Aaron Williamon

Motorcortical Excitability and Synaptic Plasticity Is Enhanced in Professional Musicians

Musicians not only have extraordinary motor and sensory skills, but they also have an increased ability to learn new tasks compared with non-musicians. We examined how these features are expressed in neurophysiological parameters of excitability and plasticity in the motor system by comparing the results of 11 professional musicians and 8 age-matched non-musicians. Parameters of motor excitability were assessed using transcranial magnetic stimulation (TMS) to measure motor-evoked potentials (MEPs) together with recruitment of corticospinal projections [input–output curve (IOcurve)] and of short-latency intracortical inhibition (SICIcurve). Plasticity, here defined as change of synaptic effectiveness, was tested by measuring MEPs and IOcurves after paired associative stimulation (PAS), which consists of an electric median nerve stimulus repeatedly paired (200 times at 0.25Hz) with a TMS pulse over the hand motor area. Using an interstimulus interval of 25 ms (PAS25) or 10 ms (PAS10), this leads to long-term potentiation- or long-term depression-like plasticity, respectively. Musicians showed steeper recruitment of MEPs and SICI (IOcurve and SICIcurve). Additionally, PAS25 increased and PAS10 decreased the MEP amplitudes and the slope of the IOcurves significantly more in musicians than in non-musicians. This is consistent with a wider modification range of synaptic plasticity in musicians. Together with the steeper recruitment of corticospinal excitatory and intracortical inhibitory projections, this suggests that they regulate plasticity and excitability with a higher gain than normal. Because some of these changes depend on age at which instrumental playing commenced and on practice intensity, they may reflect an increase in number and modifiability of synapses within the motor area caused by long-term musical practice.

Quantity and quality of musical practice as predictors of performance quality

Twenty-two pianists, classified into four levels of skill, were asked to learn and memorize an assigned composition by J. S. Bach (different for each level). All practice was recorded on cassette tape. At the end of the learning process, the pianists performed their composition in a recital setting. The resulting performances were evaluated by three experienced piano teachers. From the cassette tapes, values for the quantity of practice were obtained. These values were compared across all four levels of skill and examined to reveal whether they were related to quality of performance. The analyses indicate that the standard deviations of the amount of time spent in each practice session increased systematically with level of skill and that pianists at higher levels spent more time in each practice session. Quantity of practice, however, was not significantly related to quality of performance. Rather, pianists who employed longer practice segments by the middle stage of practice produced better musical, communicative and technical performances. These findings stand in defiance of the argument that quantity of practice is the fundamental determinant of the quality of performance. Instead, they suggest that the content and quality of an individuals practice must be examined when investigating the determinants of musical skill.

Exploring Co-Performer Communication

This paper examines the development and implementation of general social and specific non-verbal communication between two expert pianists who prepared and gave a recital of piano duo and duet music. All ensemble rehearsals and the final performance were video-taped. Following the performance, the musicians were interviewed in order to document their thoughts on the learning and performance processes. From the video-taped rehearsals and performance, data concerning musical coordination, social interaction, non-verbal gestures and looking behaviour were coded and counted. The results show that these excellent sight-readers used rehearsals to consolidate the timing, phrasing and sense of musical style. Moreover, an emergent set of coordinated, non-verbal gestures and eye-contact developed, with these actions increasing significantly over the rehearsal process at locations in the music identified by the pianists as “important for coordinating performance and communicating musical ideas”. Thus, the two performers acquired a deepening expressive and communicative assurance along with a familiarisation with the musical material. The findings are discussed in relation to their implications for musical performance by highlighting the elements of co-performer interaction that were negotiated and coordinated throughout the rehearsal process.

Sensorimotor reorganization by proprioceptive training in musician's dystonia and writer's cramp

Objective: The sensorimotor organization (SMO) of the motor hand area is abnormal in focal hand dystonia and likely contributes to symptom manifestation. In healthy subjects SMO is changed by training with proprioceptive stimulation. Here we test whether similar interventions reverse the abnormal SMO in musicians dystonia and writers cramp. If so, they could be developed for therapeutic application. Methods: In six non-musicians, six professional musicians, six patients with musicians dystonia, and six patients with writers cramp, SMO was explored by measuring changes in short-interval-intracortical-inhibition (SICI) during short periods of hand muscle vibration before and after two training types: AttVIB, involving attention to 15 minutes vibration of the abductor pollicis brevis (APB); and AttIndex, involving attention to subtle cutaneous stimulation of the index finger. Results: In healthy non-musicians, baseline SMO is spatially differentiated: SICI is reduced in projections to the vibrated, but enhanced to the non-vibrated muscles. Here AttVIB increased and AttIndex reduced the effect of subsequent APB-vibration on SMO. In healthy musicians, baseline SMO is less differentiated. AttVIB reinstated a more differential SMO pattern while AttIndex attenuated the effect of APB vibration. In focal hand dystonia, SMO is completely dedifferentiated. AttVIB tended to restore a more differential SMO in musicians dystonia but not in writers cramp while AttIndex failed to induce any changes in both groups. Conclusion: The intervention effect depends on the pre-interventional sensorimotor organization (SMO). In focal hand dystonia, particularly in musicians dystonia, it is possible to retrain an abnormal SMO toward a more differential pattern, which has potential implications for therapy.

Regaining Motor Control in Musician's Dystonia by Restoring Sensorimotor Organization

Professional musicians are an excellent model of long-term motor learning effects on structure and function of the sensorimotor system. However, intensive motor skill training has been associated with task-specific deficiency in hand motor control, which has a higher prevalence among musicians (musicians dystonia) than in the general population. Using a transcranial magnetic stimulation paradigm, we previously found an expanded spatial integration of proprioceptive input into the hand motor cortex [sensorimotor organization (SMO)] in healthy musicians. In musicians dystonia, however, this expansion was even larger. Whereas motor skills of musicians are likely to be supported by a spatially expanded SMO, we hypothesized that in musicians dystonia this might have developed too far and now disrupts rather than assists task-specific motor control. If so, motor control should be regained by reversing the excessive reorganization in musicians dystonia. Here, we test this hypothesis and show that a 15 min intervention with proprioceptive input (proprioceptive training) restored SMO in pianists with musicians dystonia to the pattern seen in healthy pianists. Crucially, task-specific motor control improved significantly and objectively as measured with a MIDI (musical instrument digital interface) piano, and the amount of behavioral improvement was significantly correlated to the degree of sensorimotor reorganization. In healthy pianists and nonmusicians, the SMO and motor performance remained essentially unchanged. These findings suggest that the differentiation of SMO in the hand motor cortex and the degree of motor control of intensively practiced tasks are significantly linked and finely balanced. Proprioceptive training restored this balance in musicians dystonia to the behaviorally beneficial level of healthy musicians.

Awareness and Incidence of Health Problems among Conservatoire Students.

A survey of conservatoire students is reported in which information was gathered regarding their awareness and incidence of physical and mental health problems resulting from performing music, as well as places and/or people they would turn to for advice in the event of a future problem. Pain and discomfort relating to posture and excessive practising were reported to be frequent, as was performance anxiety. Students showed a significant inclination to go first to their instrumental teacher for advice about health and psychological problems, before appropriate medical practitioners. These results are discussed in the light of previous research. In addition, a curriculum initiative is described in which a series of seminars have been presented to first-year students at the Royal College of Music with the intention of broadening their awareness of the health issues associated with performing professionally and of the places where they could seek professional help.

Measuring distinct types of musical self-efficacy

This research examines the specific nature of self-efficacy beliefs within music. Separate questionnaires assessing self-efficacy for musical learning and self-efficacy for musical performing were developed and tested, and the reliability of the new questionnaires was demonstrated using internal reliability tests and exploratory factor analysis. A sample of 250 conservatoire and university music students completed the two questionnaires and provided self-ratings of musical skills and attributes. The learning and performing questionnaires produced robust Cronbach alphas of .82 and .78, respectively. Exploratory factor analysis confirmed a single underlying factor within each questionnaire, and the stability of these questionnaires over time was established through the absence of significant differences in test—retest scores over a period of two to four weeks. Conservatoire students’ self-efficacy for musical learning was higher than that of university students, whereas there were no significant differences between conservatoire and university students in self-efficacy for musical performing. The two questionnaires also showed different patterns of correlations with a range of self-assessed musical skills and attributes, further demonstrating their distinctiveness. These results, which underline the need for differentiation in musical self-efficacy, highlight the importance of specificity and correspondence when measuring self-efficacy beliefs. The implications for measuring self-efficacy within other domains are discussed.

Primary School Children’s Self-Efficacy for Music Learning

The Self-Efficacy for Musical Learning questionnaire was adapted and tested with 404 primary school children, producing a robust Cronbach alpha (0.87) and confirming a single underlying factor through exploratory factor analysis. Test–retest scores showed the measure’s stability over a 9-month period. Data were collected on children’s prior music experience, extracurricular activities, and typical daily activities. Children also completed the Short Warwick-Edinburgh Mental Well-Being Scale and the Strengths and Difficulties Questionnaire. Those currently engaged in music tuition (learning an instrument or singing) had significantly higher self-efficacy scores than children who were not, and overall, girls’ scores were significantly higher than boys’. Correlations with various additional measures, including wellbeing and reading for pleasure, highlighted multifaceted relationships of self-efficacy to children’s lives. Regression analyses revealed that prior experience with instrumental tuition was the strongest predictor of music self-efficacy for learning; prosocial behaviors predicted boys’ scores, and well-being predicted girls’ scores.

Health-promoting behaviours in conservatoire students:

This study focuses on health-promoting behaviours in students from two conservatoires, the Royal Northern College of Music (RNCM, Manchester, UK; n =199) and the Royal College of Music (RCM, London, UK; n = 74). The research questions concern (a) the levels and types of health-promoting behaviours among performance students and (b) the association of health-promoting behaviours with emotional state, perceived general self-regulation and self-efficacy. To address these questions, the students were surveyed using server-based inventories over the internet. Results revealed varying levels of adherence to individual aspects of health-promoting behaviours. No significant differences between the populations of the two conservatoires with respect to health-promoting behaviours were observed. In general, values for health responsibility, physical activity and stress management were lower than values for nutrition, interpersonal relations and spiritual growth. Significant correlations were found between all subscales of health-promoting behaviours, emotional state, self-efficacy and self-regulation. These results suggest that music performance students tend to focus more strongly on psychosocial than physical aspects of health while particularly neglecting health responsibility. It is also concluded that health-promoting behaviours are weakly and differentially associated with both positive and negative emotional states, as well as with perceived self-efficacy and self-regulation.

Evaluation of a mental skills training program for musicians.

This study explored the effects of a 9-week music-specific mental skills training program delivered to students at a music conservatoire in England (n = 14). Pre- and post-testing involved a battery of questionnaires, public performances, and participant feedback. In comparison with a control group (n = 9), the experimental group demonstrated significant changes in their views toward practice activities and specific practicing behaviors, a significant increase in self-efficacy for performing, and an increase in imagery vividness. Comments from participants in the experimental group revealed greater levels of self-awareness, confidence, facilitative views toward and heightened control over anxiety, and healthier perspectives toward music-making.