Cortical functional activations in musical talents and nontalents in visuomotor and auditory tasks [Elektronische Ressource] : implications of the effect of practice on neuroplasticity / by Jelena Stojanovic

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• Publié par: julius-maximilians-universitat_wurzburg
• Publié le: 01 janvier 2010
• Nombre de lectures: 12
• Langue: English
• Poids de l'ouvrage: 9 Mo

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JULIUS-MAXIMILIANS-UNIVERSITÄT WÜRZBURG
PHILOSOPHISCHEN FAKULTÄT III




Cortical functional activations in musical talents and
nontalents in visuomotor and auditory tasks: implications
of the effect of practice on neuroplasticity


Doctoral Dissertation
For the completion of the Dr. Phil.


Presented to the Philosophischen Fakultät III of the Julius
Maximilians University in Wuerzburg
Department of Psychology

By Jelena Stojanovic


Würzburg, Spring 2010 1

A Thesis submitted to the Department of Psychology at the Philosophy Faculty III as a
requirement for the graduation as a Dr. Phil.

The work described in this Thesis has been carried out at the Life & Brain Institute, at the
Bonn University Medical Center, Department of Epileptology. The financial support for
the present work has been provided by the Karg Foundation for Advancement of the
Highly Talented (Frankfurt/Main, www.karg-stiftung.de) and is highly acknowledged.








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For my beloved grandparents,
Dr. Blagoje Stojanovic and Honorary Judge Radmila Stojanovic









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Table of Contents
Chapter 1: Introduction: Neural Plasticity…………………………………………….9
1.1 Neural Plasticity: General Introduction…………………………………..10
1.2 Classifications of cortical plasticity………………………………………..15
1.3 Plasticity: brain injuries and clinical implications……………………….17
1.4 Plasticity from learning and experience…………………………………..19
1.5 Conclusion: why do we care?………………………………………………24

Chapter 2: Introduction: Music and Neuroplasticity………………………………..25
2.1 Music and Neuroplasticity: Introduction…………………………………26
2.2 Sensory transference……………………………………………………….28
2.3 Functional differences between musicians and nonmusicians…………..30
2.4 Structural differences between musicians and nonmusicians…………...36
2.5 Conclusion…………………………………………………………………..41

Chapter 3: Introduction: Training…………………………………………………….43
3.1 Introduction…………………………………………………………………44
3.2 The effects of motor practice………………………………………………45
3.3 Motor practice and musicians……………………………………………..48
3.4 Evidence from the non-motor learning……………………………………51
3.5 Musical training…………………………………………………………….53
3.6 Conclusion…………………………………………………………………..56 6
Chapter 4: The present study: Introduction and Methods…………………………59
4.1 Hypotheses…………………………………………………………………60
4.2 fMRI Method………………………………………………………………61
4.3 Visuomotor study: Methods………………………………………………62
4.3.1 Participants………………………………………………………62
4.3.2 Visuomotor task………………………………………………….65
4.3.3 Procedure………………………………………………………....67
4.4 Auditory study: Methods…………………………………………………..68
4.4.1 Participants……………………………………………………….68
4.4.2 Auditory task……………………………………………………...71
4.4.3 Procedure……………………………………………………….....71
4.5 Statistical analyses………………………………………………………….72
4.6 Neuroimaging data………………………………………………………….73
4.7 fMRI data acquisition……………………………………………………....74

Chapter 5: Visuomotor study: Results, Discussion…………………………………..77
5.1 Behavioral results…………………………………………………………..78
5.2 Imaging results……………………………………………………………..78
5.3 Region of interest (ROI) and posthoc analyses…………………………..86
5.4 Discussion…………………………………………………………………..90

Chapter 6: Auditory study: Results, Discussion……………………………………..95
6.1 Behavioral results………………………………………………………….96 7
6.2 Imaging results……………………………………………………………..96
6.3 Posthoc and ROI analyses………………………………………………..101
6.4 Discussion………………………………………………………………….103

Chapter 7: General Discussion……………………………………………………….105
7.1 General discussion………………………………………………………...106
7.2 Future studies……………………………………………………………..108
7.3 Conclusion…………………………………………………………………109

References……………………………………………………………………………..111

Appendix A…………………………………………………………………………….121

Acknowledgments……………………………………………………………………..125

Curriculum Vitae……………………………………………………………………..127


9 Introduction: Neural Plasticity

Chapter 1

Introduction: Neural plasticity


The term – Classifications – Experience and plasticity – Clinical implications


“The idea that the brain can change its own structure and function
through thought and activity is, I believe, the most important alteration
in our view of the brain since we first sketched out its basic anatomy
and the workings of its basic component, the neuron. Like all revolutions,
this one will have profound effects.”

Norman Doidge
(The Brain that changes itself, 2007)


10 Introduction: Neural Plasticity
The concept of neural plasticity, the types, levels, and implications, will be
discussed in this chapter. The present study aims at confirming the plastic changes due to
the long-term training in the domain of music with the neural plasticity is at its core. As
such, it is here described with the goal of revealing the importance of neuroplasticity both
as the premise of the current investigation, and for its clinical and educational
applications. More specifically, plasticity sets the stage for the non hard-wired brain,
providing an opportunity for the scientists to see the brain as a changeable structure,
albeit to a limited extent. Thus, brain structure and function can be modified with
experience and through the process of rehabilitation after a brain damage.

1.1 Neural Plasticity: General Introduction
Neuroplasticity, also termed ‘brain plasticity’ and ‘cortical plasticity’ is a term
indicating structural and functional changes in the brain through the lifespan. Several
individuals are credited with the coining of the term and/or putting forth the idea of
neuroplasticity. Two of the most notable ones are Jerzy Konorsky, a Polish neuroscientist
and a student of Ivan Pavlov, and Donald Hebb, a Canadian neuropsychologist. Each of
these two remarkable scientists contributed uniquely to the concept of neuroplasticity.
Jerzy Konorski is credited for introducing the term “plasticity” into the field of
neuroscience. He expanded on Pavlov’s theory of classical conditioning, and additionally
contended that the forming of the new synaptic junctions between neurons is related to
the plastic changes. According to Konorski, the extent of the plastic changes will depend
on the frequency of the stimuli occurrence, i.e. practice (Zielinski, 2006).