Search results for "Musical expertise"
showing 8 items of 8 documents
Modifying auditory perception with prisms? Aftereffects of prism adaptation on a wide auditory spectrum in musicians and nonmusicians
2021
Prism adaptation consists of pointing to visual targets while wearing prisms that shift the visual field laterally. The aftereffects are not restricted to sensorimotor level but extend to spatial cognition. There is a link between spatial representation and auditory frequency, with an association of low frequencies on the left side and high frequencies on the right side of space. The present study aimed first at evaluating the representation of auditory frequencies on a wide range of frequencies in musicians and nonmusicians. We used the ‘auditory interval bisection judgment’ within three auditory intervals. The results showed a pseudoneglect behavior in pretest in musicians and nonmusician…
Auditory Profiles of Classical, Jazz, and Rock Musicians: Genre-Specific Sensitivity to Musical Sound Features
2016
When compared with individuals without explicit training in music, adult musicians have facilitated neural functions in several modalities. They also display structural changes in various brain areas, these changes corresponding to the intensity and duration of their musical training. Previous studies have focused on investigating musicians with training in Western classical music. However, musicians involved in different musical genres may display highly differentiated auditory profiles according to the demands set by their genre, i.e., varying importance of different musical sound features. This hypothesis was tested in a novel melody paradigm including deviants in tuning, timbre, rhythm,…
Musical expertise modulates functional connectivity of limbic regions during continuous music listening.
2015
Music is known to be an important facet of all human cultures (Merriam, 1964). Listening to music in order to influence moods, evoke strong emotions, and derive pleasure is becoming increasingly common, especially in this day and age when access to music is easy and quick. In recent years, exploring the neural correlates of musical emotions has attracted the attention of neuroscientists (Brattico & Pearce, 2013; Koelsch, Fritz, v. Cramon, Muller, & Friederici, 2006). However, the majority of these studies have not accounted for the effect of musical expertise, despite increasing evidence of structural and functional differences between musicians and nonmusicians, particularly in the regions…
Music Training Enhances Rapid Neural Plasticity of N1 and P2 Source Activation for Unattended Sounds
2012
Neurocognitive studies have demonstrated that long-term music training enhances the processing of unattended sounds. It is not clear, however, whether music training also modulates rapid (within tens of minutes) neural plasticity for sound encoding. To study this phenomenon, we examined whether adult musicians display enhanced rapid neural plasticity compared to non-musicians. More specifically, we compared the modulation of P1, N1, and P2 responses to standard sounds between four unattended passive blocks. Among the standard sounds, infrequently presented deviant sounds were presented (the so-called oddball paradigm). In the middle of the experiment (after two blocks), an active task was p…
The association of noise sensitivity with music listening, training, and aptitude
2015
After intensive, long-term musical training, the auditory system of a musician is specifically tuned to perceive musical sounds. We wished to find out whether a musician's auditory system also develops increased sensitivity to any sound of everyday life, experiencing them as noise. For this purpose, an online survey, including questionnaires on noise sensitivity, musical background, and listening tests for assessing musical aptitude, was administered to 197 participants in Finland and Italy. Subjective noise sensitivity (assessed with the Weinstein's Noise Sensitivity Scale) was analyzed for associations with musicianship, musical aptitude, weekly time spent listening to music, and the impo…
Predictive error detection in pianists: A combined ERP and motion capture study
2013
Performing a piece of music involves the interplay of several cognitive and motor processes and requires extensive training to achieve a high skill level. However, even professional musicians commit errors occasionally. Previous event-related potential (ERP) studies have investigated the neurophysiological correlates of pitch errors during piano performance, and reported pre-error negativity already occurring approximately 70–100 ms before the error had been committed and audible. It was assumed that this pre-error negativity reflects predictive control processes that compare predicted consequences with actual consequences of one's own actions. However, in previous investigations, correct a…
Multisensory integration of drumming actions: musical expertise affects perceived audiovisual asynchrony
2009
We investigated the effect of musical expertise on sensitivity to asynchrony for drumming point-light displays, which varied in their physical characteristics (Experiment 1) or in their degree of audiovisual congruency (Experiment 2). In Experiment 1, 21 repetitions of three tempos x three accents x nine audiovisual delays were presented to four jazz drummers and four novices. In Experiment 2, ten repetitions of two audiovisual incongruency conditions x nine audiovisual delays were presented to 13 drummers and 13 novices. Participants gave forced-choice judgments of audiovisual synchrony. The results of Experiment 1 show an enhancement in experts' ability to detect asynchrony, especially fo…
Tune recognition from melody, rhythm and harmony
2009
Earlier studies have shown that listeners recognise familiar tunes. With tunes that are manipulated in some way, melody has been shown to be more important for recognition than rhythm. The present study examined the importance of melody, rhythm and harmony for tune recognition by listeners with varying musical expertise. Forty-six participants, divided into three groups according to their musical expertise, heard the first two phrases of familiar tunes in four different versions: melody, rhythm, melody with harmony and rhythm with harmony. The participants were asked to identify the tunes. A two-factor ANOVA was conducted with the four versions of presentation and the three groups of partic…