Musical training‐induced functional reorganization of the adult brain: Functional magnetic resonance imaging and transcranial magnetic stimulation study on amateur string players

Abstract

We used the combined technique of functional magnetic resonance imaging (fMRI) and transcranial magnetic stimulation (TMS) to observe changes that occur in adult brains after the practice of stringed musical instruments. We carried out fMRI on eight volunteers (aged 20-22 years): five novices and three individuals who had discontinued practice for more than 5 years. The motor paradigm contained a repetitive lift-abduction/fall-adduction movement of the left/right little finger, carried out with maximum efforts without pacing. The sensory paradigm was to stimulate the same little finger using a string. In parallel to the fMRI acquisition, TMS motor maps for the little finger were obtained using a frameless stereotactic neuronavigation system. After the baseline study, each participant began to learn a stringed instrument. Newly developed fMRI activations for the left little finger were observed 6 months after practice at multiple brain regions including inferior parietal lobule, premotor area (PMA), left precuneus, right anterior superior temporal gyrus, and posterior middle temporal gyrus. In contrast, new activations were rarely observed for the right little finger. The TMS study revealed new motor representation sites for the left little finger in the PMA or supplementary motor area (SMA). Unexpectedly, TMS motor maps for the right little finger were reduced significantly. Among new fMRI activations for sensory stimuli of the left little finger, the cluster of highest activation was located in the SMA. Collectively, these data provide insight into orchestrated reorganization of the sensorimotor and temporal association cortices contributing to the skillful fingering and musical processing after the practice of playing stringed instruments.

Corticospinal output and cortical excitation‐inhibition balance in distal hand muscle representations in nonprimary motor area

“…Hypothetically, it may reflect higher intracortical excitability and readiness to provide strong excitatory output despite strong inhibitory input from the surroundings. This capacity may facilitate the mobilization of these motor representational resources during post-lesional changes in the motor network [Fridman et al, 2004;Johansen-Berg et al, 2002;Rossini et al, 2003] or while practising a new motor skill [Karni et al, 1995;Karni et al, 1998;Kim et al, 2004;Kleim et al, 2004;Muellbacher et al, 2001;PascualLeone et al, 1995;Rosenkranz et al, 2007;Tyc et al, 2005].…”

“…Earlier studies in healthy human subjects [Fink et al, 1997;Johansen-Berg et al, 2004;Kim et al, 2004;Partanen et al, 2000;Uozumi et al, 2004] and in patients with brain lesions [Fridman et al, 2004;Ikeda et al, 1992;Krainik et al, 2001;Laplane et al, 1977;Uematsu et al, 1992] have suggested that NPMAs may contain direct corticospinal tracts in addition to the well-known role in the selection and motor control of complex movements via cortico-cortical networks. In non-human primates, it has been well established that, the NPMAs in the frontal lobe contain multiple fore-and hindlimb muscles representation areas with monosynaptic connections to lower motor neurones [Boudrias et al, 2010a;Boudrias et al, 2010b;Dum and Strick, 1991;Dum and Strick, 2002].…”

Ideomotor apraxia: A review

“…After left hemisphere lesions impair basic motor function, homologous right hemisphere structures begin to compensate over time [82]. Learning (or relearning) the playing of a stringed instrument leads to an experience-based reorganization of the left parietal and premotor cortices [83]. Activity related to spatial processing in a patient with a parietal lesion shifts from the left to right parietal lobe, suggesting plasticity of higher level processes as well [84].…”

Not all about sex: neural and biobehavioral functions of human dance

“…This implies an important potential of art for an individual's development of affective sensitivity to interpersonal communication. Something similar seems to occur with musical practice and painting expertise …”