertical rotation in perspective taking. Head-down rotations are more difficult than head-up rotations because they involve a horizontal rotation in perspective taking. Furthermore, leg stimuli are more difficult than hand stimuli, particularly in head-down rotations. In Study 2, these findings were replicated in abstract stimuli as well as in realistic stimuli. In addition, perspective taking for realistic stimuli in the back view is easier than realistic stimuli in the front view or abstract stimuli (in both perspectives). We conclude that realistic stimulus material facilitates task comprehension and amplifies the effects of perspective. By replicating previous findings, the linear speed-accuracy score was shown to be a valid measure to capture performance in mental body rotations.

Technology-Dependent Rehabilitation Involving Action Observation and Movement Imagery for Adults with Stroke: Can It Work? Feasibility of Self-Led Therapy for Upper Limb Rehabilitation after Stroke

BACKGROUND

Motor (re)learning via technology-dependent therapy has the potential to complement traditional therapies available to older adults living with stroke after hospital discharge and increase therapy dose. To date, little is known about the feasibility of technology-dependent therapy in a home setting for this population.

OBJECTIVE

To develop a technology-dependent therapy that provides mental and physical training for older adults with stroke and assess feasibility. Specifically we ask, "Can it work"?

DESIGN

Single group repeated measures.

METHODS

13 participants, aged 18 years and over, were recruited over a six-month period. All participants had mild upper limb impairment following a stoke and were no longer receiving intensive rehabilitation. All participants received 18 days of technology-dependent therapy in their own home. Information was gathered on recruitment and retention, usability, and suitability of outcome measures.

RESULTS

11 participants completed the study. The recruitment rate (number recruited/number canvassed; 10.7%) suggests 1907 participants would need to be canvassed to recruit the necessary sample size (n = 204) for a definitive trial designed to provide 90% power at 5% level of significance to detect a clinically meaningful difference of 5.7 points on the Action Research Arm Test. The usability of the application was rated as exceptional on the System Usability Scale. Effectiveness cannot be determined from this study; however, there was a trend for improvement in measures of upper limb function and emotional well-being. Limitations. The study was limited by a relatively small sample size and lack of control group.

CONCLUSIONS

This study demonstrated proof of concept of a technology-dependent therapy for upper limb rehabilitation following stroke. The data suggest a definitive trial is feasible, additional strategies to improve recruitment should be considered. Outcome measures aligned with the residual motor function of participants are required.

Effects of Warm-up Focused on the Mind-Body on Choral Performance

OBJECTIVE

In choral performance, a wide variety of musical expression is required to deliver the worldview of the work to the audience. Singers need to regulate their mind-body to be in the optimal state, which includes relaxed concentration and flexible kinesthetic controllability in sensation, expression, and vocalization, for the chorus. Therefore, a choral warm-up focused on the mind-body could be crucial for various musical expressions. However, what kind of warm-up helps the singer achieve the optimal condition for the chorus remains unclear. Here, we investigated the effects of a warm-up method focusing on breathing, physical movement, imagery, and the combination of those factors on singing performance.

METHOD

Twenty-five choral singers were randomly assigned to five groups, and then singers for each group online conducted one of five warm-up conditions (breathing / stretching / imagery work / all works / control) and performed singing tasks to evaluate singing performance, including sensation, expression, and vocalization, both subjectively and objectively. Changes in mood were also measured using the second edition of the Profile of Mood States.

RESULTS

The results showed that the warm-up with imagery work or all works could objectively and subjectively enhance singing performance. By contrast, the warm-up with breathing or stretching did not significantly improve performance, but did enhance subjective evaluations in general. In addition, no significant correlations were found between the objective performance evaluations and changes in individual mood.

CONCLUSIONS

These results suggest that a warm-up focusing on mind-body interventions, especially imagery work, may enhance choral performance, thereby providing new insight for the establishment of more effective choral warm-up methods.

Imagine, Sing, Play- Combined Mental, Vocal and Physical Practice Improves Musical Performance

Classical musicians face a high demand for flawless and expressive performance, leading to highly intensified practice activity. Whereas the advantage of using mental strategies is well documented in sports research, few studies have explored the efficacy of mental imagery and overt singing on musical instrumental learning. In this study, 50 classically trained trumpet students performed short unfamiliar pieces. Performances were recorded before and after applying four prescribed practice strategies which were (1) physical practice, (2) mental imagery, (3) overt singing with optional use of solfege, (4) a combination of 1, 2 and 3 or a control condition, no practice. Three experts independently assessed pitch and rhythm accuracy, sound quality, intonation, and musical expression in all recordings. We found higher gains in the overall performance, as well as in pitch accuracy for the physical practice, and the combined practice strategies, compared to no practice. Furthermore, only the combined strategy yielded a significant improvement in musical expression. Pitch performance improvement was positively correlated with previous solfege training and frequent use of random practice strategies. The findings highlight benefits from applying practice strategies that complement physical practice in music instrument practice in short term early stages of learning a new piece. The study may generalize to other forms of learning, involving cognitive processes and motor skills.

Cognitive training for the prevention of skill decay in temporarily non-performing orthopedic surgeons

Surgical tasks are prone to skill decay. During unprecedented circumstances, such as an epidemic, personal illness, or injury, orthopedic surgeons may not be performing surgical procedures for an uncertain period of time. While not being able to execute regular surgical tasks or use surgical simulators, skill decay can be prevented with regular mental practice, using a scientifically proven skill acquisition and retaining tool. This paper describes different theories on cognitive training answering the question on how it works and offers a brief review of its application in surgery. Additionally, practical recommendations are proposed for performing mental training while not performing surgical procedures.

On the Better Performance of Pianists with Motor Imagery-Based Brain-Computer Interface Systems

Motor imagery (MI)-based brain-computer interface (BCI) systems detect electrical brain activity patterns through electroencephalogram (EEG) signals to forecast user intention while performing movement imagination tasks. As the microscopic details of individuals' brains are directly shaped by their rich experiences, musicians can develop certain neurological characteristics, such as improved brain plasticity, following extensive musical training. Specifically, the advanced bimanual motor coordination that pianists exhibit means that they may interact more effectively with BCI systems than their non-musically trained counterparts; this could lead to personalized BCI strategies according to the users' previously detected skills. This work assessed the performance of pianists as they interacted with an MI-based BCI system and compared it with that of a control group. The Common Spatial Patterns (CSP) and Linear Discriminant Analysis (LDA) machine learning algorithms were applied to the EEG signals for feature extraction and classification, respectively. The results revealed that the pianists achieved a higher level of BCI control by means of MI during the final trial (74.69%) compared to the control group (63.13%). The outcome indicates that musical training could enhance the performance of individuals using BCI systems.

Not all imagery is created equal: A functional Magnetic resonance imaging study of internally driven and symbol driven musical performance imagery

Playing a musical instrument requires fast multimodal sensory-motor processing which can be activated by voluntary access to performance imagery. Musicians use different methods to activate imagery for the purpose of "mental practice". The aim of the present study was to investigate cortical activation patterns in different methods of mental practice of musical performance. While undergoing functional magnetic resonance imaging (fMRI), 7 male oud (fretless lute) players engaged in performance imagery of a pre-memorized short excerpt from mainstream oud repertoire using three common imagery methods (task conditions): From memory (internally driven) 1)eyes closed, 2)eyes open, and while following the musical score (symbol driven). The study design consisted of a four-task 16-epoch block design where the 4th task was an eyes-open rest tasks (EOR) included as a control condition. Each task was repeated four times in a pseudorandomized sequence. The superior temporal gyrus and transvers temporal gyrus (Heschl) were active in the left and right hemispheres in all imagery conditions. The occipital cortex, specifically the fusiform gyrus was active in all three conditions. Symbol driven imagery resulted in less prominent activations in frontal and parietal lobes. The findings suggest that not all imagery modalities activate sensory and motor areas similarly.

Mental Control in Musical Imagery: A Dual Component Model

Hearing music in your head is a ubiquitous experience, but the role mental control plays in these experiences has not been deeply addressed. In this conceptual analysis, a dual-component model of mental control in musical imagery experiences is developed and discussed. The first component, initiation, refers to whether the musical imagery experience began voluntarily or involuntarily. The second component, management, refers to instances of control that occur after the experience has begun (e.g., changing the song, stopping the experience). Given the complex nature of this inner experience, we propose a new model combining and integrating four literatures: lab-based auditory imagery research using musical stimuli; involuntary musical imagery; mental rehearsal and composition in musicians; and in vivo studies of musical imagery in everyday environments. These literatures support the contention that mental control of musical imagery is multi-faceted. Future research should investigate these two components of mental control and better integrate the diverse literatures on musical imagery.

Motor imagery as a method of maintaining performance in pianists during forced non-practice: a single case study

Background: Musicians suffer from upper limb playing-related musculoskeletal disorders that often oblige them to periodic inactivity. Objectives: To assess the effectiveness of motor imagery as a means of practice when the physical piano practice is restricted. Methods: A 17-year-old healthy pianist participated in a single subject case study with a multiple baseline design (ABC design). Performance ability was assessed during a period of the no practice, then a period of performing motor imagery and again during a period of another no practice. Assessments were performed subjectively by a professional piano teacher and objectively by the Synthesia software. Three visual analog scales were used to record stress, fatigue, and general psychological state. The participant's motor imagery ability was recorded by the use of the Movement Imagery Questionnaire. Results: There was a statistically significant reduction in performance after no practice. There was no change in performance during motor imagery intervention. The pianist's scores moderately correlated with the general psychological state. The Synthesia scoring presented high correlations with professional piano teacher scoring. Conclusions: Motor imagery seemed to have a positive effect in maintaining the musician's performance level. Synthesia shows promise as an outcome measure for assessing music performance, although further research is needed.

Do musicians learn a fine sequential hand motor skill differently than non-musicians?

Do professional musicians learn a fine sequential hand motor skill more efficiently than non-musicians? Is this also the case when they perform motor imagery, which implies that they only mentally simulate these movements? Musicians and non-musicians performed a Go/NoGo discrete sequence production (DSP) task, which allows to separate sequence-specific from a-specific learning effects. In this task five stimuli, to be memorized during a preparation interval, signaled a response sequence. In a practice phase, different response sequences had to be either executed, imagined, or inhibited, which was indicated by different response cues. In a test phase, responses were required to familiar (previously executed, imagined, or inhibited) and unfamiliar sequences. In both phases, response times and response accuracy were measured while the electroencephalogram (EEG) was only registered during the practice phase to compare activity between motor imagery, motor execution, and motor inhibition for both groups. Results in the practice phase revealed that musicians learned the response sequences faster and more accurately than non-musicians although no difference in initiation time was found. EEG analyses revealed similar lateralized activity during learning a motor skill for both groups. Our results from the test phase showed better sequence-a-specific learning effects (i.e., faster response times and increased accuracy) for musicians than for non-musicians. Moreover, we revealed that non-musicians benefit more from physical execution while learning a required motor sequence, whereas sequence-specific learning effects due to learning with motor imagery were very similar for musicians and non-musicians.

Are Fast Complex Movements Unimaginable? Pupillometric Studies of Motor Imagery in Expert Piano Playing

Motor imagery (MI; mental simulation of actions) shares certain mental representations and processes with executed movement (ME). This neurocognitive overlap between MI and ME may explain why the systematic use of MI improves skilled performance in numerous domains. Unfortunately, the attentional mechanisms underlying MI remain unresolved. Therefore, the present studies investigated the role of attentional effort (as measured by pupil dilation) in MI. We evaluated the effects of movement complexity and speed on expert pianists' pupil dilation as they physically executed and used MI to perform easy/complex and slow/fast music phrases. Results revealed that easy movements required similar levels of attentional effort during MI and ME. However, during complex movements performed at a fast speed, the correspondence between execution and imagery of movement was disrupted.

Collaborative Musical Creativity: How Ensembles Coordinate Spontaneity

Music performance is inherently social. Most music is performed in groups, and even soloists are subject to influence from a (real or imagined) audience. It is also inherently creative. Performers are called upon to interpret notated music, improvise new musical material, adapt to unexpected playing conditions, and accommodate technical errors. The focus of this paper is how creativity is distributed across members of a music ensemble as they perform these tasks. Some aspects of ensemble performance have been investigated extensively in recent years as part of the broader literature on joint action (e.g., the processes underlying sensorimotor synchronization). Much of this research has been done under highly controlled conditions, using tasks that generate reliable results, but capture only a small part of ensemble performance as it occurs naturalistically. Still missing from this literature is an explanation of how ensemble musicians perform in conditions that require creative interpretation, improvisation, and/or adaptation: how do they coordinate the production of something new? Current theories of creativity endorse the idea that dynamic interaction between individuals, their actions, and their social and material environments underlies creative performance. This framework is much in line with the embodied music cognition paradigm and the dynamical systems perspective on ensemble coordination. This review begins by situating the concept of collaborative musical creativity in the context of embodiment. Progress that has been made toward identifying the mechanisms that underlie collaborative creativity in music performance is then assessed. The focus is on the possible role of musical imagination in facilitating performer flexibility, and on the forms of communication that are likely to support the coordination of creative musical output. Next, emergence and group flow–constructs that seem to characterize ensemble performance at its peak–are considered, and some of the conditions that may encourage periods of emergence or flow are identified. Finally, it is argued that further research is needed to (1) demystify the constructs of emergence and group flow, clarifying their effects on performer experience and listener response, (2) determine how constrained musical imagination is by perceptual experience and understand people's capacity to depart from familiar frameworks and imagine new sounds and sound structures, and (3) assess the technological developments that are supposed to facilitate or enhance musical creativity, and determine what effect they have on the processes underlying creative collaboration.

Patient-specific mental rehearsal with interactive visual aids: a path worth exploring?

Background

Surgeons of today are faced with unprecedented challenges; necessitating a novel approach to pre-operative preparation which takes into account the specific tests each case poses. In this study, we examine patient-specific mental rehearsal for pre-surgical practice and assess whether this method has an additional effect when compared to generic mental rehearsal.

Methods

Sixteen medical students were trained how to perform a simulated laparoscopic cholecystectomy (SLC). After baseline assessments, they were randomised to two equal groups and asked to complete three SLCs involving different anatomical variants. Prior to each procedure, Group A practiced mental rehearsal with the use of a pre-prepared checklist and Group B mental rehearsal with the checklist combined with virtual models matching the anatomical variations of the SLCs. The performance of the two groups was compared using simulator provided metrics and competency assessment tool (CAT) scoring by two blinded assessors.

Results

The participants performed equally well when presented with a “straight-forward” anatomy [Group A vs. Group B—time sec: 445.5 vs. 496 p = 0.64—NOM: 437 vs. 413 p = 0.88—PL cm: 1317 vs. 1059 p = 0.32—per: 0.5 vs. 0 p = 0.22—NCB: 0 vs. 0 p = 0.71—DVS: 0 vs. 0 p = 0.2]; however, Group B performed significantly better [Group A vs. B Total CAT score—Short Cystic Duct (SCD): 20.5 vs. 26.31 p = 0.02 η² = 0.32—Double cystic Artery (DA): 24.75 vs. 30.5 p = 0.03 η² = 0.28] and committed less errors (Damage to Vital Structures—DVS, SCD: 4 vs. 0 p = 0.03 η²=0.34, DA: 0 vs. 1 p = 0.02 η² = 0.22). in the cases with more challenging anatomies.

Conclusion

These results suggest that patient-specific preparation with the combination of anatomical models and mental rehearsal may increase operative quality of complex procedures.

Does Motor Simulation Theory Explain the Cognitive Mechanisms Underlying Motor Imagery? A Critical Review

Motor simulation theory (MST; Jeannerod, 2001) purports to explain how various action-related cognitive states relate to actual motor execution. Specifically, it proposes that motor imagery (MI; imagining an action without executing the movements involved) shares certain mental representations and mechanisms with action execution, and hence, activates similar neural pathways to those elicited during the latter process. Furthermore, MST postulates that MI works by rehearsing neural motor systems off-line via a hypothetical simulation process. In this paper, we review evidence cited in support of MST and evaluate its efficacy in understanding the cognitive mechanisms underlying MI. In doing so, we delineate the precise postulates of simulation theory and clarify relevant terminology. Based on our cognitive-level analysis, we argue firstly that the psychological mechanisms underlying MI are poorly understood and require additional conceptual and empirical analysis. In addition, we identify a number of potentially fruitful lines of inquiry for future investigators of MST and MI.

Is there symmetry in motor imagery? Exploring different versions of the mental chronometry paradigm

Motor imagery and motor execution share similar processes. However, only some factors that affect motor execution affect motor imagery in the same way. We investigated whether bimanual coordination constraints (parallel movements are performed slower than symmetric movements) are observed in motor imagery and whether the way of implementing the mental chronometry paradigm, which is used to investigate motor imagery, influences the results. Participants imagined and executed repetitive symmetric and parallel bimanual movements in three different tasks. Participants performed a certain number of movement repetitions (number task), repeated movements for a fixed duration (duration task), and performed movements in synchrony with pacing sounds (synchronization task). In both, imagination and execution, inter-response intervals were longer with parallel movements than with symmetric movements (number task and duration task), and the percentage of correct movements was lower with parallel than with symmetric movements (synchronization task). Performance of imagined and executed movements was correlated in all tasks. However, imagination took longer or was rated as less accurate than execution, and in the synchronization task the coordination constraint affected accuracy more in execution than in imagination. Thus, motor imagery and overt execution involve shared and unique processes. The synchronization task offers a promising alternative to investigate motor imagery, because the speed-accuracy trade-off is taken into account, different tempi can be used, and psychometric functions can be calculated.

Exploring virtual mental practice in maintenance task training

PURPOSE

- This paper aims to contribute to a general understanding of mental practice by investigating the utility of and participant reaction to a virtual reality maintenance training among underground coal mine first responders.

DESIGN/METHODOLOGY/APPROACH

- Researchers at the National Institute for Occupational Safety and Health's Office of Mine Safety and Health Research (OMSHR) developed software to provide opportunities for mine rescue team members to learn to inspect, assemble and test their closed-circuit breathing apparatus and to practice those skills. In total, 31 mine rescue team members utilized OMSHR's BG 4 Benching Trainer software and provided feedback to the development team. After training, participants completed a brief post-training questionnaire, which included demographics, perceived training climate and general training evaluation items.

FINDINGS

- The results overall indicate a generally positive reaction to and high perceived utility of the BG 4 benching software. In addition, the perceived training climate appears to have an effect on the perceived utility of the mental practice virtual reality game, with benchmen from mines with more positive training climates reporting greater perceived efficacy in the training's ability to prepare trainees for real emergencies.

ORIGINALITY/VALUE

- This paper helps to broaden current applications of mental practice and is one of the few empirical investigations into a non-rehabilitation virtual reality extension of mental practice. This paper also contributes to the growing literature advocating for greater usage of accurate and well-informed mental practice techniques, tools and methodologies, especially for occupational populations with limitations on exposure to hands-on training.

EFFECTIVENESS OF A MOTOR CONTROL THERAPEUTIC EXERCISE PROGRAM COMBINED WITH MOTOR IMAGERY ON THE SENSORIMOTOR FUNCTION OF THE CERVICAL SPINE: A RANDOMIZED CONTROLLED TRIAL

BACKGROUND

Motor control therapeutic exercise (MCTE) for the neck is a motor relearning program that emphasizes the coordination and contraction of specific neck flexor, extensor, and shoulder girdle muscles. Because motor imagery (MI) improves sensorimotor function and it improves several motor aspects, such as motor learning, neuromotor control, and acquisition of motor skills, the authors hypothesized that a combination of MCTE and MI would improve the sensorimotor function of the cervical spine more effectively than a MCTE program alone.

PURPOSE

The purpose of this study was to investigate the influence of MI combined with a MCTE program on sensorimotor function of the craniocervical region in asymptomatic subjects.

STUDY DESIGN

This study was a single-blinded randomized controlled trial.

METHODS

Forty asymptomatic subjects were assigned to a MCTE group or a MCTE+MI group. Both groups received the same MCTE program for the cervical region (60 minutes), but the MCTE+MI group received an additional intervention based on MI (15 minutes). The primary outcomes assessed were craniocervical neuromotor control (activation pressure value and highest pressure value), cervical kinesthetic sense (joint position error [JPE]), and the subjective perception of fatigue after effort.

RESULTS

Intra-group significant differences were obtained between pre- and post interventions for all evaluated variables (p<0.01) in the MCTE+MI and MCTE groups, except for craniocervical neuromotor control and the subjective perception of fatigue after effort in the MCTE group. In the MCTE+MI group a large effect size was found for craniocervical neuromotor control (d between -0.94 and -1.41), cervical kinesthetic sense (d between 0.97 and 2.14), neck flexor muscle endurance test (d = -1.50), and subjective perception of fatigue after effort (d = 0.79). There were significant inter-group differences for the highest pressure value, joint position error (JPE) extension, JPE left rotation, and subjective perception of fatigue after effort.

CONCLUSION

The combined MI and MCTE intervention produced statistically significant changes in sensorimotor function variables of the craniocervical region (highest pressure value, JPE extension and JPE left rotation) and the perception of subjective fatigue compared to MCTE alone. Both groups showed statistically significant changes in all variables measured, except for craniocervical neuromotor control and the subjective perception of fatigue after effort in the MCTE group.

LEVEL OF EVIDENCE

1b.

Shifting the paradigm of music instruction: implications of embodiment stemming from an augmented reality guitar learning system

Musical instruction often includes materials that can act as a barrier to learning. New technologies using augmented reality may aid in reducing the initial difficulties involved in learning music by lowering these barriers characteristic of traditional instructional materials. Therefore, this set of studies examined a novel augmented reality guitar learning system (i.e., the Fretlight® guitar) in regards to current theories of embodied music cognition. Specifically, we examined the effects of using this system in comparison to a standard instructional material (i.e., diagrams). First, we review major theories related to musical embodiment and specify a niche within this research space we call embodied music technology for learning. Following, we explicate two parallel experiments that were conducted to address the learning effects of this system. Experiment 1 examined short-term learning effects within one experimental session, while Experiment 2 examined both short-term and long-term effects across two sessions spaced at a 2-week interval. Analyses demonstrated that, for many of our dependent variables, all participants increased in performance across time. Further, the Fretlight® condition consistently led to significantly better outcomes via interactive effects, including significantly better long term retention for the learned information across a 2 week time interval. These results are discussed in the context of embodied cognition theory as it relates to music. Potential limitations and avenues for future research are described.

Action-based effects on music perception

The classical, disembodied approach to music cognition conceptualizes action and perception as separate, peripheral processes. In contrast, embodied accounts of music cognition emphasize the central role of the close coupling of action and perception. It is a commonly established fact that perception spurs action tendencies. We present a theoretical framework that captures the ways in which the human motor system and its actions can reciprocally influence the perception of music. The cornerstone of this framework is the common coding theory, postulating a representational overlap in the brain between the planning, the execution, and the perception of movement. The integration of action and perception in so-called internal models is explained as a result of associative learning processes. Characteristic of internal models is that they allow intended or perceived sensory states to be transferred into corresponding motor commands (inverse modeling), and vice versa, to predict the sensory outcomes of planned actions (forward modeling). Embodied accounts typically refer to inverse modeling to explain action effects on music perception (Leman, 2007). We extend this account by pinpointing forward modeling as an alternative mechanism by which action can modulate perception. We provide an extensive overview of recent empirical evidence in support of this idea. Additionally, we demonstrate that motor dysfunctions can cause perceptual disabilities, supporting the main idea of the paper that the human motor system plays a functional role in auditory perception. The finding that music perception is shaped by the human motor system and its actions suggests that the musical mind is highly embodied. However, we advocate for a more radical approach to embodied (music) cognition in the sense that it needs to be considered as a dynamical process, in which aspects of action, perception, introspection, and social interaction are of crucial importance.