Neural Correlates of Processing Syntax in Music and ... - PubMan
Neural Correlates of Processing Syntax in Music and ... - PubMan
Neural Correlates of Processing Syntax in Music and ... - PubMan
You also want an ePaper? Increase the reach of your titles
YUMPU automatically turns print PDFs into web optimized ePapers that Google loves.
<strong>Music</strong>al Tra<strong>in</strong><strong>in</strong>g 24<br />
the auditory doma<strong>in</strong> after frequency discrim<strong>in</strong>ation tra<strong>in</strong><strong>in</strong>g (see below). It may also<br />
appear as regression <strong>of</strong> cortical representation when a certa<strong>in</strong> frequency was removed<br />
from music (Pantev & Lutkenhoner, 2000; Pantev, Wollbr<strong>in</strong>k, Roberts, Engelien, &<br />
Lutkenhoner, 1999). These effects revealed a dynamic form <strong>of</strong> neural plasticity. It may<br />
contribute to skill acquisition <strong>and</strong> result <strong>in</strong> structural changes <strong>in</strong> cortical <strong>and</strong> sub-cortical<br />
networks as the skill becomes more established <strong>and</strong> automatic (Pantev, 1999; Petersen,<br />
van Mier, Fiez, & Raichle, 1998; Raichle et al., 1994).<br />
<strong>Music</strong>al tra<strong>in</strong><strong>in</strong>g <strong>in</strong>volves complex motor, auditory <strong>and</strong> other cognitive skills. Achiev<strong>in</strong>g<br />
skilled musical performance relies on extraord<strong>in</strong>ary <strong>in</strong>tense long-term rehearsal. It is<br />
based on adjust<strong>in</strong>g ones own movements <strong>in</strong> response to visual, auditory, <strong>and</strong> somatosensory<br />
feedback which has to be <strong>in</strong>tegrated. <strong>Music</strong>ians are required to translate musical<br />
symbols <strong>in</strong>to complex, sequential movements with<strong>in</strong> a strictly def<strong>in</strong>ed temporal structure,<br />
to memorize long musical phrases, <strong>and</strong> to identify tones without the use <strong>of</strong> a reference<br />
tone. Due to the multimodal nature <strong>and</strong> the <strong>in</strong>tensity <strong>of</strong> musical tra<strong>in</strong><strong>in</strong>g, musicians<br />
are ideally suited to <strong>in</strong>vestigate the various aspects <strong>of</strong> complex skill acquisition <strong>and</strong> to<br />
study learn<strong>in</strong>g <strong>and</strong> bra<strong>in</strong> plasticity (Münte et al., 2002; Schlaug, 2001). In addition to<br />
learn<strong>in</strong>g itself, functional differences exhibited by bra<strong>in</strong>s <strong>of</strong> pr<strong>of</strong>essional musicians may<br />
reflect <strong>in</strong>nate abilities, perhaps fostered by early exposure to musical tra<strong>in</strong><strong>in</strong>g (Schlaug,<br />
2001).<br />
However, not all tra<strong>in</strong><strong>in</strong>g-<strong>in</strong>duced plasticity is beneficial. Some musicians develop a<br />
disabl<strong>in</strong>g condition, e.g., focal h<strong>and</strong> dystonia or embouchure dystonia, which is considered<br />
as example <strong>of</strong> maladaptive plasticity. 6<br />
3.2 Skill improvement due to musical tra<strong>in</strong><strong>in</strong>g<br />
Expertise research evidenced that important characteristics <strong>of</strong> expert’s superior performance<br />
are acquired through experience <strong>and</strong> practis<strong>in</strong>g (e.g., Ericsson, Krampe, &<br />
Tesch-Römer, 1993). Usually, <strong>in</strong>dividuals require 10 or more years <strong>of</strong> preparation to<br />
atta<strong>in</strong> <strong>in</strong>ternational-level performance (Simon & Chase, 1973; Sosniak, 1985). Maximal<br />
levels <strong>of</strong> performance are not atta<strong>in</strong>ed automatically by mere exposure to a doma<strong>in</strong>, but<br />
are a result <strong>of</strong> deliberate practice. In contrast to skilled activities that can be performed<br />
by rote, most types <strong>of</strong> expertise are mediated by cognitive processes such as monitor<strong>in</strong>g,<br />
plann<strong>in</strong>g, reason<strong>in</strong>g, <strong>and</strong> anticipat<strong>in</strong>g.<br />
6<br />
For a more thorough discussion regard<strong>in</strong>g: [1] the mechanisms <strong>of</strong> the development <strong>of</strong> dystonia, see, e.g.,<br />
Butterworth et al. (2003); Elbert et al. (1998); Frucht et al. (2001); Hirata, Schulz, Altenmüller, Elbert,<br />
<strong>and</strong> Pantev (2004); McKenzie, Nagarajan, Roberts, Merzenich, <strong>and</strong> Byl (2003); <strong>and</strong> St<strong>in</strong>ear <strong>and</strong> Byblow<br />
(2004); [2] its consequences, see, e.g., Schuele <strong>and</strong> Lederman (2004); <strong>and</strong> [3] therapeutical methods to<br />
cure this malfunction, see, e.g., C<strong>and</strong>ia, Wienbruch, Elbert, Rockstroh, <strong>and</strong> Ray, (2003); Zeuner et al.,<br />
(2002); <strong>and</strong> Zeuner <strong>and</strong> Hallett (2003).