Music Listening, Music Therapy, Phenomenology and Neuroscience

Appendix 3.03 Survey of The Neurosciences

and Music III Conference 2008

Disorders and Plasticity

Part III. Music Training and Induced Cortical Plasticity

(16

-30)

Title, Category

Aim

Mus. Material, Cultural Ref.

Technology & Procedure

Main focus of interest

Conclusion

16.

Trainor et al.

(133

-142)

Music

training and oscillatory

activity

Cat. 10: Training

17. Pantev et al.

(143

-150)

Multimodal integration and plasticity in musical training

Cat. 10: Training

*18. Tervaniemi

(151

-156)

Musicians

• same or

different?

Cat. 8: Musicians

Cat. 10: Traini

ng

*19. Wong et al.

(157

-163)

Asymmetric cultural experiences and the auditory pathway Cat. 7: Culture Cat. 10: Training

To investigate the effects of musical training on gamma

• 
  

band activity To investigate the impact of short-

term uni-

and

multi

-modal musical training

on auditory

-somatosensory

integration and plasticity

To review the evidence available about various neurocognitive profiles of musicians playing different instruments

and genres

To discuss the impact of short-

and lo

ng

-term

asym

metric musical

experiences on how the nervous system responds to complex sounds

Six synthesized 500 mse

c

tones: violin, piano, and sinus

ton

es at pitches of 220 and

141 Hz

CR: N

eutral

For MEG: Piano tones: a)

3-

tone standard sequence: G major broken chord. Deviant: last tone a minor third lower.

b)

6-tone standard sequence:

Melody in C major. Deviant

:

last tone a

minor third lower

CR: Western

a) instrumental sounds compared to sinus tones

b) Instrumental and sinus tones: chords in tune

and mis

• 
  

tuned. c) sounds originating from one of six loudspeakers

CR: Western

a) Spoken soun

ds fro

m tone

languages.

Recorded music:

b) Excerpts

from Bach partitas. c) 30

-sec excerpts of

Western

and Indian compositions for recognition task.

10-

18 sec

Western and Indian

melodies

for tension judgment task

CR: Western, Indian

EEG during passive listening while tones were delivered in random order.

11 professional

violinists, 9 amateur pianists, 14 non-

musicians.

12

children, 4 1/2 years, half of them beginnning Suzuki piano lessons. Retest

after 1

year

23 nonmusicians randomly assigned to a sensorimotor

• 
  

auditory group (SA) or an auditory group (A). SA learned to play a training sequence on the piano. A actively listened to the same sequence

Review of

studies.

a) MEG: N1m response in musicians and nonmusicians

b)

Misma

tch Negativity

(MMN

) response

in musi

cians

and nonmusicians.

c)

EEG: P3a response

a-b)

Review of studies on the

effects of musical training

.

c) Recognition and tension judgment tasks:

3 groups:

1) M

onomusical Western.

2) Monomusical Indian.

3) Bimusical Western and Indian

Induced gamma

-band re

• 
  

sponse has been associated with attention, expectation, memory retrieval, and integration of top

-down,

bottom

-up, and multisensory

processes.

Magnetoencephalographic (MEG) measurements of musically induced mismatch negativity (MMN) before and after

training

a & b) Difference in response to sinus tones and to tones in the timbre of a musician’s own instrument.

c) in conductors: accuracy

to

process spatial sound information

a)

Brainstem processing:

Frequency

-following

response (FFR).

b) cortical

processing.

c) Whether

”bimusicality” can arise in response t

o exposure to

music from two cultures, even without experience playing an instrument

. Differences

between

1-2) and 3)

Evoked gamma-

band

response is stronger for musical tones than for sinus tones in both musicians and non

• 
  

musicians.

Clear effect of musical training on gamma-

band

responses to musical tones.

SA showed significant enlarg

ement of MMN after

training compared to A, reflecting greater enhance

• 
  

ment

of musical represen

• 
  

tations in auditory cortex

a) Musicians had an enhanced

response to the

timbre of their own instrument.

b

& c)

attentional neural processes can be modified

by the type of

musical expertise

a) Musicians exhibit enhanced encoding of linguistic pitch in the brain stem.

c)

People can acquire

sensi

tivities to music

associated with multiple cultures simply through exposure and enculturation. Listening to music is enough