Music Listening, Music Therapy, Phenomenology and Neuroscience

Appendix 3.02 Survey of The Neurosciences a

nd Music I

I

Conference 2005

From Perception to Performance

Par

t VI. Music Performance

8 papers

Title, Category

Aim

Mus. Material, Cultural Ref.

Technology & Procedure

Main focus of interest

Conclusion

36. Lim et al. (349

-359)

Enhanced P1

-N1 auditory

evoked potential

Cat. 11:

Deficit

37. Palmer (360

-367)

Time course of retrieval and movement preparation

Cat. 14: Memory

38. Ullén et al. (368

-376)

Neural control of rhythmic sequences

Cat. 4: Timing 39. Stewart (377

-386)

Neurocognitive approach to music reading Cat. 8

: Musicians

Cat. 16: Audiovisual

To investigate whether there are electrophysiological changes in patients with musicians’ cramp To consider whether item retrieval and movement preparation in music is best described as serial stages or cascaded p

rocesses

To investigate whether the temporal structure of movement sequences can be represented and learned independently of their ordinal structure

To investigate how musical symbols on the page are decoded into a musical response

Single pure tone 261

.6 Hz,

middle C, presented monaurally in earphones CR: Neutral No particular musical material

CR:

---

Material for performance task:

Rhy

thmic sequences to be

perfor

med with right index

finger on the numerical keypad of a PC CR: Neutral Material for

performance task:

Notated five

-note melodies

to

be played on keyboard CR: Western

2000 stimuli divided in 8 blocks of 250. Alternating presentations to left and right ear.

Patient group of guitarists

compared to control group

Review of literature

fMRI during

performance

tasks: 1) Combined ordinal + temporal. 2) Tempo

ral only,

performed on one key. 3) Ordinal only, performed in regular rhythm.

1)

Performance task: Play

five

-note melody. Conditions:

a) Numbers

superimpo

sed on

musical notes are congr

uent

with scale step.

b)

incongruent with scale step

2) fMRI before and after learning to read music

EEG: Auditory evoked potentials, especially P1, N1a, N1, N1b, P2, and possible generators. Peak

-to-

peak

amplitudes calculated

Choice of best model: serial (subsequent

prepa

ration),

cascade or single model (simultaneous

preparation)

Dissociation between brain regions involved in ordinal and temporal control

in

spatiotemporal sequence performance

1) Difference in reaction time of musicians and non

• 
  

music

ians between a) and b).

2) measuring changes in the brains after 3 month learning period

Patients have larger peak-

to

peak difference in P1 and N1a than control group. Suggestion: Patients have multiple sensory deficiencies

Early evidence is most consistent with cascade models

: Multiple pro

cesses

are activated at least partly in parallel

The processing of temporal sequences in voluntarily timed motor tasks is largely independent from the processing of ordinal information

1) Musicians are slower whe

n

notes and numbers are incongruent

.

2)

Learning

-related changes:

Melody reading (”what”): superior parietal cortex. Rhythm reading (”when”): fusiform gyrus