Central retinal venous pressure is higher than intraocular pressure during amateur trumpet playing.

BACKGROUND: It has been shown in the literature that the Valsalva manoeuvre influences ocular perfusion by changing intraocular pressure and central retinal venous pressure (CRVP). High-resistance wind instrument (HRWI) playing is a common situation resembling a Valsalva manoeuvre. The aim of this investigation was to explore the influence of amateur trumpet playing on CRVP. METHODS: The left eyes of 20 healthy non-professional trumpet players (median age 26, range 19-52 years; 17 males, 3 females) were included in this investigation. Subjects, sitting at a slit lamp, were asked to play the tone b' flat with their own mouthpiece on the same trumpet for at least 30 s with moderate loudness. The following data were obtained: intraocular pressure (IOP) by applanation tonometry before and during playing, CRVP by contact lens dynamometry before and during playing, airway pressure (AirP) using a pressure sensor during playing and blood pressure and heart rate using the common cuff method before and during playing. RESULTS: The results are presented as the medians before vs during playing: a calculated mean ophthalmic artery pressure of 66 vs 72 mmHg, heart rate of 76 vs 82 beats per minute, airway pressure of 0 vs 17 mmHg, IOP 12 vs 13 mmHg and CRVP of 24 vs 55 mmHg (Wilcoxon test: p = 0.00009), respectively. A correlation between the CRVP during playing and the height of the spontaneous CRVP is noted (Spearman rank correlation coefficient: ρ = 0.68). CONCLUSIONS: Amateur trumpet playing increases CRVP, airway pressure and IOP. The increase in CRVP is greater than that of the intraocular pressure. The increase in CRVP seems to be more important for retinal perfusion changes during trumpet playing than the increase of IOP. It can be hypothesised that high airway pressure during playing may cause a permanent increase in CRVP, at least in a subgroup of trumpet players.

[Musical Inactivity - A Risk Factor? A Short Questionnaire to Assess Musical Activity (MusA)]. / Musikalische Inaktivität ­ ein Risikofaktor? Vorstellung eines kurzen Fragebogens zur Erfassung der musikalischen Aktivität (MusA).

BACKGROUND: There is only a limited number of studies on associations between musical activity and health issues. It seems that musical activity has physiological and psychological benefits, as well as effects on the mental capacity, but this has been studied only in a few clinical and epidemiological studies. One reason might be that no appropriate survey instrument assessing musical activity is available. AIM OF THE STUDY: Here we provide an overview of survey instruments that assess musicality and musical activity. One focus is the presentation of a newly developed German questionnaire (MusA), which assesses musical activity (active music making and music reception) and was specifically developed for the "German National Cohort", a German health study. METHOD: Through literature research, questionnaires were identified that assess musicality and / or musical activity. A new German questionnaire was developed from a panel of experts and tested in a small study (n=121, women and men age 18-70 years). RESULTS: In the literature research, 3 questionnaires were identified which focus on musicality and musical activity with different aspects (Gold-MSI, MUSE, MEQ). All 3 instruments may be characterized as large psychometric scales, which especially assess aspects of musicality in the English language. The Gold-MSI is additionally available in German. None of the existing questionnaires covers musical activities in detail. A new short German questionnaire consisting of 9 questions with a maximum filling time of 3-5 min has been developed. CONCLUSION: There are few questionnaires available for assessing musicality and musical activity with different aspects. The newly developed MusA in the German language focuses on the assessment of musical activity and is intended to be used in larger, population-based as well as clinical studies, to examine music activities and listening to music as independent factors in connection with prevention and therapy of chronic diseases.

Genome-wide association study in musician's dystonia: a risk variant at the arylsulfatase G locus?

Musician's dystonia (MD) affects 1% to 2% of professional musicians and frequently terminates performance careers. It is characterized by loss of voluntary motor control when playing the instrument. Little is known about genetic risk factors, although MD or writer's dystonia (WD) occurs in relatives of 20% of MD patients. We conducted a 2-stage genome-wide association study in whites. Genotypes at 557,620 single-nucleotide polymorphisms (SNPs) passed stringent quality control for 127 patients and 984 controls. Ten SNPs revealed P < 10(-5) and entered the replication phase including 116 MD patients and 125 healthy musicians. A genome-wide significant SNP (P < 5 × 10(-8) ) was also genotyped in 208 German or Dutch WD patients, 1,969 Caucasian, Spanish, and Japanese patients with other forms of focal or segmental dystonia as well as in 2,233 ethnically matched controls. Genome-wide significance with MD was observed for an intronic variant in the arylsulfatase G (ARSG) gene (rs11655081; P = 3.95 × 10(-9) ; odds ratio [OR], 4.33; 95% confidence interval [CI], 2.66-7.05). rs11655081 was also associated with WD (P = 2.78 × 10(-2) ) but not with any other focal or segmental dystonia. The allele frequency of rs11655081 varies substantially between different populations. The population stratification in our sample was modest (λ = 1.07), but the effect size may be overestimated. Using a small but homogenous patient sample, we provide data for a possible association of ARSG with MD. The variant may also contribute to the risk of WD, a form of dystonia that is often found in relatives of MD patients.

Playing beautifully when you have to be fast: spatial and temporal symmetries of movement patterns in skilled piano performance at different tempi.

Humans are capable of learning a variety of motor skills such as playing the piano. Performance of these skills is subject to multiple constraints, such as musical phrasing or speed requirements, and these constraints vary from one context to another. In order to understand how the brain controls highly skilled movements, we investigated pianists playing musical scales with their left or right hand at various speeds. Pianists showed systematic temporal deviations away from regularity. At slow tempi, pianists slowed down at the beginning and end of the movement (which we call phrasal template). At fast tempi, temporal deviation traces consisted of three peak delays caused by a thumb-under manoeuvre (which we call neuromuscular template). Intermediate tempi were a linear combination trade-off between these two. We introduce and cross-validate a simple four-parameter model that predicted the timing deviation of each individual note across tempi (R(2) = 0.70). The model can be fitted on the data of individual pianists, providing a novel quantification of expert performance. The present study shows that the motor system can generate complex movements through a dynamic combination of simple movement templates. This provides insight into how the motor system flexibly adapts to varying contextual constraints.

Musicians' pursuit of expertise-related goals is characterised by strategic regulation of functional and counterproductive affect.

Background: Emotion regulation is an important part of effective goal pursuit. Functional accounts of emotion regulation suggest that the attainment of challenging goals may be supported by regulating emotions which promote utilitarian over hedonic outcomes. When pursuing the challenging, long-term goal of acquiring expert musical skills and knowledge, musicians may wish to prioritise whichever emotions are most conducive to attaining this goal, even if those emotions are not necessarily positive. Methods: Via an online questionnaire, musicians (N = 421) answered questions concerning their musical experience and their expertise-related practice goals. They also reported how strongly they experienced different emotions during practice, and how strongly they desired to either increase or decrease the intensity of those same emotions. Data were analysed using inferential frequentist statistics and Bayesian mixed effects models. Evidence ratios (ER) > 19 were considered strong evidence in favour of an effect. Results: Our analysis showed that musicians experienced and desired strong levels of positive emotions in their practice. In addition, they reported greater desire to intensify positive compared to negative emotions [paired t (420) = 58.13, p < 0.001]. Our Bayesian mixed effects model provided strong evidence that greater desire to intensify anger increased the probability that an observation derived from a musician with stronger expertise-related goals [Est = 0.70; Odds (Est > 0) > 9,999]. In addition to anger, higher levels of expertise-related goals were increasingly predicted by less strong desire to intensify guilt and gloom and greater desire to reduce downheartedness (all ER > 19). Discussion: Overall, musicians had a strong, general desire to intensify positive emotions during their musical practice. However, musicians with higher levels of expertise-related goals increasingly indicated a nuanced approach regarding how they desired to regulate certain negative emotions. Findings suggest that musicians engage in selective and sophisticated emotion regulation behaviour that aligns with their long-term commitment to develop musical expertise. They may prioritise emotions which may be functionally beneficial, whilst avoiding emotions which may be counterproductive or undermine efforts. Findings from this study contribute to our understanding of expertise-related, domain-specific emotion regulation behaviour and may inform the design of prioritised musical practice strategies.

Musical activity in a subsample of the German National Cohort study.

Musical activities (MA) such as singing, playing instruments, and listening to music may be associated with health benefits. However, evidence from epidemiological studies is still limited. This study aims at describing the relation between MA and both sociodemographic and health-related factors in a cross-sectional approach. A total of 6717 adults (50.3% women, 49.7% men, median age: 51 years (IQR 43-60) were recruited from the study center Berlin-Mitte of the German National Cohort (NAKO), a population-based prospective study. This study is based on a sample randomly selected from the population registry of Berlin, Germany, aged 20 to 69 years. 53% of the participants had been musically active at least once in their life (56.1% women, 43.9% men). Playing keyboard instruments (30%) and singing (21%) were the most frequent MA. Participants listened to music in median 90 min per day (IQR 30.0-150.0). Musically active individuals were more likely to have a higher education, higher alcohol consumption, were less likely to be physically active, and had a lower BMI compared to musically inactive individuals. This large population-based study offers a comprehensive description of demographic, health, and lifestyle characteristics associated with MA. Our findings may aid in assessing long-term health consequences of MA.

Emotional cherry picking: the role of personality and goal orientation in selective emotion regulation for musical practice.

Introduction: Emotion regulation is an important part of optimising performance and successful goal pursuit in practice-based tasks such as making music. Musicians may regulate their own emotions during the course of their musical practice in order to improve their performance and ultimately attain their practice-related goals. The specific emotions they target may depend upon their personality traits but may also relate to the nature of their goal orientation, and the interaction between the two. This study investigates whether the emotions desired by musicians in their musical practice were dependent on their personality traits and Mastery goal orientation (the desire to master musical and technical skills). Methods: Via an online questionnaire, 421 musicians completed a personality scale and answered questions relating to their mastery practice goals. They also completed emotion scales indicating how strongly they desired to increase or decrease the intensity of specific emotions when practicing. Results: Overall, musicians preferred to up-regulate positive rather than negative emotions [paired t(420) = 58.13, p < 0.001]. Bayesian Mixed Effects models showed that personality traits affected musicians' desire to regulate specific emotions. For example, higher levels of Agreeableness predicted greater desire to increase positive but not negative emotions, whereas Extraversion predicted greater desire to increase anger [Est. = 0.05, SE = 0.03, Odds (Est. > 0) = 43.03] but not positive emotions. The inclusion of Mastery goal orientation either amplified or mitigated these effects in several cases, and also introduced new trait-emotion relationships. Findings confirm a general hedonic principle underlying the emotions musicians desired in their musical practice. However, predicted by personality traits, musicians also sometimes sought to increase the intensity of unpleasant emotions. Discussion: These findings complement existing research that suggests that some Mastery-oriented musicians may seek an emotional state consisting of both positive and negative emotions. This and future studies on this topic may contribute to a better understanding of individual differences in emotion regulation ability as a potential aspect of individualised musical practice strategies.

EEG oscillatory patterns are associated with error prediction during music performance and are altered in musician's dystonia.

Skilled performance requires the ability to monitor ongoing behavior, detect errors in advance and modify the performance accordingly. The acquisition of fast predictive mechanisms might be possible due to the extensive training characterizing expertise performance. Recent EEG studies on piano performance reported a negative event-related potential (ERP) triggered in the ACC 70 ms before performance errors (pitch errors due to incorrect keypress). This ERP component, termed pre-error related negativity (pre-ERN), was assumed to reflect processes of error detection in advance. However, some questions remained to be addressed: (i) Does the electrophysiological marker prior to errors reflect an error signal itself or is it related instead to the implementation of control mechanisms? (ii) Does the posterior frontomedial cortex (pFMC, including ACC) interact with other brain regions to implement control adjustments following motor prediction of an upcoming error? (iii) Can we gain insight into the electrophysiological correlates of error prediction and control by assessing the local neuronal synchronization and phase interaction among neuronal populations? (iv) Finally, are error detection and control mechanisms defective in pianists with musician's dystonia (MD), a focal task-specific dystonia resulting from dysfunction of the basal ganglia-thalamic-frontal circuits? Consequently, we investigated the EEG oscillatory and phase synchronization correlates of error detection and control during piano performances in healthy pianists and in a group of pianists with MD. In healthy pianists, the main outcomes were increased pre-error theta and beta band oscillations over the pFMC and 13-15 Hz phase synchronization, between the pFMC and the right lateral prefrontal cortex, which predicted corrective mechanisms. In MD patients, the pattern of phase synchronization appeared in a different frequency band (6-8 Hz) and correlated with the severity of the disorder. The present findings shed new light on the neural mechanisms, which might implement motor prediction by means of forward control processes, as they function in healthy pianists and in their altered form in patients with MD.

Sensorimotor skills and focal dystonia are linked to putaminal grey-matter volume in pianists.

BACKGROUND: Focal hand dystonia has been associated with morphometric changes and distorted somatotopic representations in the putamen. OBJECTIVE: The authors used voxel-based morphometry (VBM) to identify regions in the putamen where grey-matter volume is associated with musician's dystonia (MD) or the skill level of piano playing in professional pianists. METHODS: In 11 pianists with MD affecting the right hand and 12 healthy pianists without dystonia, the authors performed high-resolution T1-weighted MRI of the brain. The authors also measured the temporal variability of key strokes during scale playing with the right hand to characterise the individual skill level of piano playing. Statistical comparisons of the normalised and smoothed grey-matter maps were performed to test for dystonia and performance-related structural changes in the putamen. RESULTS: During scale playing, the timing of consecutive key strokes was more variable in MD patients than in non-dystonic pianists. Regional grey-matter volume in the middle part of left and right putamen increased with timing variability during piano playing in pianists with and without MD. Between-group comparisons revealed that MD patients had a larger grey-matter volume in the right middle putamen compared with healthy musicians. CONCLUSION: In highly trained pianists with and without MD, the volume of the associative motor territory in the middle putamen reflects both the skill level of piano playing and the presence of dystonia. While a smaller volume is associated with better timing skills, a relative expansion is correlated with the presence of focal task-specific hand dystonia.

Musician's dystonia and comorbid anxiety: two sides of one coin?

BACKGROUND: Psychological abnormalities, including anxiety, have been observed in patients with musician's dystonia (MD). It is unclear if these conditions develop prior to MD or if they are psychoreactive phenomena. METHODS: Psychological conditions were studied in 44 professional musicians with MD, 45 healthy musicians, and 44 healthy nonmusicians using the State-Trait Anxiety Inventory (STAI) and NEO Five-Factor Inventory (NEO-FFI). RESULTS: Musicians with MD had significantly higher STAI state and trait anxiety scores than healthy musicians (P = .009 and P = .012, respectively) and nonmusicians (P = .013 and P = .001, respectively) and significantly higher NEO-FFI neuroticism scores than healthy musicians (P = .018) and nonmusicians (P = .001). Duration of dystonia did not correlate with anxiety or neuroticism scores. CONCLUSIONS: Musicians with MD display increased levels of anxiety and neuroticism. The lack of correlation between anxiety and the duration of dystonia suggests that anxiety may not be a psychoreactive phenomenon and is consistent with the hypothesis that anxiety and MD share a common pathophysiological mechanism.

Phenotypic spectrum of musician's dystonia: a task-specific disorder?

BACKGROUND: Musician's dystonia (MD) is traditionally considered a sporadic and task-specific movement disorder. METHODS: The phenotypic spectrum of the disorder was studied in 116 patients suffering from MD including videotaping. RESULTS: Based on the movement disorders observed, we categorized our patients into two different groups: (i) 65 patients with isolated MD, that is only present when playing the instrument and (ii) 51 patients with MD and one or more additional features of primary dystonia independent of MD (complex MD). Patients with a positive family history of movement disorders had an increased risk to develop complex MD [odds ratio = 4.80; 95% confidence interval: 1.94-11.92; P = 0.001]. DISCUSSION: In previous studies, we recently identified 22 relatives with different types of movement disorders in the families of 28 MD patients. Taken together, our results further support a genetic contribution to MD with a broad individual and familial phenotypic spectrum consisting of MD, other dystonias and even other, non-dystonic movement disorders.

Instrumental and Hedonic Motives for Emotion Regulation in Musical Practice.

Emotion regulation literature often emphasizes that individuals regulate their emotions for hedonic reasons. However, there is increasing support for an instrumental approach to emotion regulation. This approach suggests that emotions are regulated if they are believed to be beneficial to the pursuit of personally relevant goals. When pursuing a long-term goal, an individual may forego immediate, hedonic emotional reward in order to maximize the instrumental benefits of emotions. The current study investigates emotion regulation behaviour in the context of musical practice. We examine whether musicians adopt specific, regulated emotional stances which support their goal orientation, and which are in line with their beliefs regarding the functional impact of emotions. Via an online questionnaire, 421 musicians reported their goal-orientation, meta-emotion beliefs, and affect-regulation strategies. Participants then completed a scale assessing specific emotions they would regulate in order to support their musical practice. Data were analysed using PCA, MANOVA, subgroup analysis and categorical regression. Musicians reported using affect-improvement strategies more often than affect-worsening strategies in order to influence how they felt during musical practice. Greater reported use of affect-worsening strategies was associated with stronger meta-emotion beliefs supporting the possible instrumental benefits of unpleasant emotions (F = 30.33; p < 0.01; η p 2 = 0.06). Musicians who strongly endorsed this belief more strongly pursued mastery goals in contrast to enjoyment goals. In terms of specific targeted emotions, musicians generally sought to reduce unpleasant emotions, and increase pleasant, energizing emotions in order to support their musical practice. However, a subgroup of mastery- rather than enjoyment-oriented musicians may seek a mixed emotional state, increasing anger and nervousness in conjunction with a number of pleasant emotions (Wilks λ1,420 = 14.42; p < 0.01; η p 2 = 0.50). Musicians who pursue expert musical skills may be motivated to experience emotions that combine the instrumental and hedonic benefits of emotions. Musicians who practice for enjoyment may prioritize emotions that maximize only the hedonic benefits. Future research should aim to identify the regulated emotional states that best support specific musical practice outcomes in an individual. It will also be important to understand on all levels, including music performance quality as well as health and well-being, the outcomes that may be associated with the use of affect-worsening strategies and unpleasant emotions. Research in this field may equip musicians with novel skills for better pursuit of their goals, and may help to maximize health and well-being in musical practice.

Expertise- and Tempo-Related Performance Differences in Unimanual Drumming.

BACKGROUND: High-speed drumming requires precise control over the timing, velocity, and magnitude of striking movements. AIM: To examine effects of tempo and expertise on unaccented repetitive drumming performance using 3D motion capture. METHODS: Expert and amateur drummers performed unimanual, unaccented, repetitive drum strikes, using their dominant right hand, at five different tempi. Performance was examined with regard to timing variability, striking velocity variability, the ability to match the prescribed tempo, and additional variables. RESULTS: Permutated multivariate analysis of variance (PERMANOVA) revealed significant main effects of tempo (p < .001) and expertise (p <.001) on timing variability and striking velocity variability; low timing variability and low striking velocity variability were associated with low/medium tempo as well as with increased expertise. Individually, improved precision appeared across an optimum tempo range. Precision was poorest at maximum tempo (400 hits per minute) for precision variables. CONCLUSIONS: Expert drummers demonstrated greater precision and consistency than amateurs. Findings indicate an optimum tempo range that extends with increased expertise.

Corrigendum: Expertise-Related Differences in Wrist Muscle Co-contraction in Drummers.

[This corrects the article DOI: 10.3389/fpsyg.2020.01360.].

Failure of cathodal direct current stimulation to improve fine motor control in musician's dystonia.

Musician's dystonia (MD) is a task-specific movement disorder with a loss of voluntary motor control in highly trained movements. Defective inhibition on different levels of the central nervous system is involved in its pathophysiology. Cathodal transcranial direct current stimulation (ctDCS) diminishes excitability of the motor cortex and improves performance in overlearned tasks in healthy subjects. The aim of this study was to investigate whether ctDCS improves fine motor control in MD. Professional guitarists (n = 10) with MD played exercises before, directly after ctDCS, and 60 min after ctDCS. ctDCS (2 mA, 20 min) was applied on the primary motor cortex contralateral to the affected hand. Guitar exercises were video-documented and symptoms were evaluated by three independent experts. No beneficial effect of ctDCS on fine motor control was found for the entire group. However, motor control of one guitarist improved after stimulation. This patient suffered from arm dystonia, whereas the other guitarists suffered from hand dystonia.

Detecting wrong notes in advance: neuronal correlates of error monitoring in pianists.

Music performance is an extremely rapid process with low incidence of errors even at the fast rates of production required. This is possible only due to the fast functioning of the self-monitoring system. Surprisingly, no specific data about error monitoring have been published in the music domain. Consequently, the present study investigated the electrophysiological correlates of executive control mechanisms, in particular error detection, during piano performance. Our target was to extend the previous research efforts on understanding of the human action-monitoring system by selecting a highly skilled multimodal task. Pianists had to retrieve memorized music pieces at a fast tempo in the presence or absence of auditory feedback. Our main interest was to study the interplay between auditory and sensorimotor information in the processes triggered by an erroneous action, considering only wrong pitches as errors. We found that around 70 ms prior to errors a negative component is elicited in the event-related potentials and is generated by the anterior cingulate cortex. Interestingly, this component was independent of the auditory feedback. However, the auditory information did modulate the processing of the errors after their execution, as reflected in a larger error positivity (Pe). Our data are interpreted within the context of feedforward models and the auditory-motor coupling.

Focal dystonia in musicians: phenomenology, pathophysiology, triggering factors, and treatment.

Musician's dystonia is a task-specific movement disorder that manifests itself as a loss of voluntary motor control in extensively trained movements. Approximately 1% of all professional musicians develop musician's dystonia, and in many cases, the disorder terminates the careers of affected musicians. The pathophysiology of the disorder is not completely clarified. Findings include 1) reduced inhibition at different levels of the central nervous system, 2) maladaptive plasticity and altered sensory perception, and 3) alterations in sensorimotor integration. Epidemiological data demonstrate a higher risk for those musicians who play instruments requiring maximal fine-motor skills. For instruments where workload differs across hands, focal dystonia appears more often in the more intensely used hand. In psychological studies, musicians with dystonia have more anxiety and perfectionist tendencies than healthy musicians. These findings strengthen the assumption that behavioral factors may be involved in the etiology of musician's dystonia. Preliminary findings also suggest a genetic contribution to focal task-specific dystonia with phenotypic variations including musician's dystonia. Treatment options include pharmacological interventions, such as trihexyphenidyl or botulinum toxin-A, as well as retraining programs and ergonomic changes in the instrument. Patient-tailored treatment strategies may significantly improve the situation of musicians with focal dystonia. Positive results after retraining and unmonitored technical exercises underline the benefit of an active involvement of patients in the treatment process. Only a minority of musicians, however, return to normal motor control using the currently available therapies.

Expertise-Related Differences in Cyclic Motion Patterns in Drummers: A Kinematic Analysis.

BACKGROUND: At present only little information is available concerning the acquisition of skilled movements in musicians. Although optimally a longitudinal study of changing movement patterns during the process of increasing expertise is required, long-term follow up over several years is difficult to manage. Therefore, in the present cross-sectional study a comparative kinematic analysis of skilled movements in drummers with different levels of expertise was carried out. AIMS: The aim of the investigation was (1) to analyze the kinematic differences between beginners, students and expert drummers, and (2) to deduce from the results general rules related to the acquisition of drumming expertise and (3) to discuss the implications for drum teaching. METHOD: Two highly skilled experts, eight professional drumming students and five beginners participated in the experiment. Fast repetitive drumming movements were assessed using an active infrared measurement setup (SELSPOT-System). Recording was obtained from LEDs positioned over the shoulder-, elbow-, wrist- and MCP-joints and close to the tip of the stick at a sampling rate of 300 Hz. Kinematic analysis included calculation of angles, velocities and accelerations and assessment of the relation between velocity and acceleration as phase diagrams. RESULTS: Temporal accuracy of the drumming movements was related to expertise. In contrast to beginners, experts and students revealed a high degree of self-similarity of movements and a predominant use of low-mass distal joints, resulting in a whiplash-like movement when hitting the pad. CONCLUSION: Intense training in students and experts results in economic utilization of forces. Percussion teachers can take advantage of the kinematic analysis and improve their instructions according to the student's observed motor pattern.

Expertise-Related Differences in Wrist Muscle Co-contraction in Drummers.

Background and Aim: Drumming requires excellent motor control and temporal coordination. Deploying specific muscle activation patterns may help achieve these requirements. Muscle activation patterns that involve reciprocal contraction of antagonist muscles are particularly favorable as they enable a high level of muscular economy while maintaining performance. In contrast, simultaneous contraction of antagonist muscles is an inefficient muscle activation pattern. In drumming, co-contraction can lead to increased movement variability and greater fatigue over time. In this study we examine how muscle activation patterns develop with increased drumming expertise. Methods: Eleven expert drummers (ED) and eleven amateur drummers (AD) were recorded using 3D motion capture while performing five different uni-manual and bi-manual repetitive drumming tasks across different tempi. Electromyography was used to record muscle activation of wrist flexor and extensor muscles. Results: Findings indicate that reduced co-contraction resulted in more even drumming performance. Co-contraction also increased in extremely slow and very high tempi. Furthermore, regardless of task or tempo, muscle co-contraction was decreased in participants with higher levels of expertise. In addition to anti-phasic activity of wrist flexor and extensor muscles, expert drummers exhibited a flexor dominance, suggesting more efficient usage of rebound. Conclusion: Taken together, we found that higher levels of drumming expertise go hand in hand with specific muscle activation patterns that can be linked to more precise and efficient drumming performance.

Mutations in THAP1 (DYT6) and generalised dystonia with prominent spasmodic dysphonia: a genetic screening study.

BACKGROUND: DYT6 is a primary, early-onset torsion dystonia; however, unlike in DYT1 dystonia, the symptoms of DYT6 dystonia frequently involve the craniocervical region. Recently, two mutations in THAP1, the gene that encodes THAP (thanatos-associated protein) domain-containing apoptosis-associated protein 1 (THAP1), have been identified as a cause of DYT6 dystonia. METHODS: We screened THAP1 by sequence analysis and quantitative real-time polymerase chain reaction (PCR) in 160 white patients of European ancestry who had dystonia with an early age at onset (n=64), generalised dystonia (n=35), a positive family history of dystonia (n=56), or facial or laryngeal dystonia. Another 160 patients with dystonia were screened for reported and novel variants in THAP1. 280 neurologically healthy controls were screened for the newly identified and previously reported changes in THAP1 and these and an additional 75 controls were screened for a rare non-coding mutation. FINDINGS: We identified two mutations in THAP1 (388_389delTC and 474delA), respectively, in two (1%) German patients from the 160 patients with dystonia. Both mutation carriers had laryngeal dystonia that started in childhood and both went on to develop generalised dystonia. Thus, two of three patients with early-onset generalised dystonia with orobulbar involvement had mutations in THAP1. One of the identified patients with DYT6 dystonia had two family members with subtle motor signs who also carried the same mutation. A rare substitution in the 5'untranslated region (-236_235GA-->TT) was found in 20 of 320 patients and in seven of 355 controls (p=0.0054). INTERPRETATION: Although mutations in THAP1 might have only a minor role in patients with different, but mainly focal, forms of dystonia, they do seem to be associated with early-onset generalised dystonia with spasmodic dysphonia. This combination of symptoms might be a characteristic feature of DYT6 dystonia and could be useful in the differential diagnosis of DYT1, DYT4, DYT12, and DYT17 dystonia. In addition to the identified mutations, a rare non-coding substitution in THAP1 might increase the risk of dystonia. FUNDING: Deutsche Forschungsgemeinschaft; Volkswagen Foundation; Dystonia Medical Research Foundation; University of Lübeck.