Learning piano melodies in visuo-motor or audio-motor training conditions and the neural correlates of their cross-modal transfer

Engel, Annerose; Bangert, Marc; Horbank, David; Hijmans, Brenda S.; Wilkens, Katharina; Keller, Peter E.; Keysers, Christian

doi:10.1016/j.neuroimage.2012.03.038

Cited by 35 publications

(30 citation statements)

References 48 publications

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“…This multimodal representation would be then reactivated when new characters have to be learned and the internalized sounds associated to the movement would be given even if they are not physically supplied. This hypothesis is supported by studies showing that executing silent finger movements on a piano keyboard elicited stronger activation of auditory-sensory areas with expertise (Bangert, Häusler, & Altenmüller, 2001) or training (Bangert & Altenmüller, 2003;Engel et al, 2012). The combined auditory FB and motor training on the piano resulted in the coactivation of cortical auditory and sensorimotor hand regions in either pure auditory or silent motor tasks in such a way that silent dexterity drills produce ''audible tones inside the head'' (Bangert et al, 2001, p. 425).…”

Section: Discussionmentioning

confidence: 78%

The effect of real-time auditory feedback on learning new characters

Danna

Fontaine

Paz-Villagrán

et al. 2015

Human Movement Science

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Section: Discussionmentioning

confidence: 78%

The effect of real-time auditory feedback on learning new characters

Danna

Fontaine

Paz-Villagrán

et al. 2015

Human Movement Science

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“…Moreover, the data also seem to point to a more ''embodied'' interpretation, in which the nature of the memorization processes might be reconsidered. Instead of perceiving, coding, storing, and representing, we could think of these results in more dynamic terms (van Gelder, 1998), where what truly impacts a participant's ability to remember the stimuli is active sensorimotor engagement with music (Engel et al, 2012). In order to make sense of the melodies, and then to recognize them among others, a participant needs to be motorically linked to the musical stimuli (Molnar-Szacaks & Overy, 2006).…”

Section: Discussionmentioning

confidence: 99%

Motor and Audiovisual Learning Consolidate Auditory Memory of Tonally Ambiguous Melodies

Schiavio

Timmers

2016

Music Perception

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THE PRESENT STUDY INVESTIGATED THE ROLE OF motor and audiovisual learning in the memorization of four tonally ambiguous melodies for piano. A total of one hundred and twenty participants divided into three groups -pianists, other musicians (i.e., not pianists), and nonmusicians -learned the melodies through either playing them on a keyboard (playing condition), through performing the melodies on a piano without auditory feedback (silent playing condition), through watching a video with a performer playing the melodies (seeing condition), or through listening to them (control condition). Participants were exposed to each melody four times during the learning phase (in additional to hearing it once during a familiarization phase). This exposure consisted of an alternation between hearing the melody and engaging with the melody in the way determined by the learning condition. Participants in the control group only received the auditory aspect of the learning phase and listened to each melody twice.Memory of the melodies was tested after a 10-minute break. Our results indicate a benefit of motor learning for all groups of participants, suggesting that active sensorimotor experience plays a key role in musical skill acquisition.

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“…Engel et al (2012) trained non-musicians to play melodies either by ear (and without seeing their hands) or by imitating visual movement patterns (without auditory feedback). Following training, participants were able to recognize melodies learned in one modality upon presentation in the other (i.e., untrained) modality.…”

Section: Action-perception Coupling In the Musicians’ Brainmentioning

confidence: 99%

A conceptual review on action-perception coupling in the musiciansâ€™ brain: what is it good for?

Novembre

Keller

2014

Front. Hum. Neurosci.

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Experience with a sensorimotor task, such as practicing a piano piece, leads to strong coupling of sensory (visual or auditory) and motor cortices. Here we review behavioral and neurophysiological (M/EEG, TMS and fMRI) research exploring this topic using the brain of musicians as a model system. Our review focuses on a recent body of evidence suggesting that this form of coupling might have (at least) two cognitive functions. First, it leads to the generation of equivalent predictions (concerning both when and what event is more likely to occur) during both perception and production of music. Second, it underpins the common coding of perception and action that supports the integration of the motor output of multiple musicians’ in the context of joint musical tasks. Essentially, training-based coupling of perception and action might scaffold the human ability to represent complex (structured) actions and to entrain multiple agents—via reciprocal prediction and adaptation—in the pursuit of shared goals.

show abstract

Learning piano melodies in visuo-motor or audio-motor training conditions and the neural correlates of their cross-modal transfer

Cited by 35 publications

References 48 publications

The effect of real-time auditory feedback on learning new characters

The effect of real-time auditory feedback on learning new characters

Motor and Audiovisual Learning Consolidate Auditory Memory of Tonally Ambiguous Melodies

A conceptual review on action-perception coupling in the musiciansâ€™ brain: what is it good for?

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