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Review Article

Review Article M ünte, T.F., Altenmüller, E., & Jäncke, L. (2002). The musician’s brain as a model of neuroplasticity. Nature Reviews Neuroscience , 3, 473-478. Group work reports Abstract Introduction Subtitles Conclusion Animations. Bonn, 21.01 .2008.

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Review Article

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  1. Review Article Münte, T.F., Altenmüller, E., & Jäncke, L. (2002). The musician’s brain as a model of neuroplasticity. Nature Reviews Neuroscience, 3, 473-478 Group work reports Abstract Introduction Subtitles Conclusion Animations Bonn, 21.01.2008 YRG @ Department of EpileptologyUniversity of Bonn Medical Centre, Germany  christian.hoppe@ukb.uni-bonn.de

  2. Group work Composition examples • Results • Main findings for: • Group 1: Background Variables (p. 257) • Group 2: Background Variables (p. 258) • Group 3: Academic achievement (general and reading) • Group 4: Academic achievement (mathematics)

  3. Group work Composition examples • Discussion (Morrison et al. article): • Group 1: General and „Growth of Academic Skills“ 1st, 2nd, and 3rd paragraph • Group 2: „Growth of Academic Skills“, 4th and 5th paragraph • Group 3: „Question of Background Variables“ • Group 4: „Implications“ until „Educational Policy“

  4. Abstract Main points • Eliciting stimulus →→→→neural changes • Professional musicians: ideal model for plasticity • Music: • complexity of stimuli • exposure (practice) • reviewed point: brain differences in musicians via neuroimaging

  5. Introduction Main points • Experience shapes cortical representation: • temporal: refers to time • cortical: refers to cortex • Animal studies: training induced plastic changes • Hebbian learning: • presynaptic cell → repeated and persistant stimulation → postsyn. cell • increase in synaptic strength • Wikipedia: Assembly Theory

  6. Introduction Main points • Problem with animal studies: • lack of ecological validity (?) • stimuli limitations • Understanding human brain plasticity: • changes induced by defects • Music performance: • highly complex human endeavor • musical stimulus: complex, multidimensional, multidomain (multisensory) • Possible nature vs. nurture explanation

  7. Functional measures of plasticity Main points • String players: • Larger cortical representation of left hand fingers • Left hand (“fingering hand”) • Greater effect for early beginners • Adaptation to own instrument: • ↑ responses to own instrument tones • plastic changes due to practice

  8. Functional measures of plasticity Main points • Structural regularities of music • Pre-attentive detection of changes • MMN ↑ in professional musicians: • different facets of music • Auditory cortex shaping • Conductors’ advantage for spatial auditory processing

  9. Anatomical differences Main points • Planum temporale, anterior corpus callosum, primary hand motor area, cerebellum • Musicians vs. non-musicians: ↑ left planum temporale • Primary hand motor area: • negative correlation (?) (commencement of musical training and the size of the primary hand motor area)

  10. Anatomical differences Main points • Corpus callosum: • ↑ in musicians (especially if training started before 7 yrs of age) • enhanced interaction between the hemispheres: ↓ interhemispheric inhibition (?) • facilitation of bimanual coordination • Cerebellum: movement timing • VBM: ↑grey matter volume in musicians’ motor network

  11. Sensorimotor learning Main points • Phases of motor learning: • Consolidation (several hours) • Slow learning (gradual performance increase) • Tapping: • ↑ M1 activity in musicians within minutes: • effect of pre-practice experience • ↓ SMA activity in musicians: ↑ efficiency • Mental practice!

  12. Sensorimotor learning Main points • Audio-motor integration (cooperation): • Automatized in musicians • Apparent in non-musicians with 20 min. of training • The effect extended to a mere observation: • listening or viewing (auditory or visual) • monkey mirror neurons • Example ?

  13. Maladaptive plasticity Main points • „Musicians‘ cramp“ (focal dystonia) • Overuse → maladaptive neuroplasticity • Dedifferentiation of sensory feedback

  14. Musicians as a model? Main points • Neurobehavioural changes: • from several minutes to lifetime • Neuroplasticity: • new synapses • disinhibitions or inhibitions of neuronal connections • Commencement of early training: • grey and white matter volume changes • not pre-existing differences • parallel findings: London taxi drivers

  15. Conclusion Main points • Musician‘s brain: valuable model of neuroplasticity • Questions for future research: • training parameters? • the role of genes? • effect of emotional networks?

  16. Meeting after next Task Set up a study trying to answer the following questions: Group 1: music training parameters effect on the brain plasticity Group 2: the role of genes in the music facilitated brain plasticity Group 3: effect of emotional networks on music facilitated brain plasticity

  17. Next meeting Single study article Norton, A. et al. (2005). Are there pre-existing neural, cognitive, or motoric markers for musical ability? Brain and Cognition, 59, 124-134. Presentation (main points): Group 1: Introduction Group 2: Methods and results Group 3: Discussion

  18. Animated presentations Sites http://www.blackwellpublishing.com/matthews/animate.html Brain probe: http://www.pbs.org/wgbh/aso/tryit/brain/probe.html Map: http://www.bbc.co.uk/science/humanbody/body/interactives/organs/brainmap/index.shtml http://faculty.washington.edu/chudler/java/dottime.html: reaction time test http://faculty.washington.edu/chudler/java/boxes.html: boxes RT test

  19. Work group: Christian Hoppe Jelena Stojanovic Christian E. Elger Funded by Karg-Stiftung für Hochbegabtenförderung (Frankfurt/M.) YRG @ Department of EpileptologyUniversity of Bonn Medical Centre, Germany  christian.hoppe@ukb.uni-bonn.de

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