Incobotulinum Toxin-A in Professional Musicians with Focal Task-Specific Dystonia: A Double Blind, Placebo Controlled, Cross-Over Study.

Background: Musician's focal task-specific dystonia is a complex disorder of fine motor control, with incomplete understanding of its etiology. There have been relatively few trials of botulinum toxin in upper limb task-specific dystonia, and prior studies have yielded variable results, leading to skepticism regarding the utility of this approach in elite performers. Methods: We conducted a double-blind, placebo-controlled, randomized, cross-over study of incobotulinum toxin-A in 21 professional musicians with focal upper extremity task-specific dystonia affecting performance on their instrument, using a novel paradigm of initial injections followed by booster injections at two- and four-week intervals. The primary outcome measure was the change in blinded dystonia rating of the active arm by two expert raters using a Clinical Global Impression numeric scale at week 8 compared to enrollment. Findings: 19 men and 2 women with musicians' dystonia were enrolled over a six-year period. Nineteen patients completed the study. Analysis of the primary outcome measure in comparison to baseline revealed a change in dystonia severity of P = 0.04 and an improvement in overall musical performance of P = 0.027. No clinically significant weakness was observed, and neutralizing antibodies to toxin were not found. Interpretation: Despite its small sample size, our study demonstrated a statistically significant benefit of incobotulinum toxin-A injections as a treatment for musicians' task-specific dystonia. Tailoring the use of toxin with booster injections allowed refinement of dosing strategy and outcomes, with benefits that were meaningful to patients clearly visible on videotaped evaluations. In addition to its application to musicians' dystonia, this approach may have relevance to optimize application of botulinum toxin in other forms of focal dystonia such as blepharospasm, cervical dystonia, writer's cramp, and spasmodic dysphonia.

Acoustic cues of keyboard mechanics enable auditory localization of upright piano tones.

Piano tone localization at the performer's listening point is a multisensory process involving audition, vision, and upper limb proprioception. The consequent representation of the auditory scene, especially in experienced pianists, is likely also influenced by their memory about the instrument keyboard. Disambiguating such components is not obvious, and first requires an analysis of the acoustic tone localization process to assess the role of auditory feedback in forming this scene. This analysis is complicated by the acoustic behavior of the piano, which does not guarantee the activation of the auditory precedence effect during a tone attack, nor can it provide robust interaural differences during the subsequent free evolution of the sound. In a tone localization task using a Disklavier upright piano (which can be operated remotely and configured to have its hammers hit a damper instead of producing a tone), twenty-three expert musicians, including pianists, successfully recognized the angular position of seven evenly distributed notes across the keyboard. The experiment involved listening to either full piano tones or just the key mechanical noise, with no additional feedback from other senses. This result suggests that the key mechanical noise alone activated the localization process without support from vision and/or limb proprioception. Since the same noise is present in the onset of the full tones, the key mechanics of our piano created a touch precursor in such tones that may be responsible of their correct angular localization by means of the auditory precedence effect. However, the significance of pitch cues arriving at a listener after the touch precursor was not measured when full tones were presented. As these cues characterize a note and, hence, the corresponding key position comprehensively, an open question remains regarding the contribution of pianists' spatial memory of the instrument keyboard to tone localization.

Trajectories and revolutions in popular melody based on U.S. charts from 1950 to 2023.

In the past century, the history of popular music has been analyzed from many different perspectives, with sociologists, musicologists and philosophers all offering distinct narratives characterizing the evolution of popular music. However, quantitative studies on this subject began only in the last decade and focused on features extracted from raw audio, which limits the scope to low-level components of music. The present study investigates the evolution of a more abstract dimension of popular music, specifically melody, using a new dataset of popular melodies spanning from 1950 to 2023. To identify "melodic revolutions", changepoint detection was applied to a multivariate time series comprising features related to the pitch and rhythmic structure of the melodies. Two major revolutions in 1975 and 2000 and one smaller revolution in 1996, characterized by significant decreases in complexity, were located. The revolutions divided the time series into three eras, which were modeled separately with autoregression, linear regression and vector autoregression. Linear regression of autoregression residuals underscored inter-feature relationships, which become stronger in post-2000 melodies. The overriding pattern emerging from these analyses shows decreasing complexity and increasing note density in popular melodies over time, especially since 2000.

Real-Time Visual Feedback Based on MIMUs Technology Reduces Bowing Errors in Beginner Violin Students.

Violin is one of the most complex musical instruments to learn. The learning process requires constant training and many hours of exercise and is primarily based on a student-teacher interaction where the latter guides the beginner through verbal instructions, visual demonstrations, and physical guidance. The teacher's instruction and practice allow the student to learn gradually how to perform the correct gesture autonomously. Unfortunately, these traditional teaching methods require the constant supervision of a teacher and the interpretation of non-real-time feedback provided after the performance. To address these limitations, this work presents a novel interface (Visual Interface for Bowing Evaluation-VIBE) to facilitate student's progression throughout the learning process, even in the absence of direct teacher intervention. The proposed interface allows two key parameters of bowing movements to be monitored, namely, the angle between the bow and the string (i.e., α angle) and the bow tilt (i.e., ß angle), providing real-time visual feedback on how to correctly move the bow. Results collected on 24 beginners (12 exposed to visual feedback, 12 in a control group) showed a positive effect of the real-time visual feedback on the improvement of bow control. Moreover, the subjects exposed to visual feedback judged the latter as useful to correct their movement and clear in terms of the presentation of data. Although the task was rated as harder when performed with the additional feedback, the subjects did not perceive the presence of a violin teacher as essential to interpret the feedback.

Anticipatory and consummatory neural correlates of monetary and music rewarding stimuli.

Most of the literature on the neural bases of human reward and punishment processing has used monetary gains and losses, but less is known about the neurophysiological mechanisms underlying the anticipation and consumption of other types of rewarding stimuli. In the present study, EEG was recorded from 19 participants who completed a modified version of the Monetary Incentive Delay (MID) task. During the task, cues providing information about potential future outcomes were presented to the participants. Then, they had to respond rapidly to a target stimulus to win money or listening to pleasant music, or to avoid losing money or listening to unpleasant music. Results revealed similar responses for monetary and music cues, with increased activity for cues indicating potential gains compared to losses. However, differences emerged in the outcome phase between money and music. Monetary outcomes showed an interaction between the type of the cue and the outcome in the Feedback Related Negativity and Fb-P3 ERPs and increased theta activity increased for negative feedbacks. In contrast, music outcomes showed significant interactions in the Fb-P3 and theta activities. These findings suggest similar neurophysiological mechanisms in processing cues for potential positive or negative outcomes in these two types of stimuli.

Improvisation and live accompaniment increase motor response and reward during a music playing task.

Music provides a reward that can enhance learning and motivation in humans. While music is often combined with exercise to improve performance and upregulate mood, the relationship between music-induced reward and motor output is poorly understood. Here, we study music reward and motor output at the same time by capitalizing on music playing. Specifically, we investigate the effects of music improvisation and live accompaniment on motor, autonomic, and affective responses. Thirty adults performed a drumming task while (i) improvising or maintaining the beat and (ii) with live or recorded accompaniment. Motor response was characterized by acceleration of hand movements (accelerometry), wrist flexor and extensor muscle activation (electromyography), and the drum strike count (i.e., the number of drum strikes played). Autonomic arousal was measured by tonic response of electrodermal activity (EDA) and heart rate (HR). Affective responses were measured by a 12-item Likert scale. The combination of improvisation and live accompaniment, as compared to all other conditions, significantly increased acceleration of hand movements and muscle activation, as well as participant reports of reward during music playing. Improvisation, regardless of type of accompaniment, increased the drum strike count and autonomic arousal (including tonic EDA responses and several measures of HR), as well as participant reports of challenge. Importantly, increased motor response was associated with increased reward ratings during music improvisation, but not while participants were maintaining the beat. The increased motor responses achieved with improvisation and live accompaniment have important implications for enhancing dose of movement during exercise and physical rehabilitation.

Field experiment on the effect of musical street performance/busking on public space perception as mediated by street audience experience.

Street performance or busking is common in public spaces. The literature highlights two psychological issues: the effect of street performance on public space perception and the complexity of the appreciation of street performance, regarded as street audience experience (SAE). The present study aims at verifying the effect of street performance on public space perception, while examining SAE as a mediator of this effect. We conducted a between-subjects field experiment (a quasi-experiment; N = 292) in Hong Kong. Participants assessed a public space without (control) or with (experimental) musical busking on essentialism, anti-essentialism, sonic restorativeness, and overall liking. In the experimental condition, unengaged passersby and engaged audience further evaluated SAE factors of emotion, intellect, novelty, place, interaction, and technique, and outcomes of overall satisfaction and donation worth. The public space with busking was perceived as significantly more sonically restorative. Engaged audience perceived the space as significantly more essentialist, anti-essentialist, sonically restorative, and likeable. Engaged audience also experienced more positive SAE and outcome variables. SAE fully mediated the effects of street performance on public space perception and outcome variables, respectively. These findings support the positive impact of street performance, which may enhance city inhabitants' well-being.

Odds ratio of occurrence of pain, postural changes, and disabilities of violinists.

The objective of this study is to evaluate the odds ratio of occurrence of pain, postural changes, and disabilities of violinists. Thirty-eight violinists were assessed. Photographs from anterior, posterior, and lateral views were taken and analyzed using Software of Postural Analysis. Pain was assessed by the Visual Analogue Pain Scale and the musculoskeletal disability of the arm, shoulder, and hand questionnaire (DASH). A logistic regression model was employed and all variables related to posture, age, gender, hours of practice, and duration of practice were considered. The results regarding the VAS and DASH were analyzed using multivariate techniques. The most important variables for the discrimination between the groups regarding the VAS scores were head and shoulder and thoracic kyphosis. For the DASH index, the key variables were the lateral spinal deviation and the head tilt. The odds ratio of occurrence pain was associated with the duration of the practice and the following postural variables: shoulder asymmetries, head postures, and lumbar lordosis. Scapular postures and thoracic kyphosis were associated with hours of practice, and the scapular postures with the duration of practice. This article provides new evidence of occurrence of pain, postural changes and disabilities in violinists. The odds ratio of occurrence pain was associated with the duration of the professional practice.

Warm-up music and low-dose caffeine enhance the activity profile and psychophysiological responses during simulated combat in female taekwondo athletes.

To assess the effects of warm-up music and low dose (3 mg·kg-1) of caffeine (CAF) on female taekwondo athlete's activity profile and psychophysiological responses during simulated combat. In a double-blinded, randomized, crossover study, 16 female athletes participated in simulated combats under one control and 5 experimental conditions [i.e., CAF alone (CAF), placebo alone (PL), CAF with music (CAF + M), PL with music (PL + M), and no supplement with music (M)]. After warming-up, athletes rated their felt arousal (FAS). Mean (HRmean) and peak (HRpeak) heart rate values were determined for each combat. After fighting, athletes rated their perceived exertion (RPE), feeling scale (FS), FAS, and physical enjoyment (PACES). Time-motion and technical-tactical variables were analyzed. CAF + M induced shorter skip and pause time, while attack time increased compared to other conditions (p < 0.05). Moreover, CAF + M increased single attacks, combined attacks, counter-attacks (p < 0.001), and defensive actions (p < 0.05) than other conditions. HRmean and HRpeak were lower under CAF + M than other conditions (p < 0.05). Additionally, higher FAS post-combat, FS, and PACES were observed under CAF + M, while RPE was lower (except CAF condition) compared to the other conditions (p < 0.05.Using CAF with warm-up music may increase combat cadence and improve the psychological state in female athletes more effectively than either strategy alone.

Probing Beat Perception with Event-Related Potentials (ERPs) in Human Adults, Newborns, and Nonhuman Primates.

The aim of this chapter is to give an overview of how the perception of rhythmic temporal regularity such as a regular beat in music can be studied in human adults, human newborns, and nonhuman primates using event-related brain potentials (ERPs). First, we discuss different aspects of temporal structure in general, and musical rhythm in particular, and we discuss the possible mechanisms underlying the perception of regularity (e.g., a beat) in rhythm. Additionally, we highlight the importance of dissociating beat perception from the perception of other types of structure in rhythm, such as predictable sequences of temporal intervals, ordinal structure, and rhythmic grouping. In the second section of the chapter, we start with a discussion of auditory ERPs elicited by infrequent and frequent sounds: ERP responses to regularity violations, such as mismatch negativity (MMN), N2b, and P3, as well as early sensory responses to sounds, such as P1 and N1, have been shown to be instrumental in probing beat perception. Subsequently, we discuss how beat perception can be probed by comparing ERP responses to sounds in regular and irregular sequences, and by comparing ERP responses to sounds in different metrical positions in a rhythm, such as on and off the beat or on strong and weak beats. Finally, we will discuss previous research that has used the aforementioned ERPs and paradigms to study beat perception in human adults, human newborns, and nonhuman primates. In doing so, we consider the possible pitfalls and prospects of the technique, as well as future perspectives.

The Power of Music and Inclusivity at the Bedside.

Using person-centered care in music therapy interventions.

The design and implementation of a novel music-based curriculum for dementia care professionals: The experience of SOUND in Italy, Portugal and Romania.

BACKGROUND: The positive effects of active and passive music activities on older people with dementia are well and largely documented by the literature. Nevertheless, the use of music as a non-pharmacological intervention is not so common both in private and public older people care facilities because in-home staff have no competencies for delivering such activities. Conversely, the realization and implementation of a co-designed music-based curriculum for dementia care professionals may help the diffusion of music in the older people care facilities. This study was aimed at evaluating the learning outcomes of the SOUND training, based on an original co-designed music-based curriculum for dementia care professionals and implemented in Italy, Portugal and Romania. METHODS: The SOUND training study was developed through three phases: a) the co-design of the music-based curriculum for dementia care professionals, involving 55 people in the three participating countries; b) the teaching of the training curriculum to 63 dementia care professionals (29 in Italy, 17 in Portugal and 17 in Romania), delivered both in person and via a Moodle platform named Virtual Music Circle; c) the learning outcomes assessment, carried out by means of 13 self-evaluation tests, and a practical test, and the trainees' course evaluation by a questionnaire. RESULTS: Most of the trainees reached the highest score in the evaluation of the theoretical competencies in the three study countries. Conversely, some practical competencies in the facilitation of music activities need to be fine-tuned. The SOUND training course was evaluated very positively in the overall structure, theoretical contents, and practical workshops by the trainees. Nevertheless, they preferred the face-to-face compared to the distance learning methodology in the three countries. CONCLUSIONS: The SOUND training curriculum was effective in teaching music techniques and neurocognitive knowledge to dementia care professionals. Nevertheless, future courses should be differentiated for dementia care professionals with or without previous music knowledge and competencies. Moreover, the course is fully sustainable, because it does not require additional costs given that the curriculum is fully accessible online and it is also replicable because it trains professionals who can continue to apply the method in their working routine.

Quantifying Changes in Dexterity as a Result of Piano Training in People with Parkinson's Disease.

People with Parkinson's disease often show deficits in dexterity, which, in turn, can lead to limitations in performing activities of daily life. Previous studies have suggested that training in playing the piano may improve or prevent a decline in dexterity in this population. In this pilot study, we tested three participants on a six-week, custom, piano-based training protocol, and quantified dexterity before and after the intervention using a sensor-enabled version of the nine-hole peg test, the box and block test, a test of finger synergies using unidimensional force sensors, and the Quantitative Digitography test using a digital piano, as well as selected relevant items from the motor parts of the MDS-Unified Parkinson's Disease Rating Scale (MDS-UPDRS) and the Parkinson's Disease Questionnaire (PDQ-39) quality of life questionnaire. The participants showed improved dexterity following the training program in several of the measures used. This pilot study proposes measures that can track changes in dexterity as a result of practice in people with Parkinson's disease and describes a potential protocol that needs to be tested in a larger cohort.

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.

Spectro-temporal acoustical markers differentiate speech from song across cultures.

Humans produce two forms of cognitively complex vocalizations: speech and song. It is debated whether these differ based primarily on culturally specific, learned features, or if acoustical features can reliably distinguish them. We study the spectro-temporal modulation patterns of vocalizations produced by 369 people living in 21 urban, rural, and small-scale societies across six continents. Specific ranges of spectral and temporal modulations, overlapping within categories and across societies, significantly differentiate speech from song. Machine-learning classification shows that this effect is cross-culturally robust, vocalizations being reliably classified solely from their spectro-temporal features across all 21 societies. Listeners unfamiliar with the cultures classify these vocalizations using similar spectro-temporal cues as the machine learning algorithm. Finally, spectro-temporal features are better able to discriminate song from speech than a broad range of other acoustical variables, suggesting that spectro-temporal modulation-a key feature of auditory neuronal tuning-accounts for a fundamental difference between these categories.

Spontaneous rates exhibit high intra-individual stability across movements involving different biomechanical systems and cognitive demands.

Spontaneous rhythmic movements are part of everyday life, e.g., in walking, clapping or music making. Humans perform such spontaneous motor actions at different rates that reflect specific biomechanical constraints of the effector system in use. However, there is some evidence for intra-individual consistency of specific spontaneous rates arguably resulting from common underlying processes. Additionally, individual and contextual factors such as musicianship and circadian rhythms have been suggested to influence spontaneous rates. This study investigated the relative contributions of these factors and provides a comprehensive picture of rates among different spontaneous motor behaviors, i.e., melody production, walking, clapping, tapping with and without sound production, the latter measured online before and in the lab. Participants (n = 60) exhibited high intra-individual stability across tasks. Task-related influences included faster tempi for spontaneous production rates of music and wider ranges of spontaneous motor tempi (SMT) and clapping rates compared to walking and music making rates. Moreover, musicians exhibited slower spontaneous rates across tasks, yet we found no influence of time of day on SMT as measured online in pre-lab sessions. Tapping behavior was similar in pre-lab and in-lab sessions, validating the use of online SMT assessments. Together, the prominent role of individual factors and high stability across domains support the idea that different spontaneous motor behaviors are influenced by common underlying processes.

Neuroanatomical correlates of musicianship in left-handers.

BACKGROUND: Left-handedness is a condition that reverses the typical left cerebral dominance of motor control to an atypical right dominance. The impact of this distinct control - and its associated neuroanatomical peculiarities - on other cognitive functions such as music processing or playing a musical instrument remains unexplored. Previous studies in right-handed population have linked musicianship to a larger volume in the (right) auditory cortex and a larger volume in the (right) arcuate fasciculus. RESULTS: In our study, we reveal that left-handed musicians (n = 55), in comparison to left-handed non-musicians (n = 75), exhibit a larger gray matter volume in both the left and right Heschl's gyrus, critical for auditory processing. They also present a higher number of streamlines across the anterior segment of the right arcuate fasciculus. Importantly, atypical hemispheric lateralization of speech (notably prevalent among left-handers) was associated to a rightward asymmetry of the AF, in contrast to the leftward asymmetry exhibited by the typically lateralized. CONCLUSIONS: These findings suggest that left-handed musicians share similar neuroanatomical characteristics with their right-handed counterparts. However, atypical lateralization of speech might potentiate the right audiomotor pathway, which has been associated with musicianship and better musical skills. This may help explain why musicians are more prevalent among left-handers and shed light on their cognitive advantages.

Musical experience enhances time discrimination: Evidence from cortical responses.

Time discrimination, a critical aspect of auditory perception, is influenced by numerous factors. Previous research has suggested that musical experience can restructure the brain, thereby enhancing time discrimination. However, this phenomenon remains underexplored. In this study, we seek to elucidate the enhancing effect of musical experience on time discrimination, utilizing both behavioral and electroencephalogram methodologies. Additionally, we aim to explore, through brain connectivity analysis, the role of increased connectivity in brain regions associated with auditory perception as a potential contributory factor to time discrimination induced by musical experience. The results show that the music-experienced group demonstrated higher behavioral accuracy, shorter reaction time, and shorter P3 and mismatch response latencies as compared to the control group. Furthermore, the music-experienced group had higher connectivity in the left temporal lobe. In summary, our research underscores the positive impact of musical experience on time discrimination and suggests that enhanced connectivity in brain regions linked to auditory perception may be responsible for this enhancement.