Instrument specificity in experienced musicians

Previous studies have shown that experienced pianists have acquired integrated action–effect (A–E) associations. In the present study, we were interested in how specific these associations are for the own instrument by investigating pianists and guitarists. A–E associations were examined by testing whether the perception of a “potential” action–effect has an influence on actions. Participants played chords on their instrument in response to visual stimuli, while they were presented task-irrelevant auditory distractors (congruent or incongruent) in varying instrument timbre. In Experiment 1, pianists exhibited an interference effect with timbres of their own instrument category (keyboard instruments: piano and organ). In Experiment 2 guitarists showed an interference effect only with guitar timbre. Thus, integrated A–E associations primarily seem to consist of a specific component on a sensory-motor level involving the own instrument. Additionally, categorical knowledge about how an instrument is played seems to be involved.     

Cognitive abilities of musicians

Playing music may involve different cognitive domains, but previous studies of musicians and patients with brain lesions have reported inconsistent associations between music performances and other cognitive functions. Fine musical performance may be associated with high executive and control functions. 21 skilled musicians and 21 age- and education-matched healthy controls with no specific musical competence were compared on attentive, executive, linguistic, perceptual, praxic, memory, and theory of mind functions, using standardized neuropsychological tests. No differences between the musicians and controls, music composers and performers, or between soloists or orchestral players were observed. In musicians, there was no correlation between the test scores and amount of music education. Findings based on these musician groups, carefully evaluated, suggest further exploration of associations of distinct components of music comprehension and expression with different cognitive functions and behavioral aspects.     

Temporal coordination between performing musicians

Many common behaviours require people to coordinate the timing of their actions with the timing of others' actions. We examined whether representations of musicians' actions are activated in coperformers with whom they must coordinate their actions in time and whether coperformers simulate each other's actions using their own motor systems during temporal coordination. Pianists performed right-hand melodies along with simple or complex left-hand accompaniments produced by themselves or by another pianist. Individual performers' preferred performance rates were measured in solo performance of the right-hand melody. The complexity of the left-hand accompaniment influenced the temporal grouping structure of the right-hand melody in the same way when it was performed by the self or by the duet partner, providing some support for the action corepresentation hypothesis. In contrast, accompaniment complexity had little influence on temporal coordination measures (asynchronies and cross-correlations between parts). Temporal coordination measures were influenced by a priori similarities between partners' preferred rates; partners who had similar preferred rates in solo performance were better synchronized and showed mutual adaptation to each other's timing during duet performances. These findings extend previous findings of action corepresentation and action simulation to a task that requires precise temporal coordination of independent yet simultaneous actions.     

Temporal coordination between performing musicians

Many common behaviours require people to coordinate the timing of their actions with the timing of others' actions. We examined whether representations of musicians' actions are activated in coperformers with whom they must coordinate their actions in time and whether coperformers simulate each other's actions using their own motor systems during temporal coordination. Pianists performed right-hand melodies along with simple or complex left-hand accompaniments produced by themselves or by another pianist. Individual performers' preferred performance rates were measured in solo performance of the right-hand melody. The complexity of the left-hand accompaniment influenced the temporal grouping structure of the right-hand melody in the same way when it was performed by the self or by the duet partner, providing some support for the action corepresentation hypothesis. In contrast, accompaniment complexity had little influence on temporal coordination measures (asynchronies and cross-correlations between parts). Temporal coordination measures were influenced by a priori similarities between partners' preferred rates; partners who had similar preferred rates in solo performance were better synchronized and showed mutual adaptation to each other's timing during duet performances. These findings extend previous findings of action corepresentation and action simulation to a task that requires precise temporal coordination of independent yet simultaneous actions.     

Auditory and visual memory in musicians and nonmusicians

Numerous studies have shown that musicians outperform nonmusicians on a variety of tasks. Here we provide the first evidence that musicians have superior auditory recognition memory for both musical and nonmusical stimuli, compared to nonmusicians. However, this advantage did not generalize to the visual domain. Previously, we showed that auditory recognition memory is inferior to visual recognition memory. Would this be true even for trained musicians? We compared auditory and visual memory in musicians and nonmusicians using familiar music, spoken English, and visual objects. For both groups, memory for the auditory stimuli was inferior to memory for the visual objects. Thus, although considerable musical training is associated with better musical and nonmusical auditory memory, it does not increase the ability to remember sounds to the levels found with visual stimuli. This suggests a fundamental capacity difference between auditory and visual recognition memory, with a persistent advantage for the visual domain.     

Auditory imagery from musical notation in expert musicians

Anecdotal evidence has suggested that musical notation can trigger auditory images. Expert musicians silently read scores containing well-known themes embedded into the notation of an embellished phrase and judged if a tune heard aloud thereafter was the original theme (i.e., melodic target) or not (i.e., melodic lure). Three experiments were conducted employing four score-reading conditions: normal nondistracted reading, concurrent rhythmic distraction, phonatory interference, and obstruction by auditory stimuli. The findings demonstrate that phonatory interference impaired recognition of original themes more than did the other conditions. We propose that notational audiation is the silent reading of musical notation resulting in auditory imagery. The research suggests that it also elicits kinesthetic-like phonatory processes.     

Duration discrimination by musicians and nonmusicians

This study investigated the effects of stimulus modality, standard duration, sex, and laterality in duration discrimination by musicians and nonmusicians. Seventeen musicians (M age = 24.1 yr.) and 22 nonmusicians (M age = 26.8 yr.) participated. Auditory (1,000 Hz) and tactile (250 Hz) sinusoidal suprathreshold stimuli with varying durations were used. The standard durations tested were 0.5 and 3.0 sec. Participants discriminated comparison stimuli which had durations slightly longer and shorter than the standard durations. Difference limens were found by the method of limits and converted to Weber fractions based on the standard durations. Musicians had lower, i.e., better, Weber fractions than nonmusicians in the auditory modality, but there was no significant difference between musicians and nonmusicians in the tactile modality. Auditory discrimination was better than tactile discrimination. Discrimination improved when the standard duration was increased both for musicians and nonmusicians. These results support previous findings of superior auditory processing by musicians. Significant differences between discrimination in the millisecond and second ranges may be due to a deviation from Weber's law and the discontinuity of timing in different duration ranges reported in the literature.     

Different interference effects in musicians and a control group

In the present study musicians and normal control subjects performed an S1-S2 pitch comparison task, which included the presentation of intervening tones during the retention interval. The time for encoding and storing the pitch of S1 was varied between 200 and 1,500 ms by changing the pause between the S1 offset and the onset of the intervening tones. Although musicians outperformed the control group with longer pauses after the S1 offset, this advantage was relatively small with shorter pauses. These results suggest that the advantage of musicians in storing auditory information is not solely due to their superior encoding of information but also to improved working memory operations.     

A grammar of action generates predictions in skilled musicians

The present study investigates shared representations of syntactic knowledge in music and action. We examined whether expectancy violations in musical harmonic sequences are also perceived as violations of the movement sequences necessary to produce them. Pianists imitated silent videos showing one hand playing chord sequences on a muted keyboard. Results indicate that, despite the absence of auditory feedback, imitation of a chord is fastest when it is congruent with the preceding harmonic context. This suggests that the harmonic rules implied by observed actions induce expectations that influence action execution. As evidence that these predictions are derived at a high representational level, imitation was more accurate for harmonically incongruent chords than for congruent chords executed with unconventional fingering. The magnitude of the effects of context and goal prioritization increased with musical training. Thus, musical training may lead to a domain-general representation of musical grammar, i.e., to a grammar of action.     

亲历的船上"鬼影"

笔者经历的这件事情,还是当年在天津海洋运输公司当海员时发生的故事。一天,被评为公司先进职工的大厨老赵,晚上11点多钟,敲开政委裴国春的房门。政委还没睡,门一打开,就见大老赵脸色蜡黄,浑身发抖,气喘吁吁地对政委说,他撞见鬼了!看见了4天前死亡的大副一闪身就跑出去了。在东非索马里的摩加迪沙港的一次移泊中,正在船头指挥靠泊作业的大副,被一条绷紧的大缆绳击中,被无情地甩到坚硬的码头上。大副去世后,同志们不忍心将大副水葬大海,经过船务会研究,为了对组织、对家属有个交代,还是决定把大副的尸体带回祖国。于是,大副的尸体就停放在大…     

Colours experienced in dreams.

Colours seen in dreams by six observers were recorded from memory and plotted on a CIE u, v, chromaticity diagram. Only about half the dreams recorded contained colour, and in those in which colour appeared the more saturated purples, blues and blue greens were absent. It is suggested that during achromatic dreams the areas of the visual cortex which seem to respond only to colour may be inoperative. The paucity of blue in dreams could be anatomically related to the small population of blue units in the colour areas of the cortex.     

Reduced P50 auditory sensory gating response in professional musicians

Evoked potential studies have demonstrated that musicians have the ability to distinguish musical sounds preattentively and automatically at the temporal, spectral, and spatial levels in more detail. It is however not known whether there is a difference in the early processes of auditory data processing of musicians. The most emphasized and studied early process, especially for neuropsychiatric purposes, is sensory gating. The suppression percentage of the midlatency auditory evoked potential P50, and rarely the N100, wave is used for sensory gating studies. Our aim in this study was to investigate whether there was a difference in the auditory P50 and N100 suppression of control subjects who were professional musicians with no psychiatric problems. 34 professional musicians and 19 non-musicians (the control group) were included in this study. P50 and N100 measurements were taken, the suppression percentage of P50 and N100 was calculated and the results compared. Musicians showed significantly less P50 suppression when compared to non-musicians. There was no significant difference for N100 suppression. What the decreased P50 suppression in musicians when compared to non-musician subjects means, when we also take into account that N100 suppression is not decreased, and how it may contribute to the music perception and production processes of these persons is discussed.     

Experience-dependent effects in unimanual and bimanual reaction time tasks in musicians

Engaging in musical training has been shown to result in long-term cognitive benefits. The authors examined whether basic cognitive-motor processes differ in people with extensive musical training and in nonmusicians. Musicians (n = 20) and nonmusicians (n = 20) performed a simple reaction time (RT) task under unimanual and bimanual conditions. Musicians' RTs were faster overall than were those of nonmusicians, and those who began their musical training at an earlier age (around age 7-8 years, on average) exhibited a larger bimanual cost than did those who began later (around 12 years, on average). The authors conclude that experience-dependent changes associated with musical training can result in greater efficacy of interhemispheric connections if those changes occur during certain critical periods of brain development.     

Developing identities and attitudes in musicians and classroom music teachers

Background. The Western classical training of many secondary music specialist teachers may be inappropriate for the demands of the contemporary secondary school classroom, leading to a conflict between their self‐concepts as ‘musicians’ and as ‘teachers’. Aims. To undertake a short‐term longitudinal comparison of the developing identities and the attitudes of a group of intending specialist secondary music teachers, during the transition into their first teaching post, with a group of music students from university and conservatory backgrounds. Sample. Twenty‐nine trainee music teachers completed Phases 1 and 2 of the study during their final weeks of training and during the second term of their teaching career, and a comparison group of 29 final‐year undergraduate music students did so in the first and last terms of their final year. Method. A specially devised composite Musical Careers Questionnaire gathered information in both phases about self‐efficacy in music and in teaching, identification with professional groups in these two domains, and attitudes towards important skills for musicians and teachers. Results. A series of ANOVAs comparing the student groups' scores in each of the two phases revealed no significant main effects or interactions for either of the self‐efficacy measures, a significant group effect for professional group identification, and some changes in the attitude measures. Conclusion. Although participants' views of their own general effectiveness as teachers and as musicians changed very little over the period of the study, their attitudes towards music teaching and perceptions of the skills required showed some changes.     

Team cognition in experienced command-and-control teams

Team cognition in experienced command-and-control teams is examined in an UAV (Uninhabited Aerial Vehicle) simulation. Five 3-person teams with experience working together in a command-and-control setting were compared to 10 inexperienced teams. Each team participated in five 40-min missions of a simulation in which interdependent team members control a UAV to take reconnaissance photos. Experienced teams exceeded performance of inexperienced teams, suggesting transfer of previous command-and-control experience. Compared to inexperienced teams, experienced teams had fewer errors on process-related training knowledge, superior team process ratings, and communications containing fewer coordination-related utterances. These findings support the view that team cognition emerges through the interactions of team members, that interactions distinguish high-performing teams from average teams, and that these interactions transfer across different tasks.     

Absolute identification of notes and intervals by musicians

Speech sounds are judged reliably and absolutely, while the judgment of nonspeech stimuli, such as tones, is thought to be unreliable and dependent on contextual cues. Here we demonstrated that the judgment of tonal stimuli may also be reliable and absolute, provided that the subjects are trained musicians. In Experiment 1, musicians with relative pitch identified 21 tonal intervals ranging from unison to major third, and the resulting identification functions were similar to those that have been previously obtained for speech. In Experiment 3, the judgment of intervals by musicians was shown to be free of context effects, since the best subjects gave virtually identical judgments to the same intervals in two stimulus contexts. Similar results were obtained in Experiments 2 and 4 for the judgment of single tones by possessors of absolute pitch. Performance with both notes and intervals by nonmusicians, however, was unreliable and greatly influenced by context. These findings suggest that musicians acquire categories for pitch that are functionally similar to phonemic categories for speech     

Rhythm perception and differences in accent weights for musicians and nonmusicians

In order to investigate the contribution of harmonic—temporal and structural features to the perception of musical rhythm, three experiments were conducted in which a harmonic and a temporal accent were pitted against each other in such a way as to form five possible patterns. In three experiments, the temporal structure of various chord progressions was manipulated in an effort to determine the harmonic contributions to the inference of meter. The final experiment differed from the first two in the use of nondiatonic progressions that implied an unlikely key modulation. In all experiments, musicians and nonmusicians were requested to report perceived rhythm patterns in an attempt to determine the relative salience of various accents. Results indicated that changes in the temporal structure led to predictable change in an inferred meter, and that all diatonic chord progressions led to similar patterns of responses in which coincidences of harmonic, temporal, and metrical accents were perceptually salient events. Unusual progressions implying key modulations resulted in a qualitatively distinct pattern of results, and, in all experiments, amount of formal musical training was found to be a good predictor of the use of harmonic cues.     

Superior formation of cortical memory traces for melodic patterns in musicians

The human central auditory system has a remarkable ability to establish memory traces for invariant features in the acoustic environment despite continual acoustic variations in the sounds heard. By recording the memory-related mismatch negativity (MMN) component of the auditory electric and magnetic brain responses as well as behavioral performance, we investigated how subjects learn to discriminate changes in a melodic pattern presented at several frequency levels. In addition, we explored whether musical expertise facilitates this learning. Our data show that especially musicians who perform music primarily without a score learn easily to detect contour changes in a melodic pattern presented at variable frequency levels. After learning, their auditory cortex detects these changes even when their attention is directed away from the sounds. The present results thus show that, after perceptual learning during attentive listening has taken place, changes in a highly complex auditory pattern can be detected automatically by the human auditory cortex and, further, that this process is facilitated by musical expertise.     

Site-specific muscle hyper-reactivity in musicians with occupational upper limb pain.

Fourteen musicians who reported a history of pain in the upper limb associated with the playing of their instruments were compared with a sample of pain-free musicians, matched for age, sex and musical instrument. Four tasks were presented in random order and included neutral, general stressor, personal stressor and pain stressor tasks. Ratings of stressfulness and recordings of skin conductance level confirmed the effectiveness of the experimental manipulations for both subject groups. No differences were found between groups or tasks for frontalis surface electromyograph (EMG) activity. Evidence was found, however, of EMG elevation in flexor and trapezius muscles on the pain side for the pain subjects, in response to the task involving recall of a pain experience. This elevation was not found for the pain-free controls or for other stressor tasks, although some elevation in response to the pain stressor task was found for pain subjects in the trapezius muscles of the non-pain side. The duration of return to baseline of EMG following the pain stressor task was found to be extended in pain subjects for the trapezius, but not for the flexor muscles of the pain side. The findings suggest that site-specific muscle hyper-reactivity may play a role in the development and maintenance of occupational upper limb pain in musicians.