Psychology and Neuroscience in Music Action

Dr Sharon Choa

Dr Efthymios Papatzikis

University of East Anglia

1Friday 18 November 11

Common Knowledge

bull Behaviour is a fundamental element in music (the way we react we think our experiences our needs our understanding)

bull The biological aspect is constantly present in music (we move our fingers we use our lungs we have goosebumps - tension - we yawn - relax - )

2Friday 18 November 11

UEA music context

bull Music Study

bull Practice an Instrument (eg manipulate techniques)

bull Learn to Conduct (eg learn to be leaders)

bull Perceive Music Differently

bull Discuss Music

bull Develop our Musical Senses and Understanding

3Friday 18 November 11

Psychology and Neuroscience

bull All these integrated are lsquoPsychologyrsquo and lsquoNeurosciencersquo

Module Structure

4Friday 18 November 11

Letrsquos Start with Psychology

bull What means to you as musiciansbull According to your experiencesbull According to your thoughtsbull Brainstorm

Discuss in Small Groups

5Friday 18 November 11

Music Psychology by Definition (1)

bull Music Psychology is regarded both as a branch of musicology and psychology and examines the effect of music on people on both an individual and societal level

6Friday 18 November 11

Music Psychology by Definition (2)

bull Music psychology may be regarded either as a branch of psychology or a branch of musicology or as a field integrating with clinical music therapy It aims to explain and understand musical behaviour and musical experience

(Wikihellip)

7Friday 18 November 11

Common Knowledge

bull Behaviour is a fundamental element in music (the way we react we think our experiences our needs our understanding)

bull The biological aspect is constantly present in music (we move our fingers we use our lungs we have goosebumps - tension - we yawn - relax - )

2Friday 18 November 11

UEA music context

bull Music Study

bull Practice an Instrument (eg manipulate techniques)

bull Learn to Conduct (eg learn to be leaders)

bull Perceive Music Differently

bull Discuss Music

bull Develop our Musical Senses and Understanding

3Friday 18 November 11

Psychology and Neuroscience

bull All these integrated are lsquoPsychologyrsquo and lsquoNeurosciencersquo

Module Structure

4Friday 18 November 11

Letrsquos Start with Psychology

bull What means to you as musiciansbull According to your experiencesbull According to your thoughtsbull Brainstorm

Discuss in Small Groups

5Friday 18 November 11

Music Psychology by Definition (1)

bull Music Psychology is regarded both as a branch of musicology and psychology and examines the effect of music on people on both an individual and societal level

6Friday 18 November 11

Music Psychology by Definition (2)

bull Music psychology may be regarded either as a branch of psychology or a branch of musicology or as a field integrating with clinical music therapy It aims to explain and understand musical behaviour and musical experience

(Wikihellip)

7Friday 18 November 11

UEA music context

bull Music Study

bull Practice an Instrument (eg manipulate techniques)

bull Learn to Conduct (eg learn to be leaders)

bull Perceive Music Differently

bull Discuss Music

bull Develop our Musical Senses and Understanding

3Friday 18 November 11

Psychology and Neuroscience

bull All these integrated are lsquoPsychologyrsquo and lsquoNeurosciencersquo

Module Structure

4Friday 18 November 11

Letrsquos Start with Psychology

bull What means to you as musiciansbull According to your experiencesbull According to your thoughtsbull Brainstorm

Discuss in Small Groups

5Friday 18 November 11

Music Psychology by Definition (1)

bull Music Psychology is regarded both as a branch of musicology and psychology and examines the effect of music on people on both an individual and societal level

6Friday 18 November 11

Music Psychology by Definition (2)

bull Music psychology may be regarded either as a branch of psychology or a branch of musicology or as a field integrating with clinical music therapy It aims to explain and understand musical behaviour and musical experience

(Wikihellip)

7Friday 18 November 11

Psychology and Neuroscience

bull All these integrated are lsquoPsychologyrsquo and lsquoNeurosciencersquo

Module Structure

4Friday 18 November 11

Letrsquos Start with Psychology

bull What means to you as musiciansbull According to your experiencesbull According to your thoughtsbull Brainstorm

Discuss in Small Groups

5Friday 18 November 11

Music Psychology by Definition (1)

bull Music Psychology is regarded both as a branch of musicology and psychology and examines the effect of music on people on both an individual and societal level

6Friday 18 November 11

Music Psychology by Definition (2)

bull Music psychology may be regarded either as a branch of psychology or a branch of musicology or as a field integrating with clinical music therapy It aims to explain and understand musical behaviour and musical experience

(Wikihellip)

7Friday 18 November 11

Letrsquos Start with Psychology

bull What means to you as musiciansbull According to your experiencesbull According to your thoughtsbull Brainstorm

Discuss in Small Groups

5Friday 18 November 11

Music Psychology by Definition (1)

bull Music Psychology is regarded both as a branch of musicology and psychology and examines the effect of music on people on both an individual and societal level

6Friday 18 November 11

Music Psychology by Definition (2)

bull Music psychology may be regarded either as a branch of psychology or a branch of musicology or as a field integrating with clinical music therapy It aims to explain and understand musical behaviour and musical experience

(Wikihellip)

7Friday 18 November 11

Music Psychology by Definition (1)

bull Music Psychology is regarded both as a branch of musicology and psychology and examines the effect of music on people on both an individual and societal level

6Friday 18 November 11

Music Psychology by Definition (2)

bull Music psychology may be regarded either as a branch of psychology or a branch of musicology or as a field integrating with clinical music therapy It aims to explain and understand musical behaviour and musical experience

(Wikihellip)

7Friday 18 November 11

Music Psychology by Definition (2)

bull Music psychology may be regarded either as a branch of psychology or a branch of musicology or as a field integrating with clinical music therapy It aims to explain and understand musical behaviour and musical experience

(Wikihellip)

7Friday 18 November 11

Research

bull Phenomenological Approachbull Empirical Methodology (interviews

observations)bull Involves human beingsbull Includes terms like Mind Development

Learning Mental Framework

8Friday 18 November 11

Different Strands

bull Developmental Music Psychology (eg

teaching and learning lsquomusical intelligencersquo[Gardner 1983])bull Emotional Music Psychology (eg motivation

and musical identityaesthetics) bull Clinical Music Psychology (eg music

therapyautismviolence)bull in between Music Psychology (eg

improvisationperception cognitive or emotional)

9Friday 18 November 11

Practice and Theory

bull Examples of music psychology in real life

Discuss in Small Groups

10Friday 18 November 11

11Friday 18 November 11

Psychology and Music Perception

bull What is their interrelation bull Remember lsquoperceptionrsquo strand bull Not biological but psychologicalbull Social emotional cognitive dimensions

12Friday 18 November 11

Themes of Music Perception

bull Pitch Perceptionbull Tonal Cognitionbull The perception of musical timbrebull The perception of musical timebull Melodic processingbull Memory (psychologically speakinghellip)

13Friday 18 November 11

Pitch Perception

bull Field of Psychoacousticslsquothe scientific investigation of our perception of soundhelliprsquo

14Friday 18 November 11

Pitch Perception

bull Pitch is not only frequencyhellipbull It embeds different particles like

intensity and soundwaves all derive from a source producing an acoustical stimulus

bull Auditory scene analysis bull Psycho-physical investigation is needed

to understand it

15Friday 18 November 11

Pitch Perception

bull Perception of pitch is trainedbull Has exogenous elements that affect ithellip

(eg practicecultureemotionhellip) bull Forms pure and complex tones

16Friday 18 November 11

Pitch Perception

bull Think of difference between a simple A lsquo440Hzrsquo and D - F - A (violin tuning)

17Friday 18 November 11

Pitch Perception

bull (westernor western basedhellip) Music relies on the use of discrete ordered sets of pitches called musical scales

bull Why

18Friday 18 November 11

Pitch Perception

bull In order to facilitate musical memory melodic recognisability robustness for transmission

19Friday 18 November 11

Pitch Perception

bull Pitch in language can be seen to function in two main ways Non-tonal and Tonal languages

20Friday 18 November 11

Pitch Perception

bull Tonal language example Σταύρος + Σταυρός

bull Non-tonal language example Well + Well

21Friday 18 November 11

Pitch Perception

A415 A 440

22Friday 18 November 11

23Friday 18 November 11

Tonal Perception

bull Critical feature of Western Music Hierarchical Organisation (Lerdahl and

Jackendoff 1983)

24Friday 18 November 11

Tonal Perception

bull Organising musical events in a hierarchical structure is important as it has deep implications for the listeners

25Friday 18 November 11

Tonal Perception

Musical Events

- Not all of equal importance- Some are structurally important

Provide a perceptual identity to the melody (Dibben 1994)

- Other are primarily ornamental

Musical Example Bach 1st Sonata for Solo Violin

26Friday 18 November 11

Tonal Perception

In a linear system of tones

b - c - d - e - f - g

27Friday 18 November 11

Tonal Perception

1) Melody in the key of C Major when played forward

2) Melody in the key of B major when played backwards

Bharucha 1984

28Friday 18 November 11

Tonal Perception

bull There is a relative perception of tone according to the context of music

C major key

F major key

29Friday 18 November 11

Tonal Perception

bull There is a relative perception of tone according to the content of music - event hierarchy

Example 1st part Bach Sonata

30Friday 18 November 11

31Friday 18 November 11

contact details

bull efp331mailharvardedu

end part I

32Friday 18 November 11

Different Strands

bull Developmental Music Psychology (eg

teaching and learning lsquomusical intelligencersquo[Gardner 1983])bull Emotional Music Psychology (eg motivation

and musical identityaesthetics) bull Clinical Music Psychology (eg music

therapyautismviolence)bull in between Music Psychology (eg

improvisationperception cognitive or emotional)

9Friday 18 November 11

Practice and Theory

bull Examples of music psychology in real life

Discuss in Small Groups

10Friday 18 November 11

11Friday 18 November 11

Psychology and Music Perception

bull What is their interrelation bull Remember lsquoperceptionrsquo strand bull Not biological but psychologicalbull Social emotional cognitive dimensions

12Friday 18 November 11

Themes of Music Perception

bull Pitch Perceptionbull Tonal Cognitionbull The perception of musical timbrebull The perception of musical timebull Melodic processingbull Memory (psychologically speakinghellip)

13Friday 18 November 11

Pitch Perception

bull Field of Psychoacousticslsquothe scientific investigation of our perception of soundhelliprsquo

14Friday 18 November 11

Pitch Perception

bull Pitch is not only frequencyhellipbull It embeds different particles like

intensity and soundwaves all derive from a source producing an acoustical stimulus

bull Auditory scene analysis bull Psycho-physical investigation is needed

to understand it

15Friday 18 November 11

Pitch Perception

bull Perception of pitch is trainedbull Has exogenous elements that affect ithellip

(eg practicecultureemotionhellip) bull Forms pure and complex tones

16Friday 18 November 11

Pitch Perception

bull Think of difference between a simple A lsquo440Hzrsquo and D - F - A (violin tuning)

17Friday 18 November 11

Pitch Perception

bull (westernor western basedhellip) Music relies on the use of discrete ordered sets of pitches called musical scales

bull Why

18Friday 18 November 11

Pitch Perception

bull In order to facilitate musical memory melodic recognisability robustness for transmission

19Friday 18 November 11

Pitch Perception

bull Pitch in language can be seen to function in two main ways Non-tonal and Tonal languages

20Friday 18 November 11

Pitch Perception

bull Tonal language example Σταύρος + Σταυρός

bull Non-tonal language example Well + Well

21Friday 18 November 11

Pitch Perception

A415 A 440

22Friday 18 November 11

23Friday 18 November 11

Tonal Perception

bull Critical feature of Western Music Hierarchical Organisation (Lerdahl and

Jackendoff 1983)

24Friday 18 November 11

Tonal Perception

bull Organising musical events in a hierarchical structure is important as it has deep implications for the listeners

25Friday 18 November 11

Tonal Perception

Musical Events

- Not all of equal importance- Some are structurally important

Provide a perceptual identity to the melody (Dibben 1994)

- Other are primarily ornamental

Musical Example Bach 1st Sonata for Solo Violin

26Friday 18 November 11

Tonal Perception

In a linear system of tones

b - c - d - e - f - g

27Friday 18 November 11

Tonal Perception

1) Melody in the key of C Major when played forward

2) Melody in the key of B major when played backwards

Bharucha 1984

28Friday 18 November 11

Tonal Perception

bull There is a relative perception of tone according to the context of music

C major key

F major key

29Friday 18 November 11

Tonal Perception

bull There is a relative perception of tone according to the content of music - event hierarchy

Example 1st part Bach Sonata

30Friday 18 November 11

31Friday 18 November 11

contact details

bull efp331mailharvardedu

end part I

32Friday 18 November 11

Practice and Theory

bull Examples of music psychology in real life

Discuss in Small Groups

10Friday 18 November 11

11Friday 18 November 11

Psychology and Music Perception

bull What is their interrelation bull Remember lsquoperceptionrsquo strand bull Not biological but psychologicalbull Social emotional cognitive dimensions

12Friday 18 November 11

Themes of Music Perception

bull Pitch Perceptionbull Tonal Cognitionbull The perception of musical timbrebull The perception of musical timebull Melodic processingbull Memory (psychologically speakinghellip)

13Friday 18 November 11

Pitch Perception

bull Field of Psychoacousticslsquothe scientific investigation of our perception of soundhelliprsquo

14Friday 18 November 11

Pitch Perception

bull Pitch is not only frequencyhellipbull It embeds different particles like

intensity and soundwaves all derive from a source producing an acoustical stimulus

bull Auditory scene analysis bull Psycho-physical investigation is needed

to understand it

15Friday 18 November 11

Pitch Perception

bull Perception of pitch is trainedbull Has exogenous elements that affect ithellip

(eg practicecultureemotionhellip) bull Forms pure and complex tones

16Friday 18 November 11

Pitch Perception

bull Think of difference between a simple A lsquo440Hzrsquo and D - F - A (violin tuning)

17Friday 18 November 11

Pitch Perception

bull (westernor western basedhellip) Music relies on the use of discrete ordered sets of pitches called musical scales

bull Why

18Friday 18 November 11

Pitch Perception

bull In order to facilitate musical memory melodic recognisability robustness for transmission

19Friday 18 November 11

Pitch Perception

bull Pitch in language can be seen to function in two main ways Non-tonal and Tonal languages

20Friday 18 November 11

Pitch Perception

bull Tonal language example Σταύρος + Σταυρός

bull Non-tonal language example Well + Well

21Friday 18 November 11

Pitch Perception

A415 A 440

22Friday 18 November 11

23Friday 18 November 11

Tonal Perception

bull Critical feature of Western Music Hierarchical Organisation (Lerdahl and

Jackendoff 1983)

24Friday 18 November 11

Tonal Perception

bull Organising musical events in a hierarchical structure is important as it has deep implications for the listeners

25Friday 18 November 11

Tonal Perception

Musical Events

- Not all of equal importance- Some are structurally important

Provide a perceptual identity to the melody (Dibben 1994)

- Other are primarily ornamental

Musical Example Bach 1st Sonata for Solo Violin

26Friday 18 November 11

Tonal Perception

In a linear system of tones

b - c - d - e - f - g

27Friday 18 November 11

Tonal Perception

1) Melody in the key of C Major when played forward

2) Melody in the key of B major when played backwards

Bharucha 1984

28Friday 18 November 11

Tonal Perception

bull There is a relative perception of tone according to the context of music

C major key

F major key

29Friday 18 November 11

Tonal Perception

bull There is a relative perception of tone according to the content of music - event hierarchy

Example 1st part Bach Sonata

30Friday 18 November 11

31Friday 18 November 11

contact details

bull efp331mailharvardedu

end part I

32Friday 18 November 11

11Friday 18 November 11

Psychology and Music Perception

bull What is their interrelation bull Remember lsquoperceptionrsquo strand bull Not biological but psychologicalbull Social emotional cognitive dimensions

12Friday 18 November 11

Themes of Music Perception

bull Pitch Perceptionbull Tonal Cognitionbull The perception of musical timbrebull The perception of musical timebull Melodic processingbull Memory (psychologically speakinghellip)

13Friday 18 November 11

Pitch Perception

bull Field of Psychoacousticslsquothe scientific investigation of our perception of soundhelliprsquo

14Friday 18 November 11

Pitch Perception

bull Pitch is not only frequencyhellipbull It embeds different particles like

intensity and soundwaves all derive from a source producing an acoustical stimulus

bull Auditory scene analysis bull Psycho-physical investigation is needed

to understand it

15Friday 18 November 11

Pitch Perception

bull Perception of pitch is trainedbull Has exogenous elements that affect ithellip

(eg practicecultureemotionhellip) bull Forms pure and complex tones

16Friday 18 November 11

Pitch Perception

bull Think of difference between a simple A lsquo440Hzrsquo and D - F - A (violin tuning)

17Friday 18 November 11

Pitch Perception

bull (westernor western basedhellip) Music relies on the use of discrete ordered sets of pitches called musical scales

bull Why

18Friday 18 November 11

Pitch Perception

bull In order to facilitate musical memory melodic recognisability robustness for transmission

19Friday 18 November 11

Pitch Perception

bull Pitch in language can be seen to function in two main ways Non-tonal and Tonal languages

20Friday 18 November 11

Pitch Perception

bull Tonal language example Σταύρος + Σταυρός

bull Non-tonal language example Well + Well

21Friday 18 November 11

Pitch Perception

A415 A 440

22Friday 18 November 11

23Friday 18 November 11

Tonal Perception

bull Critical feature of Western Music Hierarchical Organisation (Lerdahl and

Jackendoff 1983)

24Friday 18 November 11

Tonal Perception

bull Organising musical events in a hierarchical structure is important as it has deep implications for the listeners

25Friday 18 November 11

Tonal Perception

Musical Events

- Not all of equal importance- Some are structurally important

Provide a perceptual identity to the melody (Dibben 1994)

- Other are primarily ornamental

Musical Example Bach 1st Sonata for Solo Violin

26Friday 18 November 11

Tonal Perception

In a linear system of tones

b - c - d - e - f - g

27Friday 18 November 11

Tonal Perception

1) Melody in the key of C Major when played forward

2) Melody in the key of B major when played backwards

Bharucha 1984

28Friday 18 November 11

Tonal Perception

bull There is a relative perception of tone according to the context of music

C major key

F major key

29Friday 18 November 11

Tonal Perception

bull There is a relative perception of tone according to the content of music - event hierarchy

Example 1st part Bach Sonata

30Friday 18 November 11

31Friday 18 November 11

contact details

bull efp331mailharvardedu

end part I

32Friday 18 November 11

Psychology and Music Perception

bull What is their interrelation bull Remember lsquoperceptionrsquo strand bull Not biological but psychologicalbull Social emotional cognitive dimensions

12Friday 18 November 11

Themes of Music Perception

bull Pitch Perceptionbull Tonal Cognitionbull The perception of musical timbrebull The perception of musical timebull Melodic processingbull Memory (psychologically speakinghellip)

13Friday 18 November 11

Pitch Perception

bull Field of Psychoacousticslsquothe scientific investigation of our perception of soundhelliprsquo

14Friday 18 November 11

Pitch Perception

bull Pitch is not only frequencyhellipbull It embeds different particles like

intensity and soundwaves all derive from a source producing an acoustical stimulus

bull Auditory scene analysis bull Psycho-physical investigation is needed

to understand it

15Friday 18 November 11

Pitch Perception

bull Perception of pitch is trainedbull Has exogenous elements that affect ithellip

(eg practicecultureemotionhellip) bull Forms pure and complex tones

16Friday 18 November 11

Pitch Perception

bull Think of difference between a simple A lsquo440Hzrsquo and D - F - A (violin tuning)

17Friday 18 November 11

Pitch Perception

bull (westernor western basedhellip) Music relies on the use of discrete ordered sets of pitches called musical scales

bull Why

18Friday 18 November 11

Pitch Perception

bull In order to facilitate musical memory melodic recognisability robustness for transmission

19Friday 18 November 11

Pitch Perception

bull Pitch in language can be seen to function in two main ways Non-tonal and Tonal languages

20Friday 18 November 11

Pitch Perception

bull Tonal language example Σταύρος + Σταυρός

bull Non-tonal language example Well + Well

21Friday 18 November 11

Pitch Perception

A415 A 440

22Friday 18 November 11

23Friday 18 November 11

Tonal Perception

bull Critical feature of Western Music Hierarchical Organisation (Lerdahl and

Jackendoff 1983)

24Friday 18 November 11

Tonal Perception

bull Organising musical events in a hierarchical structure is important as it has deep implications for the listeners

25Friday 18 November 11

Tonal Perception

Musical Events

- Not all of equal importance- Some are structurally important

Provide a perceptual identity to the melody (Dibben 1994)

- Other are primarily ornamental

Musical Example Bach 1st Sonata for Solo Violin

26Friday 18 November 11

Tonal Perception

In a linear system of tones

b - c - d - e - f - g

27Friday 18 November 11

Tonal Perception

1) Melody in the key of C Major when played forward

2) Melody in the key of B major when played backwards

Bharucha 1984

28Friday 18 November 11

Tonal Perception

bull There is a relative perception of tone according to the context of music

C major key

F major key

29Friday 18 November 11

Tonal Perception

bull There is a relative perception of tone according to the content of music - event hierarchy

Example 1st part Bach Sonata

30Friday 18 November 11

31Friday 18 November 11

contact details

bull efp331mailharvardedu

end part I

32Friday 18 November 11

Themes of Music Perception

bull Pitch Perceptionbull Tonal Cognitionbull The perception of musical timbrebull The perception of musical timebull Melodic processingbull Memory (psychologically speakinghellip)

13Friday 18 November 11

Pitch Perception

bull Field of Psychoacousticslsquothe scientific investigation of our perception of soundhelliprsquo

14Friday 18 November 11

Pitch Perception

bull Pitch is not only frequencyhellipbull It embeds different particles like

intensity and soundwaves all derive from a source producing an acoustical stimulus

bull Auditory scene analysis bull Psycho-physical investigation is needed

to understand it

15Friday 18 November 11

Pitch Perception

bull Perception of pitch is trainedbull Has exogenous elements that affect ithellip

(eg practicecultureemotionhellip) bull Forms pure and complex tones

16Friday 18 November 11

Pitch Perception

bull Think of difference between a simple A lsquo440Hzrsquo and D - F - A (violin tuning)

17Friday 18 November 11

Pitch Perception

bull (westernor western basedhellip) Music relies on the use of discrete ordered sets of pitches called musical scales

bull Why

18Friday 18 November 11

Pitch Perception

bull In order to facilitate musical memory melodic recognisability robustness for transmission

19Friday 18 November 11

Pitch Perception

bull Pitch in language can be seen to function in two main ways Non-tonal and Tonal languages

20Friday 18 November 11

Pitch Perception

bull Tonal language example Σταύρος + Σταυρός

bull Non-tonal language example Well + Well

21Friday 18 November 11

Pitch Perception

A415 A 440

22Friday 18 November 11

23Friday 18 November 11

Tonal Perception

bull Critical feature of Western Music Hierarchical Organisation (Lerdahl and

Jackendoff 1983)

24Friday 18 November 11

Tonal Perception

bull Organising musical events in a hierarchical structure is important as it has deep implications for the listeners

25Friday 18 November 11

Tonal Perception

Musical Events

- Not all of equal importance- Some are structurally important

Provide a perceptual identity to the melody (Dibben 1994)

- Other are primarily ornamental

Musical Example Bach 1st Sonata for Solo Violin

26Friday 18 November 11

Tonal Perception

In a linear system of tones

b - c - d - e - f - g

27Friday 18 November 11

Tonal Perception

1) Melody in the key of C Major when played forward

2) Melody in the key of B major when played backwards

Bharucha 1984

28Friday 18 November 11

Tonal Perception

bull There is a relative perception of tone according to the context of music

C major key

F major key

29Friday 18 November 11

Tonal Perception

bull There is a relative perception of tone according to the content of music - event hierarchy

Example 1st part Bach Sonata

30Friday 18 November 11

31Friday 18 November 11

contact details

bull efp331mailharvardedu

end part I

32Friday 18 November 11

Pitch Perception

bull Field of Psychoacousticslsquothe scientific investigation of our perception of soundhelliprsquo

14Friday 18 November 11

Pitch Perception

bull Pitch is not only frequencyhellipbull It embeds different particles like

intensity and soundwaves all derive from a source producing an acoustical stimulus

bull Auditory scene analysis bull Psycho-physical investigation is needed

to understand it

15Friday 18 November 11

Pitch Perception

bull Perception of pitch is trainedbull Has exogenous elements that affect ithellip

(eg practicecultureemotionhellip) bull Forms pure and complex tones

16Friday 18 November 11

Pitch Perception

bull Think of difference between a simple A lsquo440Hzrsquo and D - F - A (violin tuning)

17Friday 18 November 11

Pitch Perception

bull (westernor western basedhellip) Music relies on the use of discrete ordered sets of pitches called musical scales

bull Why

18Friday 18 November 11

Pitch Perception

bull In order to facilitate musical memory melodic recognisability robustness for transmission

19Friday 18 November 11

Pitch Perception

bull Pitch in language can be seen to function in two main ways Non-tonal and Tonal languages

20Friday 18 November 11

Pitch Perception

bull Tonal language example Σταύρος + Σταυρός

bull Non-tonal language example Well + Well

21Friday 18 November 11

Pitch Perception

A415 A 440

22Friday 18 November 11

23Friday 18 November 11

Tonal Perception

bull Critical feature of Western Music Hierarchical Organisation (Lerdahl and

Jackendoff 1983)

24Friday 18 November 11

Tonal Perception

bull Organising musical events in a hierarchical structure is important as it has deep implications for the listeners

25Friday 18 November 11

Tonal Perception

Musical Events

- Not all of equal importance- Some are structurally important

Provide a perceptual identity to the melody (Dibben 1994)

- Other are primarily ornamental

Musical Example Bach 1st Sonata for Solo Violin

26Friday 18 November 11

Tonal Perception

In a linear system of tones

b - c - d - e - f - g

27Friday 18 November 11

Tonal Perception

1) Melody in the key of C Major when played forward

2) Melody in the key of B major when played backwards

Bharucha 1984

28Friday 18 November 11

Tonal Perception

bull There is a relative perception of tone according to the context of music

C major key

F major key

29Friday 18 November 11

Tonal Perception

bull There is a relative perception of tone according to the content of music - event hierarchy

Example 1st part Bach Sonata

30Friday 18 November 11

31Friday 18 November 11

contact details

bull efp331mailharvardedu

end part I

32Friday 18 November 11

Pitch Perception

bull Pitch is not only frequencyhellipbull It embeds different particles like

intensity and soundwaves all derive from a source producing an acoustical stimulus

bull Auditory scene analysis bull Psycho-physical investigation is needed

to understand it

15Friday 18 November 11

Pitch Perception

bull Perception of pitch is trainedbull Has exogenous elements that affect ithellip

(eg practicecultureemotionhellip) bull Forms pure and complex tones

16Friday 18 November 11

Pitch Perception

bull Think of difference between a simple A lsquo440Hzrsquo and D - F - A (violin tuning)

17Friday 18 November 11

Pitch Perception

bull (westernor western basedhellip) Music relies on the use of discrete ordered sets of pitches called musical scales

bull Why

18Friday 18 November 11

Pitch Perception

bull In order to facilitate musical memory melodic recognisability robustness for transmission

19Friday 18 November 11

Pitch Perception

bull Pitch in language can be seen to function in two main ways Non-tonal and Tonal languages

20Friday 18 November 11

Pitch Perception

bull Tonal language example Σταύρος + Σταυρός

bull Non-tonal language example Well + Well

21Friday 18 November 11

Pitch Perception

A415 A 440

22Friday 18 November 11

23Friday 18 November 11

Tonal Perception

bull Critical feature of Western Music Hierarchical Organisation (Lerdahl and

Jackendoff 1983)

24Friday 18 November 11

Tonal Perception

bull Organising musical events in a hierarchical structure is important as it has deep implications for the listeners

25Friday 18 November 11

Tonal Perception

Musical Events

- Not all of equal importance- Some are structurally important

Provide a perceptual identity to the melody (Dibben 1994)

- Other are primarily ornamental

Musical Example Bach 1st Sonata for Solo Violin

26Friday 18 November 11

Tonal Perception

In a linear system of tones

b - c - d - e - f - g

27Friday 18 November 11

Tonal Perception

1) Melody in the key of C Major when played forward

2) Melody in the key of B major when played backwards

Bharucha 1984

28Friday 18 November 11

Tonal Perception

bull There is a relative perception of tone according to the context of music

C major key

F major key

29Friday 18 November 11

Tonal Perception

bull There is a relative perception of tone according to the content of music - event hierarchy

Example 1st part Bach Sonata

30Friday 18 November 11

31Friday 18 November 11

contact details

bull efp331mailharvardedu

end part I

32Friday 18 November 11

Pitch Perception

bull Perception of pitch is trainedbull Has exogenous elements that affect ithellip

(eg practicecultureemotionhellip) bull Forms pure and complex tones

16Friday 18 November 11

Pitch Perception

bull Think of difference between a simple A lsquo440Hzrsquo and D - F - A (violin tuning)

17Friday 18 November 11

Pitch Perception

bull (westernor western basedhellip) Music relies on the use of discrete ordered sets of pitches called musical scales

bull Why

18Friday 18 November 11

Pitch Perception

bull In order to facilitate musical memory melodic recognisability robustness for transmission

19Friday 18 November 11

Pitch Perception

bull Pitch in language can be seen to function in two main ways Non-tonal and Tonal languages

20Friday 18 November 11

Pitch Perception

bull Tonal language example Σταύρος + Σταυρός

bull Non-tonal language example Well + Well

21Friday 18 November 11

Pitch Perception

A415 A 440

22Friday 18 November 11

23Friday 18 November 11

Tonal Perception

bull Critical feature of Western Music Hierarchical Organisation (Lerdahl and

Jackendoff 1983)

24Friday 18 November 11

Tonal Perception

bull Organising musical events in a hierarchical structure is important as it has deep implications for the listeners

25Friday 18 November 11

Tonal Perception

Musical Events

- Not all of equal importance- Some are structurally important

Provide a perceptual identity to the melody (Dibben 1994)

- Other are primarily ornamental

Musical Example Bach 1st Sonata for Solo Violin

26Friday 18 November 11

Tonal Perception

In a linear system of tones

b - c - d - e - f - g

27Friday 18 November 11

Tonal Perception

1) Melody in the key of C Major when played forward

2) Melody in the key of B major when played backwards

Bharucha 1984

28Friday 18 November 11

Tonal Perception

bull There is a relative perception of tone according to the context of music

C major key

F major key

29Friday 18 November 11

Tonal Perception

bull There is a relative perception of tone according to the content of music - event hierarchy

Example 1st part Bach Sonata

30Friday 18 November 11

31Friday 18 November 11

contact details

bull efp331mailharvardedu

end part I

32Friday 18 November 11

Pitch Perception

bull Think of difference between a simple A lsquo440Hzrsquo and D - F - A (violin tuning)

17Friday 18 November 11

Pitch Perception

bull (westernor western basedhellip) Music relies on the use of discrete ordered sets of pitches called musical scales

bull Why

18Friday 18 November 11

Pitch Perception

bull In order to facilitate musical memory melodic recognisability robustness for transmission

19Friday 18 November 11

Pitch Perception

bull Pitch in language can be seen to function in two main ways Non-tonal and Tonal languages

20Friday 18 November 11

Pitch Perception

bull Tonal language example Σταύρος + Σταυρός

bull Non-tonal language example Well + Well

21Friday 18 November 11

Pitch Perception

A415 A 440

22Friday 18 November 11

23Friday 18 November 11

Tonal Perception

bull Critical feature of Western Music Hierarchical Organisation (Lerdahl and

Jackendoff 1983)

24Friday 18 November 11

Tonal Perception

bull Organising musical events in a hierarchical structure is important as it has deep implications for the listeners

25Friday 18 November 11

Tonal Perception

Musical Events

- Not all of equal importance- Some are structurally important

Provide a perceptual identity to the melody (Dibben 1994)

- Other are primarily ornamental

Musical Example Bach 1st Sonata for Solo Violin

26Friday 18 November 11

Tonal Perception

In a linear system of tones

b - c - d - e - f - g

27Friday 18 November 11

Tonal Perception

1) Melody in the key of C Major when played forward

2) Melody in the key of B major when played backwards

Bharucha 1984

28Friday 18 November 11

Tonal Perception

bull There is a relative perception of tone according to the context of music

C major key

F major key

29Friday 18 November 11

Tonal Perception

bull There is a relative perception of tone according to the content of music - event hierarchy

Example 1st part Bach Sonata

30Friday 18 November 11

31Friday 18 November 11

contact details

bull efp331mailharvardedu

end part I

32Friday 18 November 11

Pitch Perception

bull (westernor western basedhellip) Music relies on the use of discrete ordered sets of pitches called musical scales

bull Why

18Friday 18 November 11

Pitch Perception

bull In order to facilitate musical memory melodic recognisability robustness for transmission

19Friday 18 November 11

Pitch Perception

bull Pitch in language can be seen to function in two main ways Non-tonal and Tonal languages

20Friday 18 November 11

Pitch Perception

bull Tonal language example Σταύρος + Σταυρός

bull Non-tonal language example Well + Well

21Friday 18 November 11

Pitch Perception

A415 A 440

22Friday 18 November 11

23Friday 18 November 11

Tonal Perception

bull Critical feature of Western Music Hierarchical Organisation (Lerdahl and

Jackendoff 1983)

24Friday 18 November 11

Tonal Perception

bull Organising musical events in a hierarchical structure is important as it has deep implications for the listeners

25Friday 18 November 11

Tonal Perception

Musical Events

- Not all of equal importance- Some are structurally important

Provide a perceptual identity to the melody (Dibben 1994)

- Other are primarily ornamental

Musical Example Bach 1st Sonata for Solo Violin

26Friday 18 November 11

Tonal Perception

In a linear system of tones

b - c - d - e - f - g

27Friday 18 November 11

Tonal Perception

1) Melody in the key of C Major when played forward

2) Melody in the key of B major when played backwards

Bharucha 1984

28Friday 18 November 11

Tonal Perception

bull There is a relative perception of tone according to the context of music

C major key

F major key

29Friday 18 November 11

Tonal Perception

bull There is a relative perception of tone according to the content of music - event hierarchy

Example 1st part Bach Sonata

30Friday 18 November 11

31Friday 18 November 11

contact details

bull efp331mailharvardedu

end part I

32Friday 18 November 11

Pitch Perception

bull In order to facilitate musical memory melodic recognisability robustness for transmission

19Friday 18 November 11

Pitch Perception

bull Pitch in language can be seen to function in two main ways Non-tonal and Tonal languages

20Friday 18 November 11

Pitch Perception

bull Tonal language example Σταύρος + Σταυρός

bull Non-tonal language example Well + Well

21Friday 18 November 11

Pitch Perception

A415 A 440

22Friday 18 November 11

23Friday 18 November 11

Tonal Perception

bull Critical feature of Western Music Hierarchical Organisation (Lerdahl and

Jackendoff 1983)

24Friday 18 November 11

Tonal Perception

bull Organising musical events in a hierarchical structure is important as it has deep implications for the listeners

25Friday 18 November 11

Tonal Perception

Musical Events

- Not all of equal importance- Some are structurally important

Provide a perceptual identity to the melody (Dibben 1994)

- Other are primarily ornamental

Musical Example Bach 1st Sonata for Solo Violin

26Friday 18 November 11

Tonal Perception

In a linear system of tones

b - c - d - e - f - g

27Friday 18 November 11

Tonal Perception

1) Melody in the key of C Major when played forward

2) Melody in the key of B major when played backwards

Bharucha 1984

28Friday 18 November 11

Tonal Perception

bull There is a relative perception of tone according to the context of music

C major key

F major key

29Friday 18 November 11

Tonal Perception

bull There is a relative perception of tone according to the content of music - event hierarchy

Example 1st part Bach Sonata

30Friday 18 November 11

31Friday 18 November 11

contact details

bull efp331mailharvardedu

end part I

32Friday 18 November 11

Pitch Perception

bull Pitch in language can be seen to function in two main ways Non-tonal and Tonal languages

20Friday 18 November 11

Pitch Perception

bull Tonal language example Σταύρος + Σταυρός

bull Non-tonal language example Well + Well

21Friday 18 November 11

Pitch Perception

A415 A 440

22Friday 18 November 11

23Friday 18 November 11

Tonal Perception

bull Critical feature of Western Music Hierarchical Organisation (Lerdahl and

Jackendoff 1983)

24Friday 18 November 11

Tonal Perception

bull Organising musical events in a hierarchical structure is important as it has deep implications for the listeners

25Friday 18 November 11

Tonal Perception

Musical Events

- Not all of equal importance- Some are structurally important

Provide a perceptual identity to the melody (Dibben 1994)

- Other are primarily ornamental

Musical Example Bach 1st Sonata for Solo Violin

26Friday 18 November 11

Tonal Perception

In a linear system of tones

b - c - d - e - f - g

27Friday 18 November 11

Tonal Perception

1) Melody in the key of C Major when played forward

2) Melody in the key of B major when played backwards

Bharucha 1984

28Friday 18 November 11

Tonal Perception

bull There is a relative perception of tone according to the context of music

C major key

F major key

29Friday 18 November 11

Tonal Perception

bull There is a relative perception of tone according to the content of music - event hierarchy

Example 1st part Bach Sonata

30Friday 18 November 11

31Friday 18 November 11

contact details

bull efp331mailharvardedu

end part I

32Friday 18 November 11

Pitch Perception

bull Tonal language example Σταύρος + Σταυρός

bull Non-tonal language example Well + Well

21Friday 18 November 11

Pitch Perception

A415 A 440

22Friday 18 November 11

23Friday 18 November 11

Tonal Perception

bull Critical feature of Western Music Hierarchical Organisation (Lerdahl and

Jackendoff 1983)

24Friday 18 November 11

Tonal Perception

bull Organising musical events in a hierarchical structure is important as it has deep implications for the listeners

25Friday 18 November 11

Tonal Perception

Musical Events

- Not all of equal importance- Some are structurally important

Provide a perceptual identity to the melody (Dibben 1994)

- Other are primarily ornamental

Musical Example Bach 1st Sonata for Solo Violin

26Friday 18 November 11

Tonal Perception

In a linear system of tones

b - c - d - e - f - g

27Friday 18 November 11

Tonal Perception

1) Melody in the key of C Major when played forward

2) Melody in the key of B major when played backwards

Bharucha 1984

28Friday 18 November 11

Tonal Perception

bull There is a relative perception of tone according to the context of music

C major key

F major key

29Friday 18 November 11

Tonal Perception

bull There is a relative perception of tone according to the content of music - event hierarchy

Example 1st part Bach Sonata

30Friday 18 November 11

31Friday 18 November 11

contact details

bull efp331mailharvardedu

end part I

32Friday 18 November 11

Pitch Perception

A415 A 440

22Friday 18 November 11

23Friday 18 November 11

Tonal Perception

bull Critical feature of Western Music Hierarchical Organisation (Lerdahl and

Jackendoff 1983)

24Friday 18 November 11

Tonal Perception

bull Organising musical events in a hierarchical structure is important as it has deep implications for the listeners

25Friday 18 November 11

Tonal Perception

Musical Events

- Not all of equal importance- Some are structurally important

Provide a perceptual identity to the melody (Dibben 1994)

- Other are primarily ornamental

Musical Example Bach 1st Sonata for Solo Violin

26Friday 18 November 11

Tonal Perception

In a linear system of tones

b - c - d - e - f - g

27Friday 18 November 11

Tonal Perception

1) Melody in the key of C Major when played forward

2) Melody in the key of B major when played backwards

Bharucha 1984

28Friday 18 November 11

Tonal Perception

bull There is a relative perception of tone according to the context of music

C major key

F major key

29Friday 18 November 11

Tonal Perception

bull There is a relative perception of tone according to the content of music - event hierarchy

Example 1st part Bach Sonata

30Friday 18 November 11

31Friday 18 November 11

contact details

bull efp331mailharvardedu

end part I

32Friday 18 November 11

23Friday 18 November 11

Tonal Perception

bull Critical feature of Western Music Hierarchical Organisation (Lerdahl and

Jackendoff 1983)

24Friday 18 November 11

Tonal Perception

bull Organising musical events in a hierarchical structure is important as it has deep implications for the listeners

25Friday 18 November 11

Tonal Perception

Musical Events

- Not all of equal importance- Some are structurally important

Provide a perceptual identity to the melody (Dibben 1994)

- Other are primarily ornamental

Musical Example Bach 1st Sonata for Solo Violin

26Friday 18 November 11

Tonal Perception

In a linear system of tones

b - c - d - e - f - g

27Friday 18 November 11

Tonal Perception

1) Melody in the key of C Major when played forward

2) Melody in the key of B major when played backwards

Bharucha 1984

28Friday 18 November 11

Tonal Perception

bull There is a relative perception of tone according to the context of music

C major key

F major key

29Friday 18 November 11

Tonal Perception

bull There is a relative perception of tone according to the content of music - event hierarchy

Example 1st part Bach Sonata

30Friday 18 November 11

31Friday 18 November 11

contact details

bull efp331mailharvardedu

end part I

32Friday 18 November 11

Tonal Perception

bull Critical feature of Western Music Hierarchical Organisation (Lerdahl and

Jackendoff 1983)

24Friday 18 November 11

Tonal Perception

bull Organising musical events in a hierarchical structure is important as it has deep implications for the listeners

25Friday 18 November 11

Tonal Perception

Musical Events

- Not all of equal importance- Some are structurally important

Provide a perceptual identity to the melody (Dibben 1994)

- Other are primarily ornamental

Musical Example Bach 1st Sonata for Solo Violin

26Friday 18 November 11

Tonal Perception

In a linear system of tones

b - c - d - e - f - g

27Friday 18 November 11

Tonal Perception

1) Melody in the key of C Major when played forward

2) Melody in the key of B major when played backwards

Bharucha 1984

28Friday 18 November 11

Tonal Perception

bull There is a relative perception of tone according to the context of music

C major key

F major key

29Friday 18 November 11

Tonal Perception

bull There is a relative perception of tone according to the content of music - event hierarchy

Example 1st part Bach Sonata

30Friday 18 November 11

31Friday 18 November 11

contact details

bull efp331mailharvardedu

end part I

32Friday 18 November 11

Tonal Perception

bull Organising musical events in a hierarchical structure is important as it has deep implications for the listeners

25Friday 18 November 11

Tonal Perception

Musical Events

- Not all of equal importance- Some are structurally important

Provide a perceptual identity to the melody (Dibben 1994)

- Other are primarily ornamental

Musical Example Bach 1st Sonata for Solo Violin

26Friday 18 November 11

Tonal Perception

In a linear system of tones

b - c - d - e - f - g

27Friday 18 November 11

Tonal Perception

1) Melody in the key of C Major when played forward

2) Melody in the key of B major when played backwards

Bharucha 1984

28Friday 18 November 11

Tonal Perception

bull There is a relative perception of tone according to the context of music

C major key

F major key

29Friday 18 November 11

Tonal Perception

bull There is a relative perception of tone according to the content of music - event hierarchy

Example 1st part Bach Sonata

30Friday 18 November 11

31Friday 18 November 11

contact details

bull efp331mailharvardedu

end part I

32Friday 18 November 11

Tonal Perception

Musical Events

- Not all of equal importance- Some are structurally important

Provide a perceptual identity to the melody (Dibben 1994)

- Other are primarily ornamental

Musical Example Bach 1st Sonata for Solo Violin

26Friday 18 November 11

Tonal Perception

In a linear system of tones

b - c - d - e - f - g

27Friday 18 November 11

Tonal Perception

1) Melody in the key of C Major when played forward

2) Melody in the key of B major when played backwards

Bharucha 1984

28Friday 18 November 11

Tonal Perception

bull There is a relative perception of tone according to the context of music

C major key

F major key

29Friday 18 November 11

Tonal Perception

bull There is a relative perception of tone according to the content of music - event hierarchy

Example 1st part Bach Sonata

30Friday 18 November 11

31Friday 18 November 11

contact details

bull efp331mailharvardedu

end part I

32Friday 18 November 11

Tonal Perception

In a linear system of tones

b - c - d - e - f - g

27Friday 18 November 11

Tonal Perception

1) Melody in the key of C Major when played forward

2) Melody in the key of B major when played backwards

Bharucha 1984

28Friday 18 November 11

Tonal Perception

bull There is a relative perception of tone according to the context of music

C major key

F major key

29Friday 18 November 11

Tonal Perception

bull There is a relative perception of tone according to the content of music - event hierarchy

Example 1st part Bach Sonata

30Friday 18 November 11

31Friday 18 November 11

contact details

bull efp331mailharvardedu

end part I

32Friday 18 November 11

Tonal Perception

1) Melody in the key of C Major when played forward

2) Melody in the key of B major when played backwards

Bharucha 1984

28Friday 18 November 11

Tonal Perception

bull There is a relative perception of tone according to the context of music

C major key

F major key

29Friday 18 November 11

Tonal Perception

bull There is a relative perception of tone according to the content of music - event hierarchy

Example 1st part Bach Sonata

30Friday 18 November 11

31Friday 18 November 11

contact details

bull efp331mailharvardedu

end part I

32Friday 18 November 11

Tonal Perception

bull There is a relative perception of tone according to the context of music

C major key

F major key

29Friday 18 November 11

Tonal Perception

bull There is a relative perception of tone according to the content of music - event hierarchy

Example 1st part Bach Sonata

30Friday 18 November 11

31Friday 18 November 11

contact details

bull efp331mailharvardedu

end part I

32Friday 18 November 11

Tonal Perception

bull There is a relative perception of tone according to the content of music - event hierarchy

Example 1st part Bach Sonata

30Friday 18 November 11

31Friday 18 November 11

contact details

bull efp331mailharvardedu

end part I

32Friday 18 November 11

31Friday 18 November 11

contact details

bull efp331mailharvardedu

end part I

32Friday 18 November 11

contact details

bull efp331mailharvardedu

end part I

32Friday 18 November 11

Summary part I

1) We live and play music lsquothroughrsquo (usinghellip) mind (psychology) and body (neuroscience)

3) Different strands in music psychology (developmental emotional clinicalhellip)

2) Music Psychology is about lsquomusical behaviourrsquo

4) Music Perception (eg Pitch Perception - Tonal Perception)

5) Pitch Perception (is trained is relative relative to language)

6) Tonal Perception (critical in western music deep implication to the listeners related to pitch relative to musical content)

33Friday 18 November 11

Behaviour in Instrumental Performance

34Friday 18 November 11

Psy and Instrumental Performance

bull Performance is socially definedbull Its nature is constantly changingbull There are different situations of

performances Formal Less Informal Public or not

35Friday 18 November 11

Psy and Instrumental Performance

bull Key element of performance is communication (with audience + fellow musicians)

36Friday 18 November 11

Psy and Instrumental Performance

- Representation and performance plan

- Practising

Sight Reading- Relation to musical structure

- Kinaesthetic memory

Motor Processes in Performance

- Theories of motor skills- Expressive movements

Measurements of performance

Models of music performance

- Based on measurements or intuitions

Physical factors in performance- Medical problems

- Stress factors

Psychological and Social Factors

- Development- Personality

- Music as occupation

ImprovisationPerformance

Evaluation - Feedback in Performance

in Gabrielsson 1999 2003

Performance Planning

37Friday 18 November 11

Gabrielsson 2003

bull ldquoHow to form mental representations of the music devise performance plans and strategies for efficient practicerdquo

Performance Planning

What is

38Friday 18 November 11

Performance Planning

bull Conception of feelings and emotionsbull Meanings narratives and movements

(imagined and real) related to the music performed

39Friday 18 November 11

Performance Planning

bull What musicians and researchers focus on in planning performance (consciously or

unconsciouslyhellip)

40Friday 18 November 11

Performance Planning

bull Deep vs Surface learning approachbull Reading times - Reaction times

indicating cognitive engagementbull Low - Mid - High - level planning

strategies

41Friday 18 November 11

Performance Planning

Low Level

Mid Level

High Level

trial-and-errorsight reading

speed alterationchunking

linking of elements

interpretationpatterningprioritisingmonitoring

42Friday 18 November 11

Performance Planning

bull Practice of Performance bull Different from Planningalthough

interconnectedbull macro- and micro- levelsbull mental vs practical aspects

43Friday 18 November 11

Practice

bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason)bull Versatile Learners (most musicianshellip)

Types of Musicians Practising

44Friday 18 November 11

Practice

bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason) thought

to be together but not

Types of Musicians Practising

45Friday 18 November 11

Prof Musiciansrsquo Practice

Deliberate Practice

46Friday 18 November 11

Deliberate Practice

bull For professional musicians is crucial

Carefully structured activities

in order to improve performance

High Motivation

Extended Effort

Full Attention

Favourable Environment

Support

47Friday 18 November 11

PracticeThe way experts practise

1Acquire an overview of the music (according to abilityinternal

aural representation)

2According to structure divide the piece into sections

3Subsectionssolving technical problems

4The more complex the music the smaller the chunks

5Units start to become larger as practice progress

6Hierarchical structure appears to develop

7Performance plans integrate to a coherent whole(guided

by musical considerations)

48Friday 18 November 11

49Friday 18 November 11

Psy And Music Education

bull Music is a universal trait of human kindbull Propensity for musical developmentbull This potential is universal as linguistic

ability

50Friday 18 November 11

The pianist example

Nature vs Nurture

51Friday 18 November 11

PSY and Music Education

While self-selection for musicianship by individuals with innate functional and structural

brain differences cannot be completely ruled out the evidence indicates that it is musical training

that leads to changes in brain function and structure

Schlaug 2003

52Friday 18 November 11

Training in Western Edu Comm

Teacher Student

Material Context

Jones 2005Biggs 19992007

Light and Cox 2009

53Friday 18 November 11

What is Learning

What is Teaching

54Friday 18 November 11

Learning

1960s-1970s Learning as lsquoproductrsquo or lsquoprocessrsquo

Product learning is a change in behaviour

Process Learning is a continuous developmental pathwhich hierarchically reflects knowledge growth and

understanding of the reality

55Friday 18 November 11

Teaching

(a) Teaching is transmission of knowledge (kurtrsquos template)

(b) Teaching is a facilitation process towards knowledge

construction

XWorldPlugInBrainBucketVTS_05_1VOBlnk

7

Pervasive Metaphor in Our Culture forLearningTeaching Conduit ndash Knowledge Is Made of Objects That We Give to Each Other

Lakoff amp Johnson Metaphors We Live By These ModelsMetaphors Ground Our Mental Life

Teaching as Pumping Knowledge into Student

8

Key Neuromyth or Brain ScamBrain Download Fallacy

Incorrect Metaphor

Positive Conclusion from NeuroscienceKnowledge Grows from Active ExperienceBrains Cannot Be Directly Filled with WorldKnowledge

Remarkable Plasticityfrom Neuroscience amp Genetics

56Friday 18 November 11

Education

bull Dynamics in teaching and learning are not linear and clearly settled in any way Thus we have a great variation of final Educational Concepts

57Friday 18 November 11

Education

Teaching and Learning Theories

Educational Concepts

58Friday 18 November 11

Important TampL Theories

bull The behaviouristbull The humanistbull The socialbull The cognitivebull The neo-cognitive

(stimulus-response)

(the concern with self)

(communities of practise)

(active process of knowledge construction)

(all the above together)

59Friday 18 November 11

Models of Learning-Tools for Teaching

bull Generated by the lsquoLearning Theoriesrsquobull 4 categories

60Friday 18 November 11

Information Processing Models

Inducampve13 ThinkingDevelopment13 of13 classificaampon13 skills13 hypothesis13 building13 and13 tesampng13 and13 understanding13 of13 how13 to13 build13 conceptual13 understanding13 of13 content13 areas

Concept13 Aainment Learning13 concepts13 and13 studying13 strategies13 for13 aaining13 and13 applying13 them13 Building13 and13 tesampng13 hypothesis

13 Scienampfic13 Inquiry Learning13 the13 research13 system13 of13 the13 academic13 disciplines13 ndash13 how13 knowledge13 is13 produced13 and13 organized

Inquiry13 Training Casual13 reasoning13 and13 understanding13 of13 how13 to13 collect13 informaampon13 build13 concepts13 and13 build13 and13 test13 hypotheses

13 Cogniampve13 Growth Increase13 general13 intellectual13 development13 and13 adjust13 instrucampon13 to13 facilitate13 intellectual13 growth

Advance13 Organizers Designed13 to13 increase13 ability13 to13 absorb13 informaampon13 and13 organize13 it13 especially13 in13 learning13 from13 lectures13 and13 readings

MnemonicsIncrease13 ability13 to13 acquire13 informaampon13 concepts13 conceptual13 systems13 and13 metacogniampve13 control13 of13 informaampon13 processing13 capability

Picture13 ndash13 Word13 Inducampve Learning13 to13 read13 and13 write13 inquiry13 into13 language

61Friday 18 November 11

Social Family of Models

Group13 InvesampgaamponDevelopment13 of13 skills13 for13 parampcipaampon13 in13 democraampc13 process13 Simultaneously13 emphasises13 social13 development13 academic13 skills13 and13 personal13 understanding

Social13 Inquiry Social13 problem13 solving13 through13 collecampve13 academic13 study13 and13 logical13 reasoning

Jurisprudenampal13 InquiryAnalysis13 of13 policy13 issues13 through13 a13 jurisprudenampal13 framework13 Collecampon13 of13 data13 analysis13 of13 value13 quesampons13 and13 posiampons13 study13 of13 personal13 beliefs

Laboratory13 Method Understanding13 of13 group13 dynamics13 leadership13 understanding13 of13 personal13 styles

Role13 Playing Study13 of13 values13 and13 their13 role13 in13 social13 interacampon13 Personal13 understanding13 of13 values13 and13 behaviour

Posiampve13 Interdependence Development13 of13 interdependent13 strategies13 of13 social13 interacampon13 Understanding13 of13 self13 ndash13 other13 relaamponships13 and13 emoampons

Structured13 Social13 Inquiry Academic13 inquiry13 and13 social13 and13 personal13 development13 Cooperaampve13 strategies13 for13 approaching13 academic13 study

62Friday 18 November 11

Personal Family of Models

Nondirecampve13 Teaching Building13 capacity13 for13 personal13 development13 self13 ndash13 understanding13 autonomy13 and13 esteem13 of13 self

13 Awareness13 TrainingIncreasing13 self13 ndash13 understanding13 self13 ndash13 esteem13 and13 capacity13 for13 exploraampon13 Development13 of13 interpersonal13 sensiampvity13 and13 empathy

Classroom13 Meeampng Development13 of13 self13 ndash13 understanding13 and13 responsibility13 to13 self13 and13 others

Self13 ndash13 Actualisaampon Development13 of13 personal13 understanding13 and13 capacity13 for13 development

Conceptual13 Systems Increasing13 personal13 complexity13 and13 flexibility13 in13 processing13 informaampon13 and13 interacampng13 with13 others

63Friday 18 November 11

Behavioural systems Family of Models

Social13 Learning

Management13 of13 behaviour13 Learning13 new13 paerns13 of13 behaviour13

reducing13 phobic13 and13 other13 dysfuncamponal13 paerns13 learning13 self13 ndash13

control

Mastery13 Learning Mastery13 of13 academic13 skills13 and13 content13 of13 all13 types

Programmed13 Learning Mastery13 of13 skills13 concepts13 factual13 informaampon

SimulaamponMastery13 of13 complex13 skills13 and13 concepts13 in13 a13 wide13 range13 of13 areas13

of13 study

Direct13 TeachingMastery13 of13 academic13 content13 and13 skills13 in13 a13 wide13 range13 of13 areas13

of13 study

Anxiety13 Reducampon

Control13 over13 aversive13 reacampons13 Applicaampons13 in13 treatment13 and13

self13 ndash13 treatment13 of13 avoidance13 and13 dysfuncamponal13 paerns13 of13

response

64Friday 18 November 11

1st Musical Example

65Friday 18 November 11

2nd Musical Example

66Friday 18 November 11

Why is it important to Know

bull You can handle better your own education and practice (constructional approach vs behavioural approach)

bull Different professional exit points - but

bull Will need to employ variations of the above

bull Knowingpotential for greater achievement

67Friday 18 November 11

Psy and Music Education

Group Discussion

How would you approach a lesson if were a teacher

68Friday 18 November 11

69Friday 18 November 11

In Music Psychology

bull Compositionbull Improvisationbull Aestheticsbull Creativity

70Friday 18 November 11

The Psychology of Composition

In its discussionsldquoquestions fundamental assumptions

about the nature and role of musical activity and the

musical artefactrdquo

Impett 2009 p403

71Friday 18 November 11

The Psychology of Composition

It is not widely researched

ldquoLeast studied least understood of all musical artefactsrdquo

Sloboda 1985

ldquoLittle progress has been made in understanding composition per serdquo

Brown 2003

72Friday 18 November 11

The Psychology of Composition

What is Composition in terms of Psychology

73Friday 18 November 11

The Psychology of Composition

Composition (organisation of musical sound) could be seen as a process of self-reflection

from where self-expression derives

74Friday 18 November 11

The Psychology of Composition

ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated

expression the conscious embodiment of psychological

statesrdquo

Impett 2009

75Friday 18 November 11

Composition Psychology

76Friday 18 November 11

Composition Psychology

Creativity

77Friday 18 November 11

How could we perceive Composition

78Friday 18 November 11

Composition

it is a lsquoDiscussion of Mindsrsquo

Composer + Performer + Audience

79Friday 18 November 11

The Psychology of Composition

ldquoAlthough Composition to some degree is innateit is a product of a

situated processrdquo

Impett 2009

80Friday 18 November 11

Composition

a Process

whichby itself is in some sense creative

81Friday 18 November 11

Composition

In this ProcesshellipMetaphors and Imagination come into play

where personal aesthetics concepts and innovation (for example) shape the outcome

82Friday 18 November 11

The Psychology of Composition

based on the aforementionedSome fundamental principles exist

eg rhythm perception tonal perception

83Friday 18 November 11

The Psychology of Composition

Howevera precise nature for a personsrsquos psychology of

composition seems to be a highly individual question

84Friday 18 November 11

85Friday 18 November 11

Improvisation and Psychology

Studying Improvisation and its psychological aspect might provide

further insight into Composition

Why

86Friday 18 November 11

Improvisation and Psychology

ldquoUnlike musical composition which can be mostly construed as a more-or-

less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the

human bodyrdquo

Ashley 2009

87Friday 18 November 11

To Improvisehellipis

to produce music (composing) audibly

and in real time

88Friday 18 November 11

Improvisation and Psychology

bull Psychology of Musical Performance (eg motor behaviourhellip)

bull Pitch

bull Tone (perception)

bull and othersapproaching

deeper lsquocreativityrsquo

come altogether and in real time into play

89Friday 18 November 11

improvisation and Psychology

bull Learningbull Teachingbull Cognitionbull Society

lsquoCreativityrsquois further connected with

90Friday 18 November 11

Teaching and Learning

Perception

Instrumental Performance Composition-Improvisation

Psychology of Music

91Friday 18 November 11

end of part II92Friday 18 November 11

Music And Neuroscience

1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning

2) Knowledge acquisition is governed by factors that are not

fully under conscious control and can hardly be influenced

externally (Roth 2006)

93Friday 18 November 11

However we try to understand this lsquoknowledge acquisitionrsquo

frameworkand this is where Neuroscience comes into Music

(performance teaching learninghellip)

94Friday 18 November 11

What is Neuroscience

bull Neuroscience is this science which studies the Brain

bull This is where new experiences and knowledge are processed by interconnected Neurons which

become activated when a sensorial input is perceived

95Friday 18 November 11

How the Brain looks like

96Friday 18 November 11

97Friday 18 November 11

98Friday 18 November 11

lsquoBrain Voyagerrsquo Pictures

99Friday 18 November 11

bull The structure of the brain alters continuously

throughout our lives

bull This happens via experiences stimuli studies a walk in the parkby playing a musical

instrument

100Friday 18 November 11

The change of the brain structure we call it - Plasticity -

lsquoexperience-driven brain plasticityrsquo

101Friday 18 November 11

Why is it important to know about lsquoPlasticityrsquo

By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos

saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political

version of schooling

102Friday 18 November 11

A bit of History

ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt

almost 5000 years agohelliprdquo

Minagar Ragheb and Kelley 2003

103Friday 18 November 11

A Musical Fact

We know that evidence of music has been confirmed in every civilisation

throughout history

Chailley 1964

104Friday 18 November 11

Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology

(egGardner 1983)

Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful

musical experience

105Friday 18 November 11

History of Neuroscience in Music

One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)

106Friday 18 November 11

Supporting Areas

bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology

107Friday 18 November 11

Ways (Tools) of neuroscientific Rsc

bullMagnetic Resonance Imaging (MRI)

bullfunctional MRI

bullElectroencephalography (EEG)

bullEvent Related Potentials (ERPs)

bullTranscranial magnetic Stimulation (TMS)

bullMagnetoencephalography (MEG)

bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target

108Friday 18 November 11

Research Areas in Music

bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors

109Friday 18 November 11

Perception and Cognition -Musical Performance

Your Opinionhellip

Group Discussion

110Friday 18 November 11

Perception in Meuromusic

Perception (in music) is based on the sensory information that is

gathered by the brain regarding onersquos external and internal

environment

111Friday 18 November 11

Perception in Neuromusic

PitchRhythm

112Friday 18 November 11

We donrsquot know yet wether musical cognition and perception is

(a) specifically localised to distinct neural networks

(b) made up of shared neural networks that are associated with other brain processes

(c) a bit of both

113Friday 18 November 11

Musical Performance

Motor Learning and Instrumental Training

the act of making music is physically

intensivea pianist may bimanually

coordinate and lsquoscrutinisersquo up to 1800 notes per minute

114Friday 18 November 11

Musical Performance

3 parts of the brain are involved

bullthe sensorimotor cortex (interpretation of stimuli control of muscles)

bullthe basal ganglia (muscles in cooperative functions)

bullthe cerebellum (fine-tuning of motor movements stores motor patterns)

115Friday 18 November 11

Growth and Development proceed from general to specific

116Friday 18 November 11

Musicians appear to process new incoming stimuli more effectively

compared to non-musicians

117Friday 18 November 11

Meaning

if you practise more your brain learns to work more effectively

118Friday 18 November 11

lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop

brain cells and neurons

makes us even more effective

119Friday 18 November 11

It is evident that musicians have different brain structure than

non-musiciansAmunts et al 1997Schlaug et al 1995b

enhanced if training has started earlier in life

120Friday 18 November 11

For musical training there is this concept of lsquodeliberate practicersquo

motivation resources and attention determine the amount and quality of practice undertaken

121Friday 18 November 11

In Neuroscience scientists uncovered evidence showing a close association

between practice and expertisehellip

hours of deliberate practice

level of expertise

Lehmann and Gruber 2006

122Friday 18 November 11

implications to Musical performance and Training

1How to practise is best learned by practising

2Start early but not to early with playing an instrument

3Breaks and sleep is essential for motor learning and memory

4Use the human lsquomirror systemrsquo

123Friday 18 November 11

Examples of practisinghellip

124Friday 18 November 11

Neuroscience and Emotion in Music

Largely overlapping networks required for the processing of both

general and music-specific emotions

125Friday 18 November 11

Whether the neural basis of emotional appraisal of music is

innate or rather acquired through enculturation is subject

to ongoing discussion

Peretz and Sloboda 2005

126Friday 18 November 11

Nature vs NurtureProblem

127Friday 18 November 11

Howeverrecognition of emotions appears independent of musical

training

howhellipfamily environment possibly

128Friday 18 November 11

Recognising from Experiencing musical emotion is different

129Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

Behaviour in Instrumental Performance

34Friday 18 November 11

Psy and Instrumental Performance

bull Performance is socially definedbull Its nature is constantly changingbull There are different situations of

performances Formal Less Informal Public or not

35Friday 18 November 11

Psy and Instrumental Performance

bull Key element of performance is communication (with audience + fellow musicians)

36Friday 18 November 11

Psy and Instrumental Performance

- Representation and performance plan

- Practising

Sight Reading- Relation to musical structure

- Kinaesthetic memory

Motor Processes in Performance

- Theories of motor skills- Expressive movements

Measurements of performance

Models of music performance

- Based on measurements or intuitions

Physical factors in performance- Medical problems

- Stress factors

Psychological and Social Factors

- Development- Personality

- Music as occupation

ImprovisationPerformance

Evaluation - Feedback in Performance

in Gabrielsson 1999 2003

Performance Planning

37Friday 18 November 11

Gabrielsson 2003

bull ldquoHow to form mental representations of the music devise performance plans and strategies for efficient practicerdquo

Performance Planning

What is

38Friday 18 November 11

Performance Planning

bull Conception of feelings and emotionsbull Meanings narratives and movements

(imagined and real) related to the music performed

39Friday 18 November 11

Performance Planning

bull What musicians and researchers focus on in planning performance (consciously or

unconsciouslyhellip)

40Friday 18 November 11

Performance Planning

bull Deep vs Surface learning approachbull Reading times - Reaction times

indicating cognitive engagementbull Low - Mid - High - level planning

strategies

41Friday 18 November 11

Performance Planning

Low Level

Mid Level

High Level

trial-and-errorsight reading

speed alterationchunking

linking of elements

interpretationpatterningprioritisingmonitoring

42Friday 18 November 11

Performance Planning

bull Practice of Performance bull Different from Planningalthough

interconnectedbull macro- and micro- levelsbull mental vs practical aspects

43Friday 18 November 11

Practice

bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason)bull Versatile Learners (most musicianshellip)

Types of Musicians Practising

44Friday 18 November 11

Practice

bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason) thought

to be together but not

Types of Musicians Practising

45Friday 18 November 11

Prof Musiciansrsquo Practice

Deliberate Practice

46Friday 18 November 11

Deliberate Practice

bull For professional musicians is crucial

Carefully structured activities

in order to improve performance

High Motivation

Extended Effort

Full Attention

Favourable Environment

Support

47Friday 18 November 11

PracticeThe way experts practise

1Acquire an overview of the music (according to abilityinternal

aural representation)

2According to structure divide the piece into sections

3Subsectionssolving technical problems

4The more complex the music the smaller the chunks

5Units start to become larger as practice progress

6Hierarchical structure appears to develop

7Performance plans integrate to a coherent whole(guided

by musical considerations)

48Friday 18 November 11

49Friday 18 November 11

Psy And Music Education

bull Music is a universal trait of human kindbull Propensity for musical developmentbull This potential is universal as linguistic

ability

50Friday 18 November 11

The pianist example

Nature vs Nurture

51Friday 18 November 11

PSY and Music Education

While self-selection for musicianship by individuals with innate functional and structural

brain differences cannot be completely ruled out the evidence indicates that it is musical training

that leads to changes in brain function and structure

Schlaug 2003

52Friday 18 November 11

Training in Western Edu Comm

Teacher Student

Material Context

Jones 2005Biggs 19992007

Light and Cox 2009

53Friday 18 November 11

What is Learning

What is Teaching

54Friday 18 November 11

Learning

1960s-1970s Learning as lsquoproductrsquo or lsquoprocessrsquo

Product learning is a change in behaviour

Process Learning is a continuous developmental pathwhich hierarchically reflects knowledge growth and

understanding of the reality

55Friday 18 November 11

Teaching

(a) Teaching is transmission of knowledge (kurtrsquos template)

(b) Teaching is a facilitation process towards knowledge

construction

XWorldPlugInBrainBucketVTS_05_1VOBlnk

7

Pervasive Metaphor in Our Culture forLearningTeaching Conduit ndash Knowledge Is Made of Objects That We Give to Each Other

Lakoff amp Johnson Metaphors We Live By These ModelsMetaphors Ground Our Mental Life

Teaching as Pumping Knowledge into Student

8

Key Neuromyth or Brain ScamBrain Download Fallacy

Incorrect Metaphor

Positive Conclusion from NeuroscienceKnowledge Grows from Active ExperienceBrains Cannot Be Directly Filled with WorldKnowledge

Remarkable Plasticityfrom Neuroscience amp Genetics

56Friday 18 November 11

Education

bull Dynamics in teaching and learning are not linear and clearly settled in any way Thus we have a great variation of final Educational Concepts

57Friday 18 November 11

Education

Teaching and Learning Theories

Educational Concepts

58Friday 18 November 11

Important TampL Theories

bull The behaviouristbull The humanistbull The socialbull The cognitivebull The neo-cognitive

(stimulus-response)

(the concern with self)

(communities of practise)

(active process of knowledge construction)

(all the above together)

59Friday 18 November 11

Models of Learning-Tools for Teaching

bull Generated by the lsquoLearning Theoriesrsquobull 4 categories

60Friday 18 November 11

Information Processing Models

Inducampve13 ThinkingDevelopment13 of13 classificaampon13 skills13 hypothesis13 building13 and13 tesampng13 and13 understanding13 of13 how13 to13 build13 conceptual13 understanding13 of13 content13 areas

Concept13 Aainment Learning13 concepts13 and13 studying13 strategies13 for13 aaining13 and13 applying13 them13 Building13 and13 tesampng13 hypothesis

13 Scienampfic13 Inquiry Learning13 the13 research13 system13 of13 the13 academic13 disciplines13 ndash13 how13 knowledge13 is13 produced13 and13 organized

Inquiry13 Training Casual13 reasoning13 and13 understanding13 of13 how13 to13 collect13 informaampon13 build13 concepts13 and13 build13 and13 test13 hypotheses

13 Cogniampve13 Growth Increase13 general13 intellectual13 development13 and13 adjust13 instrucampon13 to13 facilitate13 intellectual13 growth

Advance13 Organizers Designed13 to13 increase13 ability13 to13 absorb13 informaampon13 and13 organize13 it13 especially13 in13 learning13 from13 lectures13 and13 readings

MnemonicsIncrease13 ability13 to13 acquire13 informaampon13 concepts13 conceptual13 systems13 and13 metacogniampve13 control13 of13 informaampon13 processing13 capability

Picture13 ndash13 Word13 Inducampve Learning13 to13 read13 and13 write13 inquiry13 into13 language

61Friday 18 November 11

Social Family of Models

Group13 InvesampgaamponDevelopment13 of13 skills13 for13 parampcipaampon13 in13 democraampc13 process13 Simultaneously13 emphasises13 social13 development13 academic13 skills13 and13 personal13 understanding

Social13 Inquiry Social13 problem13 solving13 through13 collecampve13 academic13 study13 and13 logical13 reasoning

Jurisprudenampal13 InquiryAnalysis13 of13 policy13 issues13 through13 a13 jurisprudenampal13 framework13 Collecampon13 of13 data13 analysis13 of13 value13 quesampons13 and13 posiampons13 study13 of13 personal13 beliefs

Laboratory13 Method Understanding13 of13 group13 dynamics13 leadership13 understanding13 of13 personal13 styles

Role13 Playing Study13 of13 values13 and13 their13 role13 in13 social13 interacampon13 Personal13 understanding13 of13 values13 and13 behaviour

Posiampve13 Interdependence Development13 of13 interdependent13 strategies13 of13 social13 interacampon13 Understanding13 of13 self13 ndash13 other13 relaamponships13 and13 emoampons

Structured13 Social13 Inquiry Academic13 inquiry13 and13 social13 and13 personal13 development13 Cooperaampve13 strategies13 for13 approaching13 academic13 study

62Friday 18 November 11

Personal Family of Models

Nondirecampve13 Teaching Building13 capacity13 for13 personal13 development13 self13 ndash13 understanding13 autonomy13 and13 esteem13 of13 self

13 Awareness13 TrainingIncreasing13 self13 ndash13 understanding13 self13 ndash13 esteem13 and13 capacity13 for13 exploraampon13 Development13 of13 interpersonal13 sensiampvity13 and13 empathy

Classroom13 Meeampng Development13 of13 self13 ndash13 understanding13 and13 responsibility13 to13 self13 and13 others

Self13 ndash13 Actualisaampon Development13 of13 personal13 understanding13 and13 capacity13 for13 development

Conceptual13 Systems Increasing13 personal13 complexity13 and13 flexibility13 in13 processing13 informaampon13 and13 interacampng13 with13 others

63Friday 18 November 11

Behavioural systems Family of Models

Social13 Learning

Management13 of13 behaviour13 Learning13 new13 paerns13 of13 behaviour13

reducing13 phobic13 and13 other13 dysfuncamponal13 paerns13 learning13 self13 ndash13

control

Mastery13 Learning Mastery13 of13 academic13 skills13 and13 content13 of13 all13 types

Programmed13 Learning Mastery13 of13 skills13 concepts13 factual13 informaampon

SimulaamponMastery13 of13 complex13 skills13 and13 concepts13 in13 a13 wide13 range13 of13 areas13

of13 study

Direct13 TeachingMastery13 of13 academic13 content13 and13 skills13 in13 a13 wide13 range13 of13 areas13

of13 study

Anxiety13 Reducampon

Control13 over13 aversive13 reacampons13 Applicaampons13 in13 treatment13 and13

self13 ndash13 treatment13 of13 avoidance13 and13 dysfuncamponal13 paerns13 of13

response

64Friday 18 November 11

1st Musical Example

65Friday 18 November 11

2nd Musical Example

66Friday 18 November 11

Why is it important to Know

bull You can handle better your own education and practice (constructional approach vs behavioural approach)

bull Different professional exit points - but

bull Will need to employ variations of the above

bull Knowingpotential for greater achievement

67Friday 18 November 11

Psy and Music Education

Group Discussion

How would you approach a lesson if were a teacher

68Friday 18 November 11

69Friday 18 November 11

In Music Psychology

bull Compositionbull Improvisationbull Aestheticsbull Creativity

70Friday 18 November 11

The Psychology of Composition

In its discussionsldquoquestions fundamental assumptions

about the nature and role of musical activity and the

musical artefactrdquo

Impett 2009 p403

71Friday 18 November 11

The Psychology of Composition

It is not widely researched

ldquoLeast studied least understood of all musical artefactsrdquo

Sloboda 1985

ldquoLittle progress has been made in understanding composition per serdquo

Brown 2003

72Friday 18 November 11

The Psychology of Composition

What is Composition in terms of Psychology

73Friday 18 November 11

The Psychology of Composition

Composition (organisation of musical sound) could be seen as a process of self-reflection

from where self-expression derives

74Friday 18 November 11

The Psychology of Composition

ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated

expression the conscious embodiment of psychological

statesrdquo

Impett 2009

75Friday 18 November 11

Composition Psychology

76Friday 18 November 11

Composition Psychology

Creativity

77Friday 18 November 11

How could we perceive Composition

78Friday 18 November 11

Composition

it is a lsquoDiscussion of Mindsrsquo

Composer + Performer + Audience

79Friday 18 November 11

The Psychology of Composition

ldquoAlthough Composition to some degree is innateit is a product of a

situated processrdquo

Impett 2009

80Friday 18 November 11

Composition

a Process

whichby itself is in some sense creative

81Friday 18 November 11

Composition

In this ProcesshellipMetaphors and Imagination come into play

where personal aesthetics concepts and innovation (for example) shape the outcome

82Friday 18 November 11

The Psychology of Composition

based on the aforementionedSome fundamental principles exist

eg rhythm perception tonal perception

83Friday 18 November 11

The Psychology of Composition

Howevera precise nature for a personsrsquos psychology of

composition seems to be a highly individual question

84Friday 18 November 11

85Friday 18 November 11

Improvisation and Psychology

Studying Improvisation and its psychological aspect might provide

further insight into Composition

Why

86Friday 18 November 11

Improvisation and Psychology

ldquoUnlike musical composition which can be mostly construed as a more-or-

less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the

human bodyrdquo

Ashley 2009

87Friday 18 November 11

To Improvisehellipis

to produce music (composing) audibly

and in real time

88Friday 18 November 11

Improvisation and Psychology

bull Psychology of Musical Performance (eg motor behaviourhellip)

bull Pitch

bull Tone (perception)

bull and othersapproaching

deeper lsquocreativityrsquo

come altogether and in real time into play

89Friday 18 November 11

improvisation and Psychology

bull Learningbull Teachingbull Cognitionbull Society

lsquoCreativityrsquois further connected with

90Friday 18 November 11

Teaching and Learning

Perception

Instrumental Performance Composition-Improvisation

Psychology of Music

91Friday 18 November 11

end of part II92Friday 18 November 11

Music And Neuroscience

1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning

2) Knowledge acquisition is governed by factors that are not

fully under conscious control and can hardly be influenced

externally (Roth 2006)

93Friday 18 November 11

However we try to understand this lsquoknowledge acquisitionrsquo

frameworkand this is where Neuroscience comes into Music

(performance teaching learninghellip)

94Friday 18 November 11

What is Neuroscience

bull Neuroscience is this science which studies the Brain

bull This is where new experiences and knowledge are processed by interconnected Neurons which

become activated when a sensorial input is perceived

95Friday 18 November 11

How the Brain looks like

96Friday 18 November 11

97Friday 18 November 11

98Friday 18 November 11

lsquoBrain Voyagerrsquo Pictures

99Friday 18 November 11

bull The structure of the brain alters continuously

throughout our lives

bull This happens via experiences stimuli studies a walk in the parkby playing a musical

instrument

100Friday 18 November 11

The change of the brain structure we call it - Plasticity -

lsquoexperience-driven brain plasticityrsquo

101Friday 18 November 11

Why is it important to know about lsquoPlasticityrsquo

By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos

saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political

version of schooling

102Friday 18 November 11

A bit of History

ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt

almost 5000 years agohelliprdquo

Minagar Ragheb and Kelley 2003

103Friday 18 November 11

A Musical Fact

We know that evidence of music has been confirmed in every civilisation

throughout history

Chailley 1964

104Friday 18 November 11

Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology

(egGardner 1983)

Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful

musical experience

105Friday 18 November 11

History of Neuroscience in Music

One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)

106Friday 18 November 11

Supporting Areas

bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology

107Friday 18 November 11

Ways (Tools) of neuroscientific Rsc

bullMagnetic Resonance Imaging (MRI)

bullfunctional MRI

bullElectroencephalography (EEG)

bullEvent Related Potentials (ERPs)

bullTranscranial magnetic Stimulation (TMS)

bullMagnetoencephalography (MEG)

bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target

108Friday 18 November 11

Research Areas in Music

bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors

109Friday 18 November 11

Perception and Cognition -Musical Performance

Your Opinionhellip

Group Discussion

110Friday 18 November 11

Perception in Meuromusic

Perception (in music) is based on the sensory information that is

gathered by the brain regarding onersquos external and internal

environment

111Friday 18 November 11

Perception in Neuromusic

PitchRhythm

112Friday 18 November 11

We donrsquot know yet wether musical cognition and perception is

(a) specifically localised to distinct neural networks

(b) made up of shared neural networks that are associated with other brain processes

(c) a bit of both

113Friday 18 November 11

Musical Performance

Motor Learning and Instrumental Training

the act of making music is physically

intensivea pianist may bimanually

coordinate and lsquoscrutinisersquo up to 1800 notes per minute

114Friday 18 November 11

Musical Performance

3 parts of the brain are involved

bullthe sensorimotor cortex (interpretation of stimuli control of muscles)

bullthe basal ganglia (muscles in cooperative functions)

bullthe cerebellum (fine-tuning of motor movements stores motor patterns)

115Friday 18 November 11

Growth and Development proceed from general to specific

116Friday 18 November 11

Musicians appear to process new incoming stimuli more effectively

compared to non-musicians

117Friday 18 November 11

Meaning

if you practise more your brain learns to work more effectively

118Friday 18 November 11

lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop

brain cells and neurons

makes us even more effective

119Friday 18 November 11

It is evident that musicians have different brain structure than

non-musiciansAmunts et al 1997Schlaug et al 1995b

enhanced if training has started earlier in life

120Friday 18 November 11

For musical training there is this concept of lsquodeliberate practicersquo

motivation resources and attention determine the amount and quality of practice undertaken

121Friday 18 November 11

In Neuroscience scientists uncovered evidence showing a close association

between practice and expertisehellip

hours of deliberate practice

level of expertise

Lehmann and Gruber 2006

122Friday 18 November 11

implications to Musical performance and Training

1How to practise is best learned by practising

2Start early but not to early with playing an instrument

3Breaks and sleep is essential for motor learning and memory

4Use the human lsquomirror systemrsquo

123Friday 18 November 11

Examples of practisinghellip

124Friday 18 November 11

Neuroscience and Emotion in Music

Largely overlapping networks required for the processing of both

general and music-specific emotions

125Friday 18 November 11

Whether the neural basis of emotional appraisal of music is

innate or rather acquired through enculturation is subject

to ongoing discussion

Peretz and Sloboda 2005

126Friday 18 November 11

Nature vs NurtureProblem

127Friday 18 November 11

Howeverrecognition of emotions appears independent of musical

training

howhellipfamily environment possibly

128Friday 18 November 11

Recognising from Experiencing musical emotion is different

129Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

Psy and Instrumental Performance

bull Performance is socially definedbull Its nature is constantly changingbull There are different situations of

performances Formal Less Informal Public or not

35Friday 18 November 11

Psy and Instrumental Performance

bull Key element of performance is communication (with audience + fellow musicians)

36Friday 18 November 11

Psy and Instrumental Performance

- Representation and performance plan

- Practising

Sight Reading- Relation to musical structure

- Kinaesthetic memory

Motor Processes in Performance

- Theories of motor skills- Expressive movements

Measurements of performance

Models of music performance

- Based on measurements or intuitions

Physical factors in performance- Medical problems

- Stress factors

Psychological and Social Factors

- Development- Personality

- Music as occupation

ImprovisationPerformance

Evaluation - Feedback in Performance

in Gabrielsson 1999 2003

Performance Planning

37Friday 18 November 11

Gabrielsson 2003

bull ldquoHow to form mental representations of the music devise performance plans and strategies for efficient practicerdquo

Performance Planning

What is

38Friday 18 November 11

Performance Planning

bull Conception of feelings and emotionsbull Meanings narratives and movements

(imagined and real) related to the music performed

39Friday 18 November 11

Performance Planning

bull What musicians and researchers focus on in planning performance (consciously or

unconsciouslyhellip)

40Friday 18 November 11

Performance Planning

bull Deep vs Surface learning approachbull Reading times - Reaction times

indicating cognitive engagementbull Low - Mid - High - level planning

strategies

41Friday 18 November 11

Performance Planning

Low Level

Mid Level

High Level

trial-and-errorsight reading

speed alterationchunking

linking of elements

interpretationpatterningprioritisingmonitoring

42Friday 18 November 11

Performance Planning

bull Practice of Performance bull Different from Planningalthough

interconnectedbull macro- and micro- levelsbull mental vs practical aspects

43Friday 18 November 11

Practice

bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason)bull Versatile Learners (most musicianshellip)

Types of Musicians Practising

44Friday 18 November 11

Practice

bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason) thought

to be together but not

Types of Musicians Practising

45Friday 18 November 11

Prof Musiciansrsquo Practice

Deliberate Practice

46Friday 18 November 11

Deliberate Practice

bull For professional musicians is crucial

Carefully structured activities

in order to improve performance

High Motivation

Extended Effort

Full Attention

Favourable Environment

Support

47Friday 18 November 11

PracticeThe way experts practise

1Acquire an overview of the music (according to abilityinternal

aural representation)

2According to structure divide the piece into sections

3Subsectionssolving technical problems

4The more complex the music the smaller the chunks

5Units start to become larger as practice progress

6Hierarchical structure appears to develop

7Performance plans integrate to a coherent whole(guided

by musical considerations)

48Friday 18 November 11

49Friday 18 November 11

Psy And Music Education

bull Music is a universal trait of human kindbull Propensity for musical developmentbull This potential is universal as linguistic

ability

50Friday 18 November 11

The pianist example

Nature vs Nurture

51Friday 18 November 11

PSY and Music Education

While self-selection for musicianship by individuals with innate functional and structural

brain differences cannot be completely ruled out the evidence indicates that it is musical training

that leads to changes in brain function and structure

Schlaug 2003

52Friday 18 November 11

Training in Western Edu Comm

Teacher Student

Material Context

Jones 2005Biggs 19992007

Light and Cox 2009

53Friday 18 November 11

What is Learning

What is Teaching

54Friday 18 November 11

Learning

1960s-1970s Learning as lsquoproductrsquo or lsquoprocessrsquo

Product learning is a change in behaviour

Process Learning is a continuous developmental pathwhich hierarchically reflects knowledge growth and

understanding of the reality

55Friday 18 November 11

Teaching

(a) Teaching is transmission of knowledge (kurtrsquos template)

(b) Teaching is a facilitation process towards knowledge

construction

XWorldPlugInBrainBucketVTS_05_1VOBlnk

7

Pervasive Metaphor in Our Culture forLearningTeaching Conduit ndash Knowledge Is Made of Objects That We Give to Each Other

Lakoff amp Johnson Metaphors We Live By These ModelsMetaphors Ground Our Mental Life

Teaching as Pumping Knowledge into Student

8

Key Neuromyth or Brain ScamBrain Download Fallacy

Incorrect Metaphor

Positive Conclusion from NeuroscienceKnowledge Grows from Active ExperienceBrains Cannot Be Directly Filled with WorldKnowledge

Remarkable Plasticityfrom Neuroscience amp Genetics

56Friday 18 November 11

Education

bull Dynamics in teaching and learning are not linear and clearly settled in any way Thus we have a great variation of final Educational Concepts

57Friday 18 November 11

Education

Teaching and Learning Theories

Educational Concepts

58Friday 18 November 11

Important TampL Theories

bull The behaviouristbull The humanistbull The socialbull The cognitivebull The neo-cognitive

(stimulus-response)

(the concern with self)

(communities of practise)

(active process of knowledge construction)

(all the above together)

59Friday 18 November 11

Models of Learning-Tools for Teaching

bull Generated by the lsquoLearning Theoriesrsquobull 4 categories

60Friday 18 November 11

Information Processing Models

Inducampve13 ThinkingDevelopment13 of13 classificaampon13 skills13 hypothesis13 building13 and13 tesampng13 and13 understanding13 of13 how13 to13 build13 conceptual13 understanding13 of13 content13 areas

Concept13 Aainment Learning13 concepts13 and13 studying13 strategies13 for13 aaining13 and13 applying13 them13 Building13 and13 tesampng13 hypothesis

13 Scienampfic13 Inquiry Learning13 the13 research13 system13 of13 the13 academic13 disciplines13 ndash13 how13 knowledge13 is13 produced13 and13 organized

Inquiry13 Training Casual13 reasoning13 and13 understanding13 of13 how13 to13 collect13 informaampon13 build13 concepts13 and13 build13 and13 test13 hypotheses

13 Cogniampve13 Growth Increase13 general13 intellectual13 development13 and13 adjust13 instrucampon13 to13 facilitate13 intellectual13 growth

Advance13 Organizers Designed13 to13 increase13 ability13 to13 absorb13 informaampon13 and13 organize13 it13 especially13 in13 learning13 from13 lectures13 and13 readings

MnemonicsIncrease13 ability13 to13 acquire13 informaampon13 concepts13 conceptual13 systems13 and13 metacogniampve13 control13 of13 informaampon13 processing13 capability

Picture13 ndash13 Word13 Inducampve Learning13 to13 read13 and13 write13 inquiry13 into13 language

61Friday 18 November 11

Social Family of Models

Group13 InvesampgaamponDevelopment13 of13 skills13 for13 parampcipaampon13 in13 democraampc13 process13 Simultaneously13 emphasises13 social13 development13 academic13 skills13 and13 personal13 understanding

Social13 Inquiry Social13 problem13 solving13 through13 collecampve13 academic13 study13 and13 logical13 reasoning

Jurisprudenampal13 InquiryAnalysis13 of13 policy13 issues13 through13 a13 jurisprudenampal13 framework13 Collecampon13 of13 data13 analysis13 of13 value13 quesampons13 and13 posiampons13 study13 of13 personal13 beliefs

Laboratory13 Method Understanding13 of13 group13 dynamics13 leadership13 understanding13 of13 personal13 styles

Role13 Playing Study13 of13 values13 and13 their13 role13 in13 social13 interacampon13 Personal13 understanding13 of13 values13 and13 behaviour

Posiampve13 Interdependence Development13 of13 interdependent13 strategies13 of13 social13 interacampon13 Understanding13 of13 self13 ndash13 other13 relaamponships13 and13 emoampons

Structured13 Social13 Inquiry Academic13 inquiry13 and13 social13 and13 personal13 development13 Cooperaampve13 strategies13 for13 approaching13 academic13 study

62Friday 18 November 11

Personal Family of Models

Nondirecampve13 Teaching Building13 capacity13 for13 personal13 development13 self13 ndash13 understanding13 autonomy13 and13 esteem13 of13 self

13 Awareness13 TrainingIncreasing13 self13 ndash13 understanding13 self13 ndash13 esteem13 and13 capacity13 for13 exploraampon13 Development13 of13 interpersonal13 sensiampvity13 and13 empathy

Classroom13 Meeampng Development13 of13 self13 ndash13 understanding13 and13 responsibility13 to13 self13 and13 others

Self13 ndash13 Actualisaampon Development13 of13 personal13 understanding13 and13 capacity13 for13 development

Conceptual13 Systems Increasing13 personal13 complexity13 and13 flexibility13 in13 processing13 informaampon13 and13 interacampng13 with13 others

63Friday 18 November 11

Behavioural systems Family of Models

Social13 Learning

Management13 of13 behaviour13 Learning13 new13 paerns13 of13 behaviour13

reducing13 phobic13 and13 other13 dysfuncamponal13 paerns13 learning13 self13 ndash13

control

Mastery13 Learning Mastery13 of13 academic13 skills13 and13 content13 of13 all13 types

Programmed13 Learning Mastery13 of13 skills13 concepts13 factual13 informaampon

SimulaamponMastery13 of13 complex13 skills13 and13 concepts13 in13 a13 wide13 range13 of13 areas13

of13 study

Direct13 TeachingMastery13 of13 academic13 content13 and13 skills13 in13 a13 wide13 range13 of13 areas13

of13 study

Anxiety13 Reducampon

Control13 over13 aversive13 reacampons13 Applicaampons13 in13 treatment13 and13

self13 ndash13 treatment13 of13 avoidance13 and13 dysfuncamponal13 paerns13 of13

response

64Friday 18 November 11

1st Musical Example

65Friday 18 November 11

2nd Musical Example

66Friday 18 November 11

Why is it important to Know

bull You can handle better your own education and practice (constructional approach vs behavioural approach)

bull Different professional exit points - but

bull Will need to employ variations of the above

bull Knowingpotential for greater achievement

67Friday 18 November 11

Psy and Music Education

Group Discussion

How would you approach a lesson if were a teacher

68Friday 18 November 11

69Friday 18 November 11

In Music Psychology

bull Compositionbull Improvisationbull Aestheticsbull Creativity

70Friday 18 November 11

The Psychology of Composition

In its discussionsldquoquestions fundamental assumptions

about the nature and role of musical activity and the

musical artefactrdquo

Impett 2009 p403

71Friday 18 November 11

The Psychology of Composition

It is not widely researched

ldquoLeast studied least understood of all musical artefactsrdquo

Sloboda 1985

ldquoLittle progress has been made in understanding composition per serdquo

Brown 2003

72Friday 18 November 11

The Psychology of Composition

What is Composition in terms of Psychology

73Friday 18 November 11

The Psychology of Composition

Composition (organisation of musical sound) could be seen as a process of self-reflection

from where self-expression derives

74Friday 18 November 11

The Psychology of Composition

ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated

expression the conscious embodiment of psychological

statesrdquo

Impett 2009

75Friday 18 November 11

Composition Psychology

76Friday 18 November 11

Composition Psychology

Creativity

77Friday 18 November 11

How could we perceive Composition

78Friday 18 November 11

Composition

it is a lsquoDiscussion of Mindsrsquo

Composer + Performer + Audience

79Friday 18 November 11

The Psychology of Composition

ldquoAlthough Composition to some degree is innateit is a product of a

situated processrdquo

Impett 2009

80Friday 18 November 11

Composition

a Process

whichby itself is in some sense creative

81Friday 18 November 11

Composition

In this ProcesshellipMetaphors and Imagination come into play

where personal aesthetics concepts and innovation (for example) shape the outcome

82Friday 18 November 11

The Psychology of Composition

based on the aforementionedSome fundamental principles exist

eg rhythm perception tonal perception

83Friday 18 November 11

The Psychology of Composition

Howevera precise nature for a personsrsquos psychology of

composition seems to be a highly individual question

84Friday 18 November 11

85Friday 18 November 11

Improvisation and Psychology

Studying Improvisation and its psychological aspect might provide

further insight into Composition

Why

86Friday 18 November 11

Improvisation and Psychology

ldquoUnlike musical composition which can be mostly construed as a more-or-

less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the

human bodyrdquo

Ashley 2009

87Friday 18 November 11

To Improvisehellipis

to produce music (composing) audibly

and in real time

88Friday 18 November 11

Improvisation and Psychology

bull Psychology of Musical Performance (eg motor behaviourhellip)

bull Pitch

bull Tone (perception)

bull and othersapproaching

deeper lsquocreativityrsquo

come altogether and in real time into play

89Friday 18 November 11

improvisation and Psychology

bull Learningbull Teachingbull Cognitionbull Society

lsquoCreativityrsquois further connected with

90Friday 18 November 11

Teaching and Learning

Perception

Instrumental Performance Composition-Improvisation

Psychology of Music

91Friday 18 November 11

end of part II92Friday 18 November 11

Music And Neuroscience

1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning

2) Knowledge acquisition is governed by factors that are not

fully under conscious control and can hardly be influenced

externally (Roth 2006)

93Friday 18 November 11

However we try to understand this lsquoknowledge acquisitionrsquo

frameworkand this is where Neuroscience comes into Music

(performance teaching learninghellip)

94Friday 18 November 11

What is Neuroscience

bull Neuroscience is this science which studies the Brain

bull This is where new experiences and knowledge are processed by interconnected Neurons which

become activated when a sensorial input is perceived

95Friday 18 November 11

How the Brain looks like

96Friday 18 November 11

97Friday 18 November 11

98Friday 18 November 11

lsquoBrain Voyagerrsquo Pictures

99Friday 18 November 11

bull The structure of the brain alters continuously

throughout our lives

bull This happens via experiences stimuli studies a walk in the parkby playing a musical

instrument

100Friday 18 November 11

The change of the brain structure we call it - Plasticity -

lsquoexperience-driven brain plasticityrsquo

101Friday 18 November 11

Why is it important to know about lsquoPlasticityrsquo

By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos

saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political

version of schooling

102Friday 18 November 11

A bit of History

ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt

almost 5000 years agohelliprdquo

Minagar Ragheb and Kelley 2003

103Friday 18 November 11

A Musical Fact

We know that evidence of music has been confirmed in every civilisation

throughout history

Chailley 1964

104Friday 18 November 11

Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology

(egGardner 1983)

Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful

musical experience

105Friday 18 November 11

History of Neuroscience in Music

One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)

106Friday 18 November 11

Supporting Areas

bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology

107Friday 18 November 11

Ways (Tools) of neuroscientific Rsc

bullMagnetic Resonance Imaging (MRI)

bullfunctional MRI

bullElectroencephalography (EEG)

bullEvent Related Potentials (ERPs)

bullTranscranial magnetic Stimulation (TMS)

bullMagnetoencephalography (MEG)

bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target

108Friday 18 November 11

Research Areas in Music

bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors

109Friday 18 November 11

Perception and Cognition -Musical Performance

Your Opinionhellip

Group Discussion

110Friday 18 November 11

Perception in Meuromusic

Perception (in music) is based on the sensory information that is

gathered by the brain regarding onersquos external and internal

environment

111Friday 18 November 11

Perception in Neuromusic

PitchRhythm

112Friday 18 November 11

We donrsquot know yet wether musical cognition and perception is

(a) specifically localised to distinct neural networks

(b) made up of shared neural networks that are associated with other brain processes

(c) a bit of both

113Friday 18 November 11

Musical Performance

Motor Learning and Instrumental Training

the act of making music is physically

intensivea pianist may bimanually

coordinate and lsquoscrutinisersquo up to 1800 notes per minute

114Friday 18 November 11

Musical Performance

3 parts of the brain are involved

bullthe sensorimotor cortex (interpretation of stimuli control of muscles)

bullthe basal ganglia (muscles in cooperative functions)

bullthe cerebellum (fine-tuning of motor movements stores motor patterns)

115Friday 18 November 11

Growth and Development proceed from general to specific

116Friday 18 November 11

Musicians appear to process new incoming stimuli more effectively

compared to non-musicians

117Friday 18 November 11

Meaning

if you practise more your brain learns to work more effectively

118Friday 18 November 11

lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop

brain cells and neurons

makes us even more effective

119Friday 18 November 11

It is evident that musicians have different brain structure than

non-musiciansAmunts et al 1997Schlaug et al 1995b

enhanced if training has started earlier in life

120Friday 18 November 11

For musical training there is this concept of lsquodeliberate practicersquo

motivation resources and attention determine the amount and quality of practice undertaken

121Friday 18 November 11

In Neuroscience scientists uncovered evidence showing a close association

between practice and expertisehellip

hours of deliberate practice

level of expertise

Lehmann and Gruber 2006

122Friday 18 November 11

implications to Musical performance and Training

1How to practise is best learned by practising

2Start early but not to early with playing an instrument

3Breaks and sleep is essential for motor learning and memory

4Use the human lsquomirror systemrsquo

123Friday 18 November 11

Examples of practisinghellip

124Friday 18 November 11

Neuroscience and Emotion in Music

Largely overlapping networks required for the processing of both

general and music-specific emotions

125Friday 18 November 11

Whether the neural basis of emotional appraisal of music is

innate or rather acquired through enculturation is subject

to ongoing discussion

Peretz and Sloboda 2005

126Friday 18 November 11

Nature vs NurtureProblem

127Friday 18 November 11

Howeverrecognition of emotions appears independent of musical

training

howhellipfamily environment possibly

128Friday 18 November 11

Recognising from Experiencing musical emotion is different

129Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

Psy and Instrumental Performance

bull Key element of performance is communication (with audience + fellow musicians)

36Friday 18 November 11

Psy and Instrumental Performance

- Representation and performance plan

- Practising

Sight Reading- Relation to musical structure

- Kinaesthetic memory

Motor Processes in Performance

- Theories of motor skills- Expressive movements

Measurements of performance

Models of music performance

- Based on measurements or intuitions

Physical factors in performance- Medical problems

- Stress factors

Psychological and Social Factors

- Development- Personality

- Music as occupation

ImprovisationPerformance

Evaluation - Feedback in Performance

in Gabrielsson 1999 2003

Performance Planning

37Friday 18 November 11

Gabrielsson 2003

bull ldquoHow to form mental representations of the music devise performance plans and strategies for efficient practicerdquo

Performance Planning

What is

38Friday 18 November 11

Performance Planning

bull Conception of feelings and emotionsbull Meanings narratives and movements

(imagined and real) related to the music performed

39Friday 18 November 11

Performance Planning

bull What musicians and researchers focus on in planning performance (consciously or

unconsciouslyhellip)

40Friday 18 November 11

Performance Planning

bull Deep vs Surface learning approachbull Reading times - Reaction times

indicating cognitive engagementbull Low - Mid - High - level planning

strategies

41Friday 18 November 11

Performance Planning

Low Level

Mid Level

High Level

trial-and-errorsight reading

speed alterationchunking

linking of elements

interpretationpatterningprioritisingmonitoring

42Friday 18 November 11

Performance Planning

bull Practice of Performance bull Different from Planningalthough

interconnectedbull macro- and micro- levelsbull mental vs practical aspects

43Friday 18 November 11

Practice

bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason)bull Versatile Learners (most musicianshellip)

Types of Musicians Practising

44Friday 18 November 11

Practice

bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason) thought

to be together but not

Types of Musicians Practising

45Friday 18 November 11

Prof Musiciansrsquo Practice

Deliberate Practice

46Friday 18 November 11

Deliberate Practice

bull For professional musicians is crucial

Carefully structured activities

in order to improve performance

High Motivation

Extended Effort

Full Attention

Favourable Environment

Support

47Friday 18 November 11

PracticeThe way experts practise

1Acquire an overview of the music (according to abilityinternal

aural representation)

2According to structure divide the piece into sections

3Subsectionssolving technical problems

4The more complex the music the smaller the chunks

5Units start to become larger as practice progress

6Hierarchical structure appears to develop

7Performance plans integrate to a coherent whole(guided

by musical considerations)

48Friday 18 November 11

49Friday 18 November 11

Psy And Music Education

bull Music is a universal trait of human kindbull Propensity for musical developmentbull This potential is universal as linguistic

ability

50Friday 18 November 11

The pianist example

Nature vs Nurture

51Friday 18 November 11

PSY and Music Education

While self-selection for musicianship by individuals with innate functional and structural

brain differences cannot be completely ruled out the evidence indicates that it is musical training

that leads to changes in brain function and structure

Schlaug 2003

52Friday 18 November 11

Training in Western Edu Comm

Teacher Student

Material Context

Jones 2005Biggs 19992007

Light and Cox 2009

53Friday 18 November 11

What is Learning

What is Teaching

54Friday 18 November 11

Learning

1960s-1970s Learning as lsquoproductrsquo or lsquoprocessrsquo

Product learning is a change in behaviour

Process Learning is a continuous developmental pathwhich hierarchically reflects knowledge growth and

understanding of the reality

55Friday 18 November 11

Teaching

(a) Teaching is transmission of knowledge (kurtrsquos template)

(b) Teaching is a facilitation process towards knowledge

construction

XWorldPlugInBrainBucketVTS_05_1VOBlnk

7

Pervasive Metaphor in Our Culture forLearningTeaching Conduit ndash Knowledge Is Made of Objects That We Give to Each Other

Lakoff amp Johnson Metaphors We Live By These ModelsMetaphors Ground Our Mental Life

Teaching as Pumping Knowledge into Student

8

Key Neuromyth or Brain ScamBrain Download Fallacy

Incorrect Metaphor

Positive Conclusion from NeuroscienceKnowledge Grows from Active ExperienceBrains Cannot Be Directly Filled with WorldKnowledge

Remarkable Plasticityfrom Neuroscience amp Genetics

56Friday 18 November 11

Education

bull Dynamics in teaching and learning are not linear and clearly settled in any way Thus we have a great variation of final Educational Concepts

57Friday 18 November 11

Education

Teaching and Learning Theories

Educational Concepts

58Friday 18 November 11

Important TampL Theories

bull The behaviouristbull The humanistbull The socialbull The cognitivebull The neo-cognitive

(stimulus-response)

(the concern with self)

(communities of practise)

(active process of knowledge construction)

(all the above together)

59Friday 18 November 11

Models of Learning-Tools for Teaching

bull Generated by the lsquoLearning Theoriesrsquobull 4 categories

60Friday 18 November 11

Information Processing Models

Inducampve13 ThinkingDevelopment13 of13 classificaampon13 skills13 hypothesis13 building13 and13 tesampng13 and13 understanding13 of13 how13 to13 build13 conceptual13 understanding13 of13 content13 areas

Concept13 Aainment Learning13 concepts13 and13 studying13 strategies13 for13 aaining13 and13 applying13 them13 Building13 and13 tesampng13 hypothesis

13 Scienampfic13 Inquiry Learning13 the13 research13 system13 of13 the13 academic13 disciplines13 ndash13 how13 knowledge13 is13 produced13 and13 organized

Inquiry13 Training Casual13 reasoning13 and13 understanding13 of13 how13 to13 collect13 informaampon13 build13 concepts13 and13 build13 and13 test13 hypotheses

13 Cogniampve13 Growth Increase13 general13 intellectual13 development13 and13 adjust13 instrucampon13 to13 facilitate13 intellectual13 growth

Advance13 Organizers Designed13 to13 increase13 ability13 to13 absorb13 informaampon13 and13 organize13 it13 especially13 in13 learning13 from13 lectures13 and13 readings

MnemonicsIncrease13 ability13 to13 acquire13 informaampon13 concepts13 conceptual13 systems13 and13 metacogniampve13 control13 of13 informaampon13 processing13 capability

Picture13 ndash13 Word13 Inducampve Learning13 to13 read13 and13 write13 inquiry13 into13 language

61Friday 18 November 11

Social Family of Models

Group13 InvesampgaamponDevelopment13 of13 skills13 for13 parampcipaampon13 in13 democraampc13 process13 Simultaneously13 emphasises13 social13 development13 academic13 skills13 and13 personal13 understanding

Social13 Inquiry Social13 problem13 solving13 through13 collecampve13 academic13 study13 and13 logical13 reasoning

Jurisprudenampal13 InquiryAnalysis13 of13 policy13 issues13 through13 a13 jurisprudenampal13 framework13 Collecampon13 of13 data13 analysis13 of13 value13 quesampons13 and13 posiampons13 study13 of13 personal13 beliefs

Laboratory13 Method Understanding13 of13 group13 dynamics13 leadership13 understanding13 of13 personal13 styles

Role13 Playing Study13 of13 values13 and13 their13 role13 in13 social13 interacampon13 Personal13 understanding13 of13 values13 and13 behaviour

Posiampve13 Interdependence Development13 of13 interdependent13 strategies13 of13 social13 interacampon13 Understanding13 of13 self13 ndash13 other13 relaamponships13 and13 emoampons

Structured13 Social13 Inquiry Academic13 inquiry13 and13 social13 and13 personal13 development13 Cooperaampve13 strategies13 for13 approaching13 academic13 study

62Friday 18 November 11

Personal Family of Models

Nondirecampve13 Teaching Building13 capacity13 for13 personal13 development13 self13 ndash13 understanding13 autonomy13 and13 esteem13 of13 self

13 Awareness13 TrainingIncreasing13 self13 ndash13 understanding13 self13 ndash13 esteem13 and13 capacity13 for13 exploraampon13 Development13 of13 interpersonal13 sensiampvity13 and13 empathy

Classroom13 Meeampng Development13 of13 self13 ndash13 understanding13 and13 responsibility13 to13 self13 and13 others

Self13 ndash13 Actualisaampon Development13 of13 personal13 understanding13 and13 capacity13 for13 development

Conceptual13 Systems Increasing13 personal13 complexity13 and13 flexibility13 in13 processing13 informaampon13 and13 interacampng13 with13 others

63Friday 18 November 11

Behavioural systems Family of Models

Social13 Learning

Management13 of13 behaviour13 Learning13 new13 paerns13 of13 behaviour13

reducing13 phobic13 and13 other13 dysfuncamponal13 paerns13 learning13 self13 ndash13

control

Mastery13 Learning Mastery13 of13 academic13 skills13 and13 content13 of13 all13 types

Programmed13 Learning Mastery13 of13 skills13 concepts13 factual13 informaampon

SimulaamponMastery13 of13 complex13 skills13 and13 concepts13 in13 a13 wide13 range13 of13 areas13

of13 study

Direct13 TeachingMastery13 of13 academic13 content13 and13 skills13 in13 a13 wide13 range13 of13 areas13

of13 study

Anxiety13 Reducampon

Control13 over13 aversive13 reacampons13 Applicaampons13 in13 treatment13 and13

self13 ndash13 treatment13 of13 avoidance13 and13 dysfuncamponal13 paerns13 of13

response

64Friday 18 November 11

1st Musical Example

65Friday 18 November 11

2nd Musical Example

66Friday 18 November 11

Why is it important to Know

bull You can handle better your own education and practice (constructional approach vs behavioural approach)

bull Different professional exit points - but

bull Will need to employ variations of the above

bull Knowingpotential for greater achievement

67Friday 18 November 11

Psy and Music Education

Group Discussion

How would you approach a lesson if were a teacher

68Friday 18 November 11

69Friday 18 November 11

In Music Psychology

bull Compositionbull Improvisationbull Aestheticsbull Creativity

70Friday 18 November 11

The Psychology of Composition

In its discussionsldquoquestions fundamental assumptions

about the nature and role of musical activity and the

musical artefactrdquo

Impett 2009 p403

71Friday 18 November 11

The Psychology of Composition

It is not widely researched

ldquoLeast studied least understood of all musical artefactsrdquo

Sloboda 1985

ldquoLittle progress has been made in understanding composition per serdquo

Brown 2003

72Friday 18 November 11

The Psychology of Composition

What is Composition in terms of Psychology

73Friday 18 November 11

The Psychology of Composition

Composition (organisation of musical sound) could be seen as a process of self-reflection

from where self-expression derives

74Friday 18 November 11

The Psychology of Composition

ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated

expression the conscious embodiment of psychological

statesrdquo

Impett 2009

75Friday 18 November 11

Composition Psychology

76Friday 18 November 11

Composition Psychology

Creativity

77Friday 18 November 11

How could we perceive Composition

78Friday 18 November 11

Composition

it is a lsquoDiscussion of Mindsrsquo

Composer + Performer + Audience

79Friday 18 November 11

The Psychology of Composition

ldquoAlthough Composition to some degree is innateit is a product of a

situated processrdquo

Impett 2009

80Friday 18 November 11

Composition

a Process

whichby itself is in some sense creative

81Friday 18 November 11

Composition

In this ProcesshellipMetaphors and Imagination come into play

where personal aesthetics concepts and innovation (for example) shape the outcome

82Friday 18 November 11

The Psychology of Composition

based on the aforementionedSome fundamental principles exist

eg rhythm perception tonal perception

83Friday 18 November 11

The Psychology of Composition

Howevera precise nature for a personsrsquos psychology of

composition seems to be a highly individual question

84Friday 18 November 11

85Friday 18 November 11

Improvisation and Psychology

Studying Improvisation and its psychological aspect might provide

further insight into Composition

Why

86Friday 18 November 11

Improvisation and Psychology

ldquoUnlike musical composition which can be mostly construed as a more-or-

less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the

human bodyrdquo

Ashley 2009

87Friday 18 November 11

To Improvisehellipis

to produce music (composing) audibly

and in real time

88Friday 18 November 11

Improvisation and Psychology

bull Psychology of Musical Performance (eg motor behaviourhellip)

bull Pitch

bull Tone (perception)

bull and othersapproaching

deeper lsquocreativityrsquo

come altogether and in real time into play

89Friday 18 November 11

improvisation and Psychology

bull Learningbull Teachingbull Cognitionbull Society

lsquoCreativityrsquois further connected with

90Friday 18 November 11

Teaching and Learning

Perception

Instrumental Performance Composition-Improvisation

Psychology of Music

91Friday 18 November 11

end of part II92Friday 18 November 11

Music And Neuroscience

1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning

2) Knowledge acquisition is governed by factors that are not

fully under conscious control and can hardly be influenced

externally (Roth 2006)

93Friday 18 November 11

However we try to understand this lsquoknowledge acquisitionrsquo

frameworkand this is where Neuroscience comes into Music

(performance teaching learninghellip)

94Friday 18 November 11

What is Neuroscience

bull Neuroscience is this science which studies the Brain

bull This is where new experiences and knowledge are processed by interconnected Neurons which

become activated when a sensorial input is perceived

95Friday 18 November 11

How the Brain looks like

96Friday 18 November 11

97Friday 18 November 11

98Friday 18 November 11

lsquoBrain Voyagerrsquo Pictures

99Friday 18 November 11

bull The structure of the brain alters continuously

throughout our lives

bull This happens via experiences stimuli studies a walk in the parkby playing a musical

instrument

100Friday 18 November 11

The change of the brain structure we call it - Plasticity -

lsquoexperience-driven brain plasticityrsquo

101Friday 18 November 11

Why is it important to know about lsquoPlasticityrsquo

By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos

saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political

version of schooling

102Friday 18 November 11

A bit of History

ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt

almost 5000 years agohelliprdquo

Minagar Ragheb and Kelley 2003

103Friday 18 November 11

A Musical Fact

We know that evidence of music has been confirmed in every civilisation

throughout history

Chailley 1964

104Friday 18 November 11

Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology

(egGardner 1983)

Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful

musical experience

105Friday 18 November 11

History of Neuroscience in Music

One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)

106Friday 18 November 11

Supporting Areas

bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology

107Friday 18 November 11

Ways (Tools) of neuroscientific Rsc

bullMagnetic Resonance Imaging (MRI)

bullfunctional MRI

bullElectroencephalography (EEG)

bullEvent Related Potentials (ERPs)

bullTranscranial magnetic Stimulation (TMS)

bullMagnetoencephalography (MEG)

bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target

108Friday 18 November 11

Research Areas in Music

bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors

109Friday 18 November 11

Perception and Cognition -Musical Performance

Your Opinionhellip

Group Discussion

110Friday 18 November 11

Perception in Meuromusic

Perception (in music) is based on the sensory information that is

gathered by the brain regarding onersquos external and internal

environment

111Friday 18 November 11

Perception in Neuromusic

PitchRhythm

112Friday 18 November 11

We donrsquot know yet wether musical cognition and perception is

(a) specifically localised to distinct neural networks

(b) made up of shared neural networks that are associated with other brain processes

(c) a bit of both

113Friday 18 November 11

Musical Performance

Motor Learning and Instrumental Training

the act of making music is physically

intensivea pianist may bimanually

coordinate and lsquoscrutinisersquo up to 1800 notes per minute

114Friday 18 November 11

Musical Performance

3 parts of the brain are involved

bullthe sensorimotor cortex (interpretation of stimuli control of muscles)

bullthe basal ganglia (muscles in cooperative functions)

bullthe cerebellum (fine-tuning of motor movements stores motor patterns)

115Friday 18 November 11

Growth and Development proceed from general to specific

116Friday 18 November 11

Musicians appear to process new incoming stimuli more effectively

compared to non-musicians

117Friday 18 November 11

Meaning

if you practise more your brain learns to work more effectively

118Friday 18 November 11

lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop

brain cells and neurons

makes us even more effective

119Friday 18 November 11

It is evident that musicians have different brain structure than

non-musiciansAmunts et al 1997Schlaug et al 1995b

enhanced if training has started earlier in life

120Friday 18 November 11

For musical training there is this concept of lsquodeliberate practicersquo

motivation resources and attention determine the amount and quality of practice undertaken

121Friday 18 November 11

In Neuroscience scientists uncovered evidence showing a close association

between practice and expertisehellip

hours of deliberate practice

level of expertise

Lehmann and Gruber 2006

122Friday 18 November 11

implications to Musical performance and Training

1How to practise is best learned by practising

2Start early but not to early with playing an instrument

3Breaks and sleep is essential for motor learning and memory

4Use the human lsquomirror systemrsquo

123Friday 18 November 11

Examples of practisinghellip

124Friday 18 November 11

Neuroscience and Emotion in Music

Largely overlapping networks required for the processing of both

general and music-specific emotions

125Friday 18 November 11

Whether the neural basis of emotional appraisal of music is

innate or rather acquired through enculturation is subject

to ongoing discussion

Peretz and Sloboda 2005

126Friday 18 November 11

Nature vs NurtureProblem

127Friday 18 November 11

Howeverrecognition of emotions appears independent of musical

training

howhellipfamily environment possibly

128Friday 18 November 11

Recognising from Experiencing musical emotion is different

129Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

Psy and Instrumental Performance

- Representation and performance plan

- Practising

Sight Reading- Relation to musical structure

- Kinaesthetic memory

Motor Processes in Performance

- Theories of motor skills- Expressive movements

Measurements of performance

Models of music performance

- Based on measurements or intuitions

Physical factors in performance- Medical problems

- Stress factors

Psychological and Social Factors

- Development- Personality

- Music as occupation

ImprovisationPerformance

Evaluation - Feedback in Performance

in Gabrielsson 1999 2003

Performance Planning

37Friday 18 November 11

Gabrielsson 2003

bull ldquoHow to form mental representations of the music devise performance plans and strategies for efficient practicerdquo

Performance Planning

What is

38Friday 18 November 11

Performance Planning

bull Conception of feelings and emotionsbull Meanings narratives and movements

(imagined and real) related to the music performed

39Friday 18 November 11

Performance Planning

bull What musicians and researchers focus on in planning performance (consciously or

unconsciouslyhellip)

40Friday 18 November 11

Performance Planning

bull Deep vs Surface learning approachbull Reading times - Reaction times

indicating cognitive engagementbull Low - Mid - High - level planning

strategies

41Friday 18 November 11

Performance Planning

Low Level

Mid Level

High Level

trial-and-errorsight reading

speed alterationchunking

linking of elements

interpretationpatterningprioritisingmonitoring

42Friday 18 November 11

Performance Planning

bull Practice of Performance bull Different from Planningalthough

interconnectedbull macro- and micro- levelsbull mental vs practical aspects

43Friday 18 November 11

Practice

bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason)bull Versatile Learners (most musicianshellip)

Types of Musicians Practising

44Friday 18 November 11

Practice

bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason) thought

to be together but not

Types of Musicians Practising

45Friday 18 November 11

Prof Musiciansrsquo Practice

Deliberate Practice

46Friday 18 November 11

Deliberate Practice

bull For professional musicians is crucial

Carefully structured activities

in order to improve performance

High Motivation

Extended Effort

Full Attention

Favourable Environment

Support

47Friday 18 November 11

PracticeThe way experts practise

1Acquire an overview of the music (according to abilityinternal

aural representation)

2According to structure divide the piece into sections

3Subsectionssolving technical problems

4The more complex the music the smaller the chunks

5Units start to become larger as practice progress

6Hierarchical structure appears to develop

7Performance plans integrate to a coherent whole(guided

by musical considerations)

48Friday 18 November 11

49Friday 18 November 11

Psy And Music Education

bull Music is a universal trait of human kindbull Propensity for musical developmentbull This potential is universal as linguistic

ability

50Friday 18 November 11

The pianist example

Nature vs Nurture

51Friday 18 November 11

PSY and Music Education

While self-selection for musicianship by individuals with innate functional and structural

brain differences cannot be completely ruled out the evidence indicates that it is musical training

that leads to changes in brain function and structure

Schlaug 2003

52Friday 18 November 11

Training in Western Edu Comm

Teacher Student

Material Context

Jones 2005Biggs 19992007

Light and Cox 2009

53Friday 18 November 11

What is Learning

What is Teaching

54Friday 18 November 11

Learning

1960s-1970s Learning as lsquoproductrsquo or lsquoprocessrsquo

Product learning is a change in behaviour

Process Learning is a continuous developmental pathwhich hierarchically reflects knowledge growth and

understanding of the reality

55Friday 18 November 11

Teaching

(a) Teaching is transmission of knowledge (kurtrsquos template)

(b) Teaching is a facilitation process towards knowledge

construction

XWorldPlugInBrainBucketVTS_05_1VOBlnk

7

Pervasive Metaphor in Our Culture forLearningTeaching Conduit ndash Knowledge Is Made of Objects That We Give to Each Other

Lakoff amp Johnson Metaphors We Live By These ModelsMetaphors Ground Our Mental Life

Teaching as Pumping Knowledge into Student

8

Key Neuromyth or Brain ScamBrain Download Fallacy

Incorrect Metaphor

Positive Conclusion from NeuroscienceKnowledge Grows from Active ExperienceBrains Cannot Be Directly Filled with WorldKnowledge

Remarkable Plasticityfrom Neuroscience amp Genetics

56Friday 18 November 11

Education

bull Dynamics in teaching and learning are not linear and clearly settled in any way Thus we have a great variation of final Educational Concepts

57Friday 18 November 11

Education

Teaching and Learning Theories

Educational Concepts

58Friday 18 November 11

Important TampL Theories

bull The behaviouristbull The humanistbull The socialbull The cognitivebull The neo-cognitive

(stimulus-response)

(the concern with self)

(communities of practise)

(active process of knowledge construction)

(all the above together)

59Friday 18 November 11

Models of Learning-Tools for Teaching

bull Generated by the lsquoLearning Theoriesrsquobull 4 categories

60Friday 18 November 11

Information Processing Models

Inducampve13 ThinkingDevelopment13 of13 classificaampon13 skills13 hypothesis13 building13 and13 tesampng13 and13 understanding13 of13 how13 to13 build13 conceptual13 understanding13 of13 content13 areas

Concept13 Aainment Learning13 concepts13 and13 studying13 strategies13 for13 aaining13 and13 applying13 them13 Building13 and13 tesampng13 hypothesis

13 Scienampfic13 Inquiry Learning13 the13 research13 system13 of13 the13 academic13 disciplines13 ndash13 how13 knowledge13 is13 produced13 and13 organized

Inquiry13 Training Casual13 reasoning13 and13 understanding13 of13 how13 to13 collect13 informaampon13 build13 concepts13 and13 build13 and13 test13 hypotheses

13 Cogniampve13 Growth Increase13 general13 intellectual13 development13 and13 adjust13 instrucampon13 to13 facilitate13 intellectual13 growth

Advance13 Organizers Designed13 to13 increase13 ability13 to13 absorb13 informaampon13 and13 organize13 it13 especially13 in13 learning13 from13 lectures13 and13 readings

MnemonicsIncrease13 ability13 to13 acquire13 informaampon13 concepts13 conceptual13 systems13 and13 metacogniampve13 control13 of13 informaampon13 processing13 capability

Picture13 ndash13 Word13 Inducampve Learning13 to13 read13 and13 write13 inquiry13 into13 language

61Friday 18 November 11

Social Family of Models

Group13 InvesampgaamponDevelopment13 of13 skills13 for13 parampcipaampon13 in13 democraampc13 process13 Simultaneously13 emphasises13 social13 development13 academic13 skills13 and13 personal13 understanding

Social13 Inquiry Social13 problem13 solving13 through13 collecampve13 academic13 study13 and13 logical13 reasoning

Jurisprudenampal13 InquiryAnalysis13 of13 policy13 issues13 through13 a13 jurisprudenampal13 framework13 Collecampon13 of13 data13 analysis13 of13 value13 quesampons13 and13 posiampons13 study13 of13 personal13 beliefs

Laboratory13 Method Understanding13 of13 group13 dynamics13 leadership13 understanding13 of13 personal13 styles

Role13 Playing Study13 of13 values13 and13 their13 role13 in13 social13 interacampon13 Personal13 understanding13 of13 values13 and13 behaviour

Posiampve13 Interdependence Development13 of13 interdependent13 strategies13 of13 social13 interacampon13 Understanding13 of13 self13 ndash13 other13 relaamponships13 and13 emoampons

Structured13 Social13 Inquiry Academic13 inquiry13 and13 social13 and13 personal13 development13 Cooperaampve13 strategies13 for13 approaching13 academic13 study

62Friday 18 November 11

Personal Family of Models

Nondirecampve13 Teaching Building13 capacity13 for13 personal13 development13 self13 ndash13 understanding13 autonomy13 and13 esteem13 of13 self

13 Awareness13 TrainingIncreasing13 self13 ndash13 understanding13 self13 ndash13 esteem13 and13 capacity13 for13 exploraampon13 Development13 of13 interpersonal13 sensiampvity13 and13 empathy

Classroom13 Meeampng Development13 of13 self13 ndash13 understanding13 and13 responsibility13 to13 self13 and13 others

Self13 ndash13 Actualisaampon Development13 of13 personal13 understanding13 and13 capacity13 for13 development

Conceptual13 Systems Increasing13 personal13 complexity13 and13 flexibility13 in13 processing13 informaampon13 and13 interacampng13 with13 others

63Friday 18 November 11

Behavioural systems Family of Models

Social13 Learning

Management13 of13 behaviour13 Learning13 new13 paerns13 of13 behaviour13

reducing13 phobic13 and13 other13 dysfuncamponal13 paerns13 learning13 self13 ndash13

control

Mastery13 Learning Mastery13 of13 academic13 skills13 and13 content13 of13 all13 types

Programmed13 Learning Mastery13 of13 skills13 concepts13 factual13 informaampon

SimulaamponMastery13 of13 complex13 skills13 and13 concepts13 in13 a13 wide13 range13 of13 areas13

of13 study

Direct13 TeachingMastery13 of13 academic13 content13 and13 skills13 in13 a13 wide13 range13 of13 areas13

of13 study

Anxiety13 Reducampon

Control13 over13 aversive13 reacampons13 Applicaampons13 in13 treatment13 and13

self13 ndash13 treatment13 of13 avoidance13 and13 dysfuncamponal13 paerns13 of13

response

64Friday 18 November 11

1st Musical Example

65Friday 18 November 11

2nd Musical Example

66Friday 18 November 11

Why is it important to Know

bull You can handle better your own education and practice (constructional approach vs behavioural approach)

bull Different professional exit points - but

bull Will need to employ variations of the above

bull Knowingpotential for greater achievement

67Friday 18 November 11

Psy and Music Education

Group Discussion

How would you approach a lesson if were a teacher

68Friday 18 November 11

69Friday 18 November 11

In Music Psychology

bull Compositionbull Improvisationbull Aestheticsbull Creativity

70Friday 18 November 11

The Psychology of Composition

In its discussionsldquoquestions fundamental assumptions

about the nature and role of musical activity and the

musical artefactrdquo

Impett 2009 p403

71Friday 18 November 11

The Psychology of Composition

It is not widely researched

ldquoLeast studied least understood of all musical artefactsrdquo

Sloboda 1985

ldquoLittle progress has been made in understanding composition per serdquo

Brown 2003

72Friday 18 November 11

The Psychology of Composition

What is Composition in terms of Psychology

73Friday 18 November 11

The Psychology of Composition

Composition (organisation of musical sound) could be seen as a process of self-reflection

from where self-expression derives

74Friday 18 November 11

The Psychology of Composition

ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated

expression the conscious embodiment of psychological

statesrdquo

Impett 2009

75Friday 18 November 11

Composition Psychology

76Friday 18 November 11

Composition Psychology

Creativity

77Friday 18 November 11

How could we perceive Composition

78Friday 18 November 11

Composition

it is a lsquoDiscussion of Mindsrsquo

Composer + Performer + Audience

79Friday 18 November 11

The Psychology of Composition

ldquoAlthough Composition to some degree is innateit is a product of a

situated processrdquo

Impett 2009

80Friday 18 November 11

Composition

a Process

whichby itself is in some sense creative

81Friday 18 November 11

Composition

In this ProcesshellipMetaphors and Imagination come into play

where personal aesthetics concepts and innovation (for example) shape the outcome

82Friday 18 November 11

The Psychology of Composition

based on the aforementionedSome fundamental principles exist

eg rhythm perception tonal perception

83Friday 18 November 11

The Psychology of Composition

Howevera precise nature for a personsrsquos psychology of

composition seems to be a highly individual question

84Friday 18 November 11

85Friday 18 November 11

Improvisation and Psychology

Studying Improvisation and its psychological aspect might provide

further insight into Composition

Why

86Friday 18 November 11

Improvisation and Psychology

ldquoUnlike musical composition which can be mostly construed as a more-or-

less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the

human bodyrdquo

Ashley 2009

87Friday 18 November 11

To Improvisehellipis

to produce music (composing) audibly

and in real time

88Friday 18 November 11

Improvisation and Psychology

bull Psychology of Musical Performance (eg motor behaviourhellip)

bull Pitch

bull Tone (perception)

bull and othersapproaching

deeper lsquocreativityrsquo

come altogether and in real time into play

89Friday 18 November 11

improvisation and Psychology

bull Learningbull Teachingbull Cognitionbull Society

lsquoCreativityrsquois further connected with

90Friday 18 November 11

Teaching and Learning

Perception

Instrumental Performance Composition-Improvisation

Psychology of Music

91Friday 18 November 11

end of part II92Friday 18 November 11

Music And Neuroscience

1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning

2) Knowledge acquisition is governed by factors that are not

fully under conscious control and can hardly be influenced

externally (Roth 2006)

93Friday 18 November 11

However we try to understand this lsquoknowledge acquisitionrsquo

frameworkand this is where Neuroscience comes into Music

(performance teaching learninghellip)

94Friday 18 November 11

What is Neuroscience

bull Neuroscience is this science which studies the Brain

bull This is where new experiences and knowledge are processed by interconnected Neurons which

become activated when a sensorial input is perceived

95Friday 18 November 11

How the Brain looks like

96Friday 18 November 11

97Friday 18 November 11

98Friday 18 November 11

lsquoBrain Voyagerrsquo Pictures

99Friday 18 November 11

bull The structure of the brain alters continuously

throughout our lives

bull This happens via experiences stimuli studies a walk in the parkby playing a musical

instrument

100Friday 18 November 11

The change of the brain structure we call it - Plasticity -

lsquoexperience-driven brain plasticityrsquo

101Friday 18 November 11

Why is it important to know about lsquoPlasticityrsquo

By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos

saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political

version of schooling

102Friday 18 November 11

A bit of History

ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt

almost 5000 years agohelliprdquo

Minagar Ragheb and Kelley 2003

103Friday 18 November 11

A Musical Fact

We know that evidence of music has been confirmed in every civilisation

throughout history

Chailley 1964

104Friday 18 November 11

Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology

(egGardner 1983)

Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful

musical experience

105Friday 18 November 11

History of Neuroscience in Music

One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)

106Friday 18 November 11

Supporting Areas

bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology

107Friday 18 November 11

Ways (Tools) of neuroscientific Rsc

bullMagnetic Resonance Imaging (MRI)

bullfunctional MRI

bullElectroencephalography (EEG)

bullEvent Related Potentials (ERPs)

bullTranscranial magnetic Stimulation (TMS)

bullMagnetoencephalography (MEG)

bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target

108Friday 18 November 11

Research Areas in Music

bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors

109Friday 18 November 11

Perception and Cognition -Musical Performance

Your Opinionhellip

Group Discussion

110Friday 18 November 11

Perception in Meuromusic

Perception (in music) is based on the sensory information that is

gathered by the brain regarding onersquos external and internal

environment

111Friday 18 November 11

Perception in Neuromusic

PitchRhythm

112Friday 18 November 11

We donrsquot know yet wether musical cognition and perception is

(a) specifically localised to distinct neural networks

(b) made up of shared neural networks that are associated with other brain processes

(c) a bit of both

113Friday 18 November 11

Musical Performance

Motor Learning and Instrumental Training

the act of making music is physically

intensivea pianist may bimanually

coordinate and lsquoscrutinisersquo up to 1800 notes per minute

114Friday 18 November 11

Musical Performance

3 parts of the brain are involved

bullthe sensorimotor cortex (interpretation of stimuli control of muscles)

bullthe basal ganglia (muscles in cooperative functions)

bullthe cerebellum (fine-tuning of motor movements stores motor patterns)

115Friday 18 November 11

Growth and Development proceed from general to specific

116Friday 18 November 11

Musicians appear to process new incoming stimuli more effectively

compared to non-musicians

117Friday 18 November 11

Meaning

if you practise more your brain learns to work more effectively

118Friday 18 November 11

lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop

brain cells and neurons

makes us even more effective

119Friday 18 November 11

It is evident that musicians have different brain structure than

non-musiciansAmunts et al 1997Schlaug et al 1995b

enhanced if training has started earlier in life

120Friday 18 November 11

For musical training there is this concept of lsquodeliberate practicersquo

motivation resources and attention determine the amount and quality of practice undertaken

121Friday 18 November 11

In Neuroscience scientists uncovered evidence showing a close association

between practice and expertisehellip

hours of deliberate practice

level of expertise

Lehmann and Gruber 2006

122Friday 18 November 11

implications to Musical performance and Training

1How to practise is best learned by practising

2Start early but not to early with playing an instrument

3Breaks and sleep is essential for motor learning and memory

4Use the human lsquomirror systemrsquo

123Friday 18 November 11

Examples of practisinghellip

124Friday 18 November 11

Neuroscience and Emotion in Music

Largely overlapping networks required for the processing of both

general and music-specific emotions

125Friday 18 November 11

Whether the neural basis of emotional appraisal of music is

innate or rather acquired through enculturation is subject

to ongoing discussion

Peretz and Sloboda 2005

126Friday 18 November 11

Nature vs NurtureProblem

127Friday 18 November 11

Howeverrecognition of emotions appears independent of musical

training

howhellipfamily environment possibly

128Friday 18 November 11

Recognising from Experiencing musical emotion is different

129Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

Gabrielsson 2003

bull ldquoHow to form mental representations of the music devise performance plans and strategies for efficient practicerdquo

Performance Planning

What is

38Friday 18 November 11

Performance Planning

bull Conception of feelings and emotionsbull Meanings narratives and movements

(imagined and real) related to the music performed

39Friday 18 November 11

Performance Planning

bull What musicians and researchers focus on in planning performance (consciously or

unconsciouslyhellip)

40Friday 18 November 11

Performance Planning

bull Deep vs Surface learning approachbull Reading times - Reaction times

indicating cognitive engagementbull Low - Mid - High - level planning

strategies

41Friday 18 November 11

Performance Planning

Low Level

Mid Level

High Level

trial-and-errorsight reading

speed alterationchunking

linking of elements

interpretationpatterningprioritisingmonitoring

42Friday 18 November 11

Performance Planning

bull Practice of Performance bull Different from Planningalthough

interconnectedbull macro- and micro- levelsbull mental vs practical aspects

43Friday 18 November 11

Practice

bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason)bull Versatile Learners (most musicianshellip)

Types of Musicians Practising

44Friday 18 November 11

Practice

bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason) thought

to be together but not

Types of Musicians Practising

45Friday 18 November 11

Prof Musiciansrsquo Practice

Deliberate Practice

46Friday 18 November 11

Deliberate Practice

bull For professional musicians is crucial

Carefully structured activities

in order to improve performance

High Motivation

Extended Effort

Full Attention

Favourable Environment

Support

47Friday 18 November 11

PracticeThe way experts practise

1Acquire an overview of the music (according to abilityinternal

aural representation)

2According to structure divide the piece into sections

3Subsectionssolving technical problems

4The more complex the music the smaller the chunks

5Units start to become larger as practice progress

6Hierarchical structure appears to develop

7Performance plans integrate to a coherent whole(guided

by musical considerations)

48Friday 18 November 11

49Friday 18 November 11

Psy And Music Education

bull Music is a universal trait of human kindbull Propensity for musical developmentbull This potential is universal as linguistic

ability

50Friday 18 November 11

The pianist example

Nature vs Nurture

51Friday 18 November 11

PSY and Music Education

While self-selection for musicianship by individuals with innate functional and structural

brain differences cannot be completely ruled out the evidence indicates that it is musical training

that leads to changes in brain function and structure

Schlaug 2003

52Friday 18 November 11

Training in Western Edu Comm

Teacher Student

Material Context

Jones 2005Biggs 19992007

Light and Cox 2009

53Friday 18 November 11

What is Learning

What is Teaching

54Friday 18 November 11

Learning

1960s-1970s Learning as lsquoproductrsquo or lsquoprocessrsquo

Product learning is a change in behaviour

Process Learning is a continuous developmental pathwhich hierarchically reflects knowledge growth and

understanding of the reality

55Friday 18 November 11

Teaching

(a) Teaching is transmission of knowledge (kurtrsquos template)

(b) Teaching is a facilitation process towards knowledge

construction

XWorldPlugInBrainBucketVTS_05_1VOBlnk

7

Pervasive Metaphor in Our Culture forLearningTeaching Conduit ndash Knowledge Is Made of Objects That We Give to Each Other

Lakoff amp Johnson Metaphors We Live By These ModelsMetaphors Ground Our Mental Life

Teaching as Pumping Knowledge into Student

8

Key Neuromyth or Brain ScamBrain Download Fallacy

Incorrect Metaphor

Positive Conclusion from NeuroscienceKnowledge Grows from Active ExperienceBrains Cannot Be Directly Filled with WorldKnowledge

Remarkable Plasticityfrom Neuroscience amp Genetics

56Friday 18 November 11

Education

bull Dynamics in teaching and learning are not linear and clearly settled in any way Thus we have a great variation of final Educational Concepts

57Friday 18 November 11

Education

Teaching and Learning Theories

Educational Concepts

58Friday 18 November 11

Important TampL Theories

bull The behaviouristbull The humanistbull The socialbull The cognitivebull The neo-cognitive

(stimulus-response)

(the concern with self)

(communities of practise)

(active process of knowledge construction)

(all the above together)

59Friday 18 November 11

Models of Learning-Tools for Teaching

bull Generated by the lsquoLearning Theoriesrsquobull 4 categories

60Friday 18 November 11

Information Processing Models

Inducampve13 ThinkingDevelopment13 of13 classificaampon13 skills13 hypothesis13 building13 and13 tesampng13 and13 understanding13 of13 how13 to13 build13 conceptual13 understanding13 of13 content13 areas

Concept13 Aainment Learning13 concepts13 and13 studying13 strategies13 for13 aaining13 and13 applying13 them13 Building13 and13 tesampng13 hypothesis

13 Scienampfic13 Inquiry Learning13 the13 research13 system13 of13 the13 academic13 disciplines13 ndash13 how13 knowledge13 is13 produced13 and13 organized

Inquiry13 Training Casual13 reasoning13 and13 understanding13 of13 how13 to13 collect13 informaampon13 build13 concepts13 and13 build13 and13 test13 hypotheses

13 Cogniampve13 Growth Increase13 general13 intellectual13 development13 and13 adjust13 instrucampon13 to13 facilitate13 intellectual13 growth

Advance13 Organizers Designed13 to13 increase13 ability13 to13 absorb13 informaampon13 and13 organize13 it13 especially13 in13 learning13 from13 lectures13 and13 readings

MnemonicsIncrease13 ability13 to13 acquire13 informaampon13 concepts13 conceptual13 systems13 and13 metacogniampve13 control13 of13 informaampon13 processing13 capability

Picture13 ndash13 Word13 Inducampve Learning13 to13 read13 and13 write13 inquiry13 into13 language

61Friday 18 November 11

Social Family of Models

Group13 InvesampgaamponDevelopment13 of13 skills13 for13 parampcipaampon13 in13 democraampc13 process13 Simultaneously13 emphasises13 social13 development13 academic13 skills13 and13 personal13 understanding

Social13 Inquiry Social13 problem13 solving13 through13 collecampve13 academic13 study13 and13 logical13 reasoning

Jurisprudenampal13 InquiryAnalysis13 of13 policy13 issues13 through13 a13 jurisprudenampal13 framework13 Collecampon13 of13 data13 analysis13 of13 value13 quesampons13 and13 posiampons13 study13 of13 personal13 beliefs

Laboratory13 Method Understanding13 of13 group13 dynamics13 leadership13 understanding13 of13 personal13 styles

Role13 Playing Study13 of13 values13 and13 their13 role13 in13 social13 interacampon13 Personal13 understanding13 of13 values13 and13 behaviour

Posiampve13 Interdependence Development13 of13 interdependent13 strategies13 of13 social13 interacampon13 Understanding13 of13 self13 ndash13 other13 relaamponships13 and13 emoampons

Structured13 Social13 Inquiry Academic13 inquiry13 and13 social13 and13 personal13 development13 Cooperaampve13 strategies13 for13 approaching13 academic13 study

62Friday 18 November 11

Personal Family of Models

Nondirecampve13 Teaching Building13 capacity13 for13 personal13 development13 self13 ndash13 understanding13 autonomy13 and13 esteem13 of13 self

13 Awareness13 TrainingIncreasing13 self13 ndash13 understanding13 self13 ndash13 esteem13 and13 capacity13 for13 exploraampon13 Development13 of13 interpersonal13 sensiampvity13 and13 empathy

Classroom13 Meeampng Development13 of13 self13 ndash13 understanding13 and13 responsibility13 to13 self13 and13 others

Self13 ndash13 Actualisaampon Development13 of13 personal13 understanding13 and13 capacity13 for13 development

Conceptual13 Systems Increasing13 personal13 complexity13 and13 flexibility13 in13 processing13 informaampon13 and13 interacampng13 with13 others

63Friday 18 November 11

Behavioural systems Family of Models

Social13 Learning

Management13 of13 behaviour13 Learning13 new13 paerns13 of13 behaviour13

reducing13 phobic13 and13 other13 dysfuncamponal13 paerns13 learning13 self13 ndash13

control

Mastery13 Learning Mastery13 of13 academic13 skills13 and13 content13 of13 all13 types

Programmed13 Learning Mastery13 of13 skills13 concepts13 factual13 informaampon

SimulaamponMastery13 of13 complex13 skills13 and13 concepts13 in13 a13 wide13 range13 of13 areas13

of13 study

Direct13 TeachingMastery13 of13 academic13 content13 and13 skills13 in13 a13 wide13 range13 of13 areas13

of13 study

Anxiety13 Reducampon

Control13 over13 aversive13 reacampons13 Applicaampons13 in13 treatment13 and13

self13 ndash13 treatment13 of13 avoidance13 and13 dysfuncamponal13 paerns13 of13

response

64Friday 18 November 11

1st Musical Example

65Friday 18 November 11

2nd Musical Example

66Friday 18 November 11

Why is it important to Know

bull You can handle better your own education and practice (constructional approach vs behavioural approach)

bull Different professional exit points - but

bull Will need to employ variations of the above

bull Knowingpotential for greater achievement

67Friday 18 November 11

Psy and Music Education

Group Discussion

How would you approach a lesson if were a teacher

68Friday 18 November 11

69Friday 18 November 11

In Music Psychology

bull Compositionbull Improvisationbull Aestheticsbull Creativity

70Friday 18 November 11

The Psychology of Composition

In its discussionsldquoquestions fundamental assumptions

about the nature and role of musical activity and the

musical artefactrdquo

Impett 2009 p403

71Friday 18 November 11

The Psychology of Composition

It is not widely researched

ldquoLeast studied least understood of all musical artefactsrdquo

Sloboda 1985

ldquoLittle progress has been made in understanding composition per serdquo

Brown 2003

72Friday 18 November 11

The Psychology of Composition

What is Composition in terms of Psychology

73Friday 18 November 11

The Psychology of Composition

Composition (organisation of musical sound) could be seen as a process of self-reflection

from where self-expression derives

74Friday 18 November 11

The Psychology of Composition

ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated

expression the conscious embodiment of psychological

statesrdquo

Impett 2009

75Friday 18 November 11

Composition Psychology

76Friday 18 November 11

Composition Psychology

Creativity

77Friday 18 November 11

How could we perceive Composition

78Friday 18 November 11

Composition

it is a lsquoDiscussion of Mindsrsquo

Composer + Performer + Audience

79Friday 18 November 11

The Psychology of Composition

ldquoAlthough Composition to some degree is innateit is a product of a

situated processrdquo

Impett 2009

80Friday 18 November 11

Composition

a Process

whichby itself is in some sense creative

81Friday 18 November 11

Composition

In this ProcesshellipMetaphors and Imagination come into play

where personal aesthetics concepts and innovation (for example) shape the outcome

82Friday 18 November 11

The Psychology of Composition

based on the aforementionedSome fundamental principles exist

eg rhythm perception tonal perception

83Friday 18 November 11

The Psychology of Composition

Howevera precise nature for a personsrsquos psychology of

composition seems to be a highly individual question

84Friday 18 November 11

85Friday 18 November 11

Improvisation and Psychology

Studying Improvisation and its psychological aspect might provide

further insight into Composition

Why

86Friday 18 November 11

Improvisation and Psychology

ldquoUnlike musical composition which can be mostly construed as a more-or-

less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the

human bodyrdquo

Ashley 2009

87Friday 18 November 11

To Improvisehellipis

to produce music (composing) audibly

and in real time

88Friday 18 November 11

Improvisation and Psychology

bull Psychology of Musical Performance (eg motor behaviourhellip)

bull Pitch

bull Tone (perception)

bull and othersapproaching

deeper lsquocreativityrsquo

come altogether and in real time into play

89Friday 18 November 11

improvisation and Psychology

bull Learningbull Teachingbull Cognitionbull Society

lsquoCreativityrsquois further connected with

90Friday 18 November 11

Teaching and Learning

Perception

Instrumental Performance Composition-Improvisation

Psychology of Music

91Friday 18 November 11

end of part II92Friday 18 November 11

Music And Neuroscience

1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning

2) Knowledge acquisition is governed by factors that are not

fully under conscious control and can hardly be influenced

externally (Roth 2006)

93Friday 18 November 11

However we try to understand this lsquoknowledge acquisitionrsquo

frameworkand this is where Neuroscience comes into Music

(performance teaching learninghellip)

94Friday 18 November 11

What is Neuroscience

bull Neuroscience is this science which studies the Brain

bull This is where new experiences and knowledge are processed by interconnected Neurons which

become activated when a sensorial input is perceived

95Friday 18 November 11

How the Brain looks like

96Friday 18 November 11

97Friday 18 November 11

98Friday 18 November 11

lsquoBrain Voyagerrsquo Pictures

99Friday 18 November 11

bull The structure of the brain alters continuously

throughout our lives

bull This happens via experiences stimuli studies a walk in the parkby playing a musical

instrument

100Friday 18 November 11

The change of the brain structure we call it - Plasticity -

lsquoexperience-driven brain plasticityrsquo

101Friday 18 November 11

Why is it important to know about lsquoPlasticityrsquo

By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos

saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political

version of schooling

102Friday 18 November 11

A bit of History

ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt

almost 5000 years agohelliprdquo

Minagar Ragheb and Kelley 2003

103Friday 18 November 11

A Musical Fact

We know that evidence of music has been confirmed in every civilisation

throughout history

Chailley 1964

104Friday 18 November 11

Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology

(egGardner 1983)

Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful

musical experience

105Friday 18 November 11

History of Neuroscience in Music

One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)

106Friday 18 November 11

Supporting Areas

bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology

107Friday 18 November 11

Ways (Tools) of neuroscientific Rsc

bullMagnetic Resonance Imaging (MRI)

bullfunctional MRI

bullElectroencephalography (EEG)

bullEvent Related Potentials (ERPs)

bullTranscranial magnetic Stimulation (TMS)

bullMagnetoencephalography (MEG)

bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target

108Friday 18 November 11

Research Areas in Music

bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors

109Friday 18 November 11

Perception and Cognition -Musical Performance

Your Opinionhellip

Group Discussion

110Friday 18 November 11

Perception in Meuromusic

Perception (in music) is based on the sensory information that is

gathered by the brain regarding onersquos external and internal

environment

111Friday 18 November 11

Perception in Neuromusic

PitchRhythm

112Friday 18 November 11

We donrsquot know yet wether musical cognition and perception is

(a) specifically localised to distinct neural networks

(b) made up of shared neural networks that are associated with other brain processes

(c) a bit of both

113Friday 18 November 11

Musical Performance

Motor Learning and Instrumental Training

the act of making music is physically

intensivea pianist may bimanually

coordinate and lsquoscrutinisersquo up to 1800 notes per minute

114Friday 18 November 11

Musical Performance

3 parts of the brain are involved

bullthe sensorimotor cortex (interpretation of stimuli control of muscles)

bullthe basal ganglia (muscles in cooperative functions)

bullthe cerebellum (fine-tuning of motor movements stores motor patterns)

115Friday 18 November 11

Growth and Development proceed from general to specific

116Friday 18 November 11

Musicians appear to process new incoming stimuli more effectively

compared to non-musicians

117Friday 18 November 11

Meaning

if you practise more your brain learns to work more effectively

118Friday 18 November 11

lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop

brain cells and neurons

makes us even more effective

119Friday 18 November 11

It is evident that musicians have different brain structure than

non-musiciansAmunts et al 1997Schlaug et al 1995b

enhanced if training has started earlier in life

120Friday 18 November 11

For musical training there is this concept of lsquodeliberate practicersquo

motivation resources and attention determine the amount and quality of practice undertaken

121Friday 18 November 11

In Neuroscience scientists uncovered evidence showing a close association

between practice and expertisehellip

hours of deliberate practice

level of expertise

Lehmann and Gruber 2006

122Friday 18 November 11

implications to Musical performance and Training

1How to practise is best learned by practising

2Start early but not to early with playing an instrument

3Breaks and sleep is essential for motor learning and memory

4Use the human lsquomirror systemrsquo

123Friday 18 November 11

Examples of practisinghellip

124Friday 18 November 11

Neuroscience and Emotion in Music

Largely overlapping networks required for the processing of both

general and music-specific emotions

125Friday 18 November 11

Whether the neural basis of emotional appraisal of music is

innate or rather acquired through enculturation is subject

to ongoing discussion

Peretz and Sloboda 2005

126Friday 18 November 11

Nature vs NurtureProblem

127Friday 18 November 11

Howeverrecognition of emotions appears independent of musical

training

howhellipfamily environment possibly

128Friday 18 November 11

Recognising from Experiencing musical emotion is different

129Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

Performance Planning

bull Conception of feelings and emotionsbull Meanings narratives and movements

(imagined and real) related to the music performed

39Friday 18 November 11

Performance Planning

bull What musicians and researchers focus on in planning performance (consciously or

unconsciouslyhellip)

40Friday 18 November 11

Performance Planning

bull Deep vs Surface learning approachbull Reading times - Reaction times

indicating cognitive engagementbull Low - Mid - High - level planning

strategies

41Friday 18 November 11

Performance Planning

Low Level

Mid Level

High Level

trial-and-errorsight reading

speed alterationchunking

linking of elements

interpretationpatterningprioritisingmonitoring

42Friday 18 November 11

Performance Planning

bull Practice of Performance bull Different from Planningalthough

interconnectedbull macro- and micro- levelsbull mental vs practical aspects

43Friday 18 November 11

Practice

bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason)bull Versatile Learners (most musicianshellip)

Types of Musicians Practising

44Friday 18 November 11

Practice

bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason) thought

to be together but not

Types of Musicians Practising

45Friday 18 November 11

Prof Musiciansrsquo Practice

Deliberate Practice

46Friday 18 November 11

Deliberate Practice

bull For professional musicians is crucial

Carefully structured activities

in order to improve performance

High Motivation

Extended Effort

Full Attention

Favourable Environment

Support

47Friday 18 November 11

PracticeThe way experts practise

1Acquire an overview of the music (according to abilityinternal

aural representation)

2According to structure divide the piece into sections

3Subsectionssolving technical problems

4The more complex the music the smaller the chunks

5Units start to become larger as practice progress

6Hierarchical structure appears to develop

7Performance plans integrate to a coherent whole(guided

by musical considerations)

48Friday 18 November 11

49Friday 18 November 11

Psy And Music Education

bull Music is a universal trait of human kindbull Propensity for musical developmentbull This potential is universal as linguistic

ability

50Friday 18 November 11

The pianist example

Nature vs Nurture

51Friday 18 November 11

PSY and Music Education

While self-selection for musicianship by individuals with innate functional and structural

brain differences cannot be completely ruled out the evidence indicates that it is musical training

that leads to changes in brain function and structure

Schlaug 2003

52Friday 18 November 11

Training in Western Edu Comm

Teacher Student

Material Context

Jones 2005Biggs 19992007

Light and Cox 2009

53Friday 18 November 11

What is Learning

What is Teaching

54Friday 18 November 11

Learning

1960s-1970s Learning as lsquoproductrsquo or lsquoprocessrsquo

Product learning is a change in behaviour

Process Learning is a continuous developmental pathwhich hierarchically reflects knowledge growth and

understanding of the reality

55Friday 18 November 11

Teaching

(a) Teaching is transmission of knowledge (kurtrsquos template)

(b) Teaching is a facilitation process towards knowledge

construction

XWorldPlugInBrainBucketVTS_05_1VOBlnk

7

Pervasive Metaphor in Our Culture forLearningTeaching Conduit ndash Knowledge Is Made of Objects That We Give to Each Other

Lakoff amp Johnson Metaphors We Live By These ModelsMetaphors Ground Our Mental Life

Teaching as Pumping Knowledge into Student

8

Key Neuromyth or Brain ScamBrain Download Fallacy

Incorrect Metaphor

Positive Conclusion from NeuroscienceKnowledge Grows from Active ExperienceBrains Cannot Be Directly Filled with WorldKnowledge

Remarkable Plasticityfrom Neuroscience amp Genetics

56Friday 18 November 11

Education

bull Dynamics in teaching and learning are not linear and clearly settled in any way Thus we have a great variation of final Educational Concepts

57Friday 18 November 11

Education

Teaching and Learning Theories

Educational Concepts

58Friday 18 November 11

Important TampL Theories

bull The behaviouristbull The humanistbull The socialbull The cognitivebull The neo-cognitive

(stimulus-response)

(the concern with self)

(communities of practise)

(active process of knowledge construction)

(all the above together)

59Friday 18 November 11

Models of Learning-Tools for Teaching

bull Generated by the lsquoLearning Theoriesrsquobull 4 categories

60Friday 18 November 11

Information Processing Models

Inducampve13 ThinkingDevelopment13 of13 classificaampon13 skills13 hypothesis13 building13 and13 tesampng13 and13 understanding13 of13 how13 to13 build13 conceptual13 understanding13 of13 content13 areas

Concept13 Aainment Learning13 concepts13 and13 studying13 strategies13 for13 aaining13 and13 applying13 them13 Building13 and13 tesampng13 hypothesis

13 Scienampfic13 Inquiry Learning13 the13 research13 system13 of13 the13 academic13 disciplines13 ndash13 how13 knowledge13 is13 produced13 and13 organized

Inquiry13 Training Casual13 reasoning13 and13 understanding13 of13 how13 to13 collect13 informaampon13 build13 concepts13 and13 build13 and13 test13 hypotheses

13 Cogniampve13 Growth Increase13 general13 intellectual13 development13 and13 adjust13 instrucampon13 to13 facilitate13 intellectual13 growth

Advance13 Organizers Designed13 to13 increase13 ability13 to13 absorb13 informaampon13 and13 organize13 it13 especially13 in13 learning13 from13 lectures13 and13 readings

MnemonicsIncrease13 ability13 to13 acquire13 informaampon13 concepts13 conceptual13 systems13 and13 metacogniampve13 control13 of13 informaampon13 processing13 capability

Picture13 ndash13 Word13 Inducampve Learning13 to13 read13 and13 write13 inquiry13 into13 language

61Friday 18 November 11

Social Family of Models

Group13 InvesampgaamponDevelopment13 of13 skills13 for13 parampcipaampon13 in13 democraampc13 process13 Simultaneously13 emphasises13 social13 development13 academic13 skills13 and13 personal13 understanding

Social13 Inquiry Social13 problem13 solving13 through13 collecampve13 academic13 study13 and13 logical13 reasoning

Jurisprudenampal13 InquiryAnalysis13 of13 policy13 issues13 through13 a13 jurisprudenampal13 framework13 Collecampon13 of13 data13 analysis13 of13 value13 quesampons13 and13 posiampons13 study13 of13 personal13 beliefs

Laboratory13 Method Understanding13 of13 group13 dynamics13 leadership13 understanding13 of13 personal13 styles

Role13 Playing Study13 of13 values13 and13 their13 role13 in13 social13 interacampon13 Personal13 understanding13 of13 values13 and13 behaviour

Posiampve13 Interdependence Development13 of13 interdependent13 strategies13 of13 social13 interacampon13 Understanding13 of13 self13 ndash13 other13 relaamponships13 and13 emoampons

Structured13 Social13 Inquiry Academic13 inquiry13 and13 social13 and13 personal13 development13 Cooperaampve13 strategies13 for13 approaching13 academic13 study

62Friday 18 November 11

Personal Family of Models

Nondirecampve13 Teaching Building13 capacity13 for13 personal13 development13 self13 ndash13 understanding13 autonomy13 and13 esteem13 of13 self

13 Awareness13 TrainingIncreasing13 self13 ndash13 understanding13 self13 ndash13 esteem13 and13 capacity13 for13 exploraampon13 Development13 of13 interpersonal13 sensiampvity13 and13 empathy

Classroom13 Meeampng Development13 of13 self13 ndash13 understanding13 and13 responsibility13 to13 self13 and13 others

Self13 ndash13 Actualisaampon Development13 of13 personal13 understanding13 and13 capacity13 for13 development

Conceptual13 Systems Increasing13 personal13 complexity13 and13 flexibility13 in13 processing13 informaampon13 and13 interacampng13 with13 others

63Friday 18 November 11

Behavioural systems Family of Models

Social13 Learning

Management13 of13 behaviour13 Learning13 new13 paerns13 of13 behaviour13

reducing13 phobic13 and13 other13 dysfuncamponal13 paerns13 learning13 self13 ndash13

control

Mastery13 Learning Mastery13 of13 academic13 skills13 and13 content13 of13 all13 types

Programmed13 Learning Mastery13 of13 skills13 concepts13 factual13 informaampon

SimulaamponMastery13 of13 complex13 skills13 and13 concepts13 in13 a13 wide13 range13 of13 areas13

of13 study

Direct13 TeachingMastery13 of13 academic13 content13 and13 skills13 in13 a13 wide13 range13 of13 areas13

of13 study

Anxiety13 Reducampon

Control13 over13 aversive13 reacampons13 Applicaampons13 in13 treatment13 and13

self13 ndash13 treatment13 of13 avoidance13 and13 dysfuncamponal13 paerns13 of13

response

64Friday 18 November 11

1st Musical Example

65Friday 18 November 11

2nd Musical Example

66Friday 18 November 11

Why is it important to Know

bull You can handle better your own education and practice (constructional approach vs behavioural approach)

bull Different professional exit points - but

bull Will need to employ variations of the above

bull Knowingpotential for greater achievement

67Friday 18 November 11

Psy and Music Education

Group Discussion

How would you approach a lesson if were a teacher

68Friday 18 November 11

69Friday 18 November 11

In Music Psychology

bull Compositionbull Improvisationbull Aestheticsbull Creativity

70Friday 18 November 11

The Psychology of Composition

In its discussionsldquoquestions fundamental assumptions

about the nature and role of musical activity and the

musical artefactrdquo

Impett 2009 p403

71Friday 18 November 11

The Psychology of Composition

It is not widely researched

ldquoLeast studied least understood of all musical artefactsrdquo

Sloboda 1985

ldquoLittle progress has been made in understanding composition per serdquo

Brown 2003

72Friday 18 November 11

The Psychology of Composition

What is Composition in terms of Psychology

73Friday 18 November 11

The Psychology of Composition

Composition (organisation of musical sound) could be seen as a process of self-reflection

from where self-expression derives

74Friday 18 November 11

The Psychology of Composition

ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated

expression the conscious embodiment of psychological

statesrdquo

Impett 2009

75Friday 18 November 11

Composition Psychology

76Friday 18 November 11

Composition Psychology

Creativity

77Friday 18 November 11

How could we perceive Composition

78Friday 18 November 11

Composition

it is a lsquoDiscussion of Mindsrsquo

Composer + Performer + Audience

79Friday 18 November 11

The Psychology of Composition

ldquoAlthough Composition to some degree is innateit is a product of a

situated processrdquo

Impett 2009

80Friday 18 November 11

Composition

a Process

whichby itself is in some sense creative

81Friday 18 November 11

Composition

In this ProcesshellipMetaphors and Imagination come into play

where personal aesthetics concepts and innovation (for example) shape the outcome

82Friday 18 November 11

The Psychology of Composition

based on the aforementionedSome fundamental principles exist

eg rhythm perception tonal perception

83Friday 18 November 11

The Psychology of Composition

Howevera precise nature for a personsrsquos psychology of

composition seems to be a highly individual question

84Friday 18 November 11

85Friday 18 November 11

Improvisation and Psychology

Studying Improvisation and its psychological aspect might provide

further insight into Composition

Why

86Friday 18 November 11

Improvisation and Psychology

ldquoUnlike musical composition which can be mostly construed as a more-or-

less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the

human bodyrdquo

Ashley 2009

87Friday 18 November 11

To Improvisehellipis

to produce music (composing) audibly

and in real time

88Friday 18 November 11

Improvisation and Psychology

bull Psychology of Musical Performance (eg motor behaviourhellip)

bull Pitch

bull Tone (perception)

bull and othersapproaching

deeper lsquocreativityrsquo

come altogether and in real time into play

89Friday 18 November 11

improvisation and Psychology

bull Learningbull Teachingbull Cognitionbull Society

lsquoCreativityrsquois further connected with

90Friday 18 November 11

Teaching and Learning

Perception

Instrumental Performance Composition-Improvisation

Psychology of Music

91Friday 18 November 11

end of part II92Friday 18 November 11

Music And Neuroscience

1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning

2) Knowledge acquisition is governed by factors that are not

fully under conscious control and can hardly be influenced

externally (Roth 2006)

93Friday 18 November 11

However we try to understand this lsquoknowledge acquisitionrsquo

frameworkand this is where Neuroscience comes into Music

(performance teaching learninghellip)

94Friday 18 November 11

What is Neuroscience

bull Neuroscience is this science which studies the Brain

bull This is where new experiences and knowledge are processed by interconnected Neurons which

become activated when a sensorial input is perceived

95Friday 18 November 11

How the Brain looks like

96Friday 18 November 11

97Friday 18 November 11

98Friday 18 November 11

lsquoBrain Voyagerrsquo Pictures

99Friday 18 November 11

bull The structure of the brain alters continuously

throughout our lives

bull This happens via experiences stimuli studies a walk in the parkby playing a musical

instrument

100Friday 18 November 11

The change of the brain structure we call it - Plasticity -

lsquoexperience-driven brain plasticityrsquo

101Friday 18 November 11

Why is it important to know about lsquoPlasticityrsquo

By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos

saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political

version of schooling

102Friday 18 November 11

A bit of History

ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt

almost 5000 years agohelliprdquo

Minagar Ragheb and Kelley 2003

103Friday 18 November 11

A Musical Fact

We know that evidence of music has been confirmed in every civilisation

throughout history

Chailley 1964

104Friday 18 November 11

Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology

(egGardner 1983)

Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful

musical experience

105Friday 18 November 11

History of Neuroscience in Music

One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)

106Friday 18 November 11

Supporting Areas

bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology

107Friday 18 November 11

Ways (Tools) of neuroscientific Rsc

bullMagnetic Resonance Imaging (MRI)

bullfunctional MRI

bullElectroencephalography (EEG)

bullEvent Related Potentials (ERPs)

bullTranscranial magnetic Stimulation (TMS)

bullMagnetoencephalography (MEG)

bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target

108Friday 18 November 11

Research Areas in Music

bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors

109Friday 18 November 11

Perception and Cognition -Musical Performance

Your Opinionhellip

Group Discussion

110Friday 18 November 11

Perception in Meuromusic

Perception (in music) is based on the sensory information that is

gathered by the brain regarding onersquos external and internal

environment

111Friday 18 November 11

Perception in Neuromusic

PitchRhythm

112Friday 18 November 11

We donrsquot know yet wether musical cognition and perception is

(a) specifically localised to distinct neural networks

(b) made up of shared neural networks that are associated with other brain processes

(c) a bit of both

113Friday 18 November 11

Musical Performance

Motor Learning and Instrumental Training

the act of making music is physically

intensivea pianist may bimanually

coordinate and lsquoscrutinisersquo up to 1800 notes per minute

114Friday 18 November 11

Musical Performance

3 parts of the brain are involved

bullthe sensorimotor cortex (interpretation of stimuli control of muscles)

bullthe basal ganglia (muscles in cooperative functions)

bullthe cerebellum (fine-tuning of motor movements stores motor patterns)

115Friday 18 November 11

Growth and Development proceed from general to specific

116Friday 18 November 11

Musicians appear to process new incoming stimuli more effectively

compared to non-musicians

117Friday 18 November 11

Meaning

if you practise more your brain learns to work more effectively

118Friday 18 November 11

lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop

brain cells and neurons

makes us even more effective

119Friday 18 November 11

It is evident that musicians have different brain structure than

non-musiciansAmunts et al 1997Schlaug et al 1995b

enhanced if training has started earlier in life

120Friday 18 November 11

For musical training there is this concept of lsquodeliberate practicersquo

motivation resources and attention determine the amount and quality of practice undertaken

121Friday 18 November 11

In Neuroscience scientists uncovered evidence showing a close association

between practice and expertisehellip

hours of deliberate practice

level of expertise

Lehmann and Gruber 2006

122Friday 18 November 11

implications to Musical performance and Training

1How to practise is best learned by practising

2Start early but not to early with playing an instrument

3Breaks and sleep is essential for motor learning and memory

4Use the human lsquomirror systemrsquo

123Friday 18 November 11

Examples of practisinghellip

124Friday 18 November 11

Neuroscience and Emotion in Music

Largely overlapping networks required for the processing of both

general and music-specific emotions

125Friday 18 November 11

Whether the neural basis of emotional appraisal of music is

innate or rather acquired through enculturation is subject

to ongoing discussion

Peretz and Sloboda 2005

126Friday 18 November 11

Nature vs NurtureProblem

127Friday 18 November 11

Howeverrecognition of emotions appears independent of musical

training

howhellipfamily environment possibly

128Friday 18 November 11

Recognising from Experiencing musical emotion is different

129Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

Performance Planning

bull What musicians and researchers focus on in planning performance (consciously or

unconsciouslyhellip)

40Friday 18 November 11

Performance Planning

bull Deep vs Surface learning approachbull Reading times - Reaction times

indicating cognitive engagementbull Low - Mid - High - level planning

strategies

41Friday 18 November 11

Performance Planning

Low Level

Mid Level

High Level

trial-and-errorsight reading

speed alterationchunking

linking of elements

interpretationpatterningprioritisingmonitoring

42Friday 18 November 11

Performance Planning

bull Practice of Performance bull Different from Planningalthough

interconnectedbull macro- and micro- levelsbull mental vs practical aspects

43Friday 18 November 11

Practice

bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason)bull Versatile Learners (most musicianshellip)

Types of Musicians Practising

44Friday 18 November 11

Practice

bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason) thought

to be together but not

Types of Musicians Practising

45Friday 18 November 11

Prof Musiciansrsquo Practice

Deliberate Practice

46Friday 18 November 11

Deliberate Practice

bull For professional musicians is crucial

Carefully structured activities

in order to improve performance

High Motivation

Extended Effort

Full Attention

Favourable Environment

Support

47Friday 18 November 11

PracticeThe way experts practise

1Acquire an overview of the music (according to abilityinternal

aural representation)

2According to structure divide the piece into sections

3Subsectionssolving technical problems

4The more complex the music the smaller the chunks

5Units start to become larger as practice progress

6Hierarchical structure appears to develop

7Performance plans integrate to a coherent whole(guided

by musical considerations)

48Friday 18 November 11

49Friday 18 November 11

Psy And Music Education

bull Music is a universal trait of human kindbull Propensity for musical developmentbull This potential is universal as linguistic

ability

50Friday 18 November 11

The pianist example

Nature vs Nurture

51Friday 18 November 11

PSY and Music Education

While self-selection for musicianship by individuals with innate functional and structural

brain differences cannot be completely ruled out the evidence indicates that it is musical training

that leads to changes in brain function and structure

Schlaug 2003

52Friday 18 November 11

Training in Western Edu Comm

Teacher Student

Material Context

Jones 2005Biggs 19992007

Light and Cox 2009

53Friday 18 November 11

What is Learning

What is Teaching

54Friday 18 November 11

Learning

1960s-1970s Learning as lsquoproductrsquo or lsquoprocessrsquo

Product learning is a change in behaviour

Process Learning is a continuous developmental pathwhich hierarchically reflects knowledge growth and

understanding of the reality

55Friday 18 November 11

Teaching

(a) Teaching is transmission of knowledge (kurtrsquos template)

(b) Teaching is a facilitation process towards knowledge

construction

XWorldPlugInBrainBucketVTS_05_1VOBlnk

7

Pervasive Metaphor in Our Culture forLearningTeaching Conduit ndash Knowledge Is Made of Objects That We Give to Each Other

Lakoff amp Johnson Metaphors We Live By These ModelsMetaphors Ground Our Mental Life

Teaching as Pumping Knowledge into Student

8

Key Neuromyth or Brain ScamBrain Download Fallacy

Incorrect Metaphor

Positive Conclusion from NeuroscienceKnowledge Grows from Active ExperienceBrains Cannot Be Directly Filled with WorldKnowledge

Remarkable Plasticityfrom Neuroscience amp Genetics

56Friday 18 November 11

Education

bull Dynamics in teaching and learning are not linear and clearly settled in any way Thus we have a great variation of final Educational Concepts

57Friday 18 November 11

Education

Teaching and Learning Theories

Educational Concepts

58Friday 18 November 11

Important TampL Theories

bull The behaviouristbull The humanistbull The socialbull The cognitivebull The neo-cognitive

(stimulus-response)

(the concern with self)

(communities of practise)

(active process of knowledge construction)

(all the above together)

59Friday 18 November 11

Models of Learning-Tools for Teaching

bull Generated by the lsquoLearning Theoriesrsquobull 4 categories

60Friday 18 November 11

Information Processing Models

Inducampve13 ThinkingDevelopment13 of13 classificaampon13 skills13 hypothesis13 building13 and13 tesampng13 and13 understanding13 of13 how13 to13 build13 conceptual13 understanding13 of13 content13 areas

Concept13 Aainment Learning13 concepts13 and13 studying13 strategies13 for13 aaining13 and13 applying13 them13 Building13 and13 tesampng13 hypothesis

13 Scienampfic13 Inquiry Learning13 the13 research13 system13 of13 the13 academic13 disciplines13 ndash13 how13 knowledge13 is13 produced13 and13 organized

Inquiry13 Training Casual13 reasoning13 and13 understanding13 of13 how13 to13 collect13 informaampon13 build13 concepts13 and13 build13 and13 test13 hypotheses

13 Cogniampve13 Growth Increase13 general13 intellectual13 development13 and13 adjust13 instrucampon13 to13 facilitate13 intellectual13 growth

Advance13 Organizers Designed13 to13 increase13 ability13 to13 absorb13 informaampon13 and13 organize13 it13 especially13 in13 learning13 from13 lectures13 and13 readings

MnemonicsIncrease13 ability13 to13 acquire13 informaampon13 concepts13 conceptual13 systems13 and13 metacogniampve13 control13 of13 informaampon13 processing13 capability

Picture13 ndash13 Word13 Inducampve Learning13 to13 read13 and13 write13 inquiry13 into13 language

61Friday 18 November 11

Social Family of Models

Group13 InvesampgaamponDevelopment13 of13 skills13 for13 parampcipaampon13 in13 democraampc13 process13 Simultaneously13 emphasises13 social13 development13 academic13 skills13 and13 personal13 understanding

Social13 Inquiry Social13 problem13 solving13 through13 collecampve13 academic13 study13 and13 logical13 reasoning

Jurisprudenampal13 InquiryAnalysis13 of13 policy13 issues13 through13 a13 jurisprudenampal13 framework13 Collecampon13 of13 data13 analysis13 of13 value13 quesampons13 and13 posiampons13 study13 of13 personal13 beliefs

Laboratory13 Method Understanding13 of13 group13 dynamics13 leadership13 understanding13 of13 personal13 styles

Role13 Playing Study13 of13 values13 and13 their13 role13 in13 social13 interacampon13 Personal13 understanding13 of13 values13 and13 behaviour

Posiampve13 Interdependence Development13 of13 interdependent13 strategies13 of13 social13 interacampon13 Understanding13 of13 self13 ndash13 other13 relaamponships13 and13 emoampons

Structured13 Social13 Inquiry Academic13 inquiry13 and13 social13 and13 personal13 development13 Cooperaampve13 strategies13 for13 approaching13 academic13 study

62Friday 18 November 11

Personal Family of Models

Nondirecampve13 Teaching Building13 capacity13 for13 personal13 development13 self13 ndash13 understanding13 autonomy13 and13 esteem13 of13 self

13 Awareness13 TrainingIncreasing13 self13 ndash13 understanding13 self13 ndash13 esteem13 and13 capacity13 for13 exploraampon13 Development13 of13 interpersonal13 sensiampvity13 and13 empathy

Classroom13 Meeampng Development13 of13 self13 ndash13 understanding13 and13 responsibility13 to13 self13 and13 others

Self13 ndash13 Actualisaampon Development13 of13 personal13 understanding13 and13 capacity13 for13 development

Conceptual13 Systems Increasing13 personal13 complexity13 and13 flexibility13 in13 processing13 informaampon13 and13 interacampng13 with13 others

63Friday 18 November 11

Behavioural systems Family of Models

Social13 Learning

Management13 of13 behaviour13 Learning13 new13 paerns13 of13 behaviour13

reducing13 phobic13 and13 other13 dysfuncamponal13 paerns13 learning13 self13 ndash13

control

Mastery13 Learning Mastery13 of13 academic13 skills13 and13 content13 of13 all13 types

Programmed13 Learning Mastery13 of13 skills13 concepts13 factual13 informaampon

SimulaamponMastery13 of13 complex13 skills13 and13 concepts13 in13 a13 wide13 range13 of13 areas13

of13 study

Direct13 TeachingMastery13 of13 academic13 content13 and13 skills13 in13 a13 wide13 range13 of13 areas13

of13 study

Anxiety13 Reducampon

Control13 over13 aversive13 reacampons13 Applicaampons13 in13 treatment13 and13

self13 ndash13 treatment13 of13 avoidance13 and13 dysfuncamponal13 paerns13 of13

response

64Friday 18 November 11

1st Musical Example

65Friday 18 November 11

2nd Musical Example

66Friday 18 November 11

Why is it important to Know

bull You can handle better your own education and practice (constructional approach vs behavioural approach)

bull Different professional exit points - but

bull Will need to employ variations of the above

bull Knowingpotential for greater achievement

67Friday 18 November 11

Psy and Music Education

Group Discussion

How would you approach a lesson if were a teacher

68Friday 18 November 11

69Friday 18 November 11

In Music Psychology

bull Compositionbull Improvisationbull Aestheticsbull Creativity

70Friday 18 November 11

The Psychology of Composition

In its discussionsldquoquestions fundamental assumptions

about the nature and role of musical activity and the

musical artefactrdquo

Impett 2009 p403

71Friday 18 November 11

The Psychology of Composition

It is not widely researched

ldquoLeast studied least understood of all musical artefactsrdquo

Sloboda 1985

ldquoLittle progress has been made in understanding composition per serdquo

Brown 2003

72Friday 18 November 11

The Psychology of Composition

What is Composition in terms of Psychology

73Friday 18 November 11

The Psychology of Composition

Composition (organisation of musical sound) could be seen as a process of self-reflection

from where self-expression derives

74Friday 18 November 11

The Psychology of Composition

ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated

expression the conscious embodiment of psychological

statesrdquo

Impett 2009

75Friday 18 November 11

Composition Psychology

76Friday 18 November 11

Composition Psychology

Creativity

77Friday 18 November 11

How could we perceive Composition

78Friday 18 November 11

Composition

it is a lsquoDiscussion of Mindsrsquo

Composer + Performer + Audience

79Friday 18 November 11

The Psychology of Composition

ldquoAlthough Composition to some degree is innateit is a product of a

situated processrdquo

Impett 2009

80Friday 18 November 11

Composition

a Process

whichby itself is in some sense creative

81Friday 18 November 11

Composition

In this ProcesshellipMetaphors and Imagination come into play

where personal aesthetics concepts and innovation (for example) shape the outcome

82Friday 18 November 11

The Psychology of Composition

based on the aforementionedSome fundamental principles exist

eg rhythm perception tonal perception

83Friday 18 November 11

The Psychology of Composition

Howevera precise nature for a personsrsquos psychology of

composition seems to be a highly individual question

84Friday 18 November 11

85Friday 18 November 11

Improvisation and Psychology

Studying Improvisation and its psychological aspect might provide

further insight into Composition

Why

86Friday 18 November 11

Improvisation and Psychology

ldquoUnlike musical composition which can be mostly construed as a more-or-

less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the

human bodyrdquo

Ashley 2009

87Friday 18 November 11

To Improvisehellipis

to produce music (composing) audibly

and in real time

88Friday 18 November 11

Improvisation and Psychology

bull Psychology of Musical Performance (eg motor behaviourhellip)

bull Pitch

bull Tone (perception)

bull and othersapproaching

deeper lsquocreativityrsquo

come altogether and in real time into play

89Friday 18 November 11

improvisation and Psychology

bull Learningbull Teachingbull Cognitionbull Society

lsquoCreativityrsquois further connected with

90Friday 18 November 11

Teaching and Learning

Perception

Instrumental Performance Composition-Improvisation

Psychology of Music

91Friday 18 November 11

end of part II92Friday 18 November 11

Music And Neuroscience

1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning

2) Knowledge acquisition is governed by factors that are not

fully under conscious control and can hardly be influenced

externally (Roth 2006)

93Friday 18 November 11

However we try to understand this lsquoknowledge acquisitionrsquo

frameworkand this is where Neuroscience comes into Music

(performance teaching learninghellip)

94Friday 18 November 11

What is Neuroscience

bull Neuroscience is this science which studies the Brain

bull This is where new experiences and knowledge are processed by interconnected Neurons which

become activated when a sensorial input is perceived

95Friday 18 November 11

How the Brain looks like

96Friday 18 November 11

97Friday 18 November 11

98Friday 18 November 11

lsquoBrain Voyagerrsquo Pictures

99Friday 18 November 11

bull The structure of the brain alters continuously

throughout our lives

bull This happens via experiences stimuli studies a walk in the parkby playing a musical

instrument

100Friday 18 November 11

The change of the brain structure we call it - Plasticity -

lsquoexperience-driven brain plasticityrsquo

101Friday 18 November 11

Why is it important to know about lsquoPlasticityrsquo

By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos

saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political

version of schooling

102Friday 18 November 11

A bit of History

ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt

almost 5000 years agohelliprdquo

Minagar Ragheb and Kelley 2003

103Friday 18 November 11

A Musical Fact

We know that evidence of music has been confirmed in every civilisation

throughout history

Chailley 1964

104Friday 18 November 11

Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology

(egGardner 1983)

Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful

musical experience

105Friday 18 November 11

History of Neuroscience in Music

One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)

106Friday 18 November 11

Supporting Areas

bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology

107Friday 18 November 11

Ways (Tools) of neuroscientific Rsc

bullMagnetic Resonance Imaging (MRI)

bullfunctional MRI

bullElectroencephalography (EEG)

bullEvent Related Potentials (ERPs)

bullTranscranial magnetic Stimulation (TMS)

bullMagnetoencephalography (MEG)

bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target

108Friday 18 November 11

Research Areas in Music

bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors

109Friday 18 November 11

Perception and Cognition -Musical Performance

Your Opinionhellip

Group Discussion

110Friday 18 November 11

Perception in Meuromusic

Perception (in music) is based on the sensory information that is

gathered by the brain regarding onersquos external and internal

environment

111Friday 18 November 11

Perception in Neuromusic

PitchRhythm

112Friday 18 November 11

We donrsquot know yet wether musical cognition and perception is

(a) specifically localised to distinct neural networks

(b) made up of shared neural networks that are associated with other brain processes

(c) a bit of both

113Friday 18 November 11

Musical Performance

Motor Learning and Instrumental Training

the act of making music is physically

intensivea pianist may bimanually

coordinate and lsquoscrutinisersquo up to 1800 notes per minute

114Friday 18 November 11

Musical Performance

3 parts of the brain are involved

bullthe sensorimotor cortex (interpretation of stimuli control of muscles)

bullthe basal ganglia (muscles in cooperative functions)

bullthe cerebellum (fine-tuning of motor movements stores motor patterns)

115Friday 18 November 11

Growth and Development proceed from general to specific

116Friday 18 November 11

Musicians appear to process new incoming stimuli more effectively

compared to non-musicians

117Friday 18 November 11

Meaning

if you practise more your brain learns to work more effectively

118Friday 18 November 11

lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop

brain cells and neurons

makes us even more effective

119Friday 18 November 11

It is evident that musicians have different brain structure than

non-musiciansAmunts et al 1997Schlaug et al 1995b

enhanced if training has started earlier in life

120Friday 18 November 11

For musical training there is this concept of lsquodeliberate practicersquo

motivation resources and attention determine the amount and quality of practice undertaken

121Friday 18 November 11

In Neuroscience scientists uncovered evidence showing a close association

between practice and expertisehellip

hours of deliberate practice

level of expertise

Lehmann and Gruber 2006

122Friday 18 November 11

implications to Musical performance and Training

1How to practise is best learned by practising

2Start early but not to early with playing an instrument

3Breaks and sleep is essential for motor learning and memory

4Use the human lsquomirror systemrsquo

123Friday 18 November 11

Examples of practisinghellip

124Friday 18 November 11

Neuroscience and Emotion in Music

Largely overlapping networks required for the processing of both

general and music-specific emotions

125Friday 18 November 11

Whether the neural basis of emotional appraisal of music is

innate or rather acquired through enculturation is subject

to ongoing discussion

Peretz and Sloboda 2005

126Friday 18 November 11

Nature vs NurtureProblem

127Friday 18 November 11

Howeverrecognition of emotions appears independent of musical

training

howhellipfamily environment possibly

128Friday 18 November 11

Recognising from Experiencing musical emotion is different

129Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

Performance Planning

bull Deep vs Surface learning approachbull Reading times - Reaction times

indicating cognitive engagementbull Low - Mid - High - level planning

strategies

41Friday 18 November 11

Performance Planning

Low Level

Mid Level

High Level

trial-and-errorsight reading

speed alterationchunking

linking of elements

interpretationpatterningprioritisingmonitoring

42Friday 18 November 11

Performance Planning

bull Practice of Performance bull Different from Planningalthough

interconnectedbull macro- and micro- levelsbull mental vs practical aspects

43Friday 18 November 11

Practice

bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason)bull Versatile Learners (most musicianshellip)

Types of Musicians Practising

44Friday 18 November 11

Practice

bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason) thought

to be together but not

Types of Musicians Practising

45Friday 18 November 11

Prof Musiciansrsquo Practice

Deliberate Practice

46Friday 18 November 11

Deliberate Practice

bull For professional musicians is crucial

Carefully structured activities

in order to improve performance

High Motivation

Extended Effort

Full Attention

Favourable Environment

Support

47Friday 18 November 11

PracticeThe way experts practise

1Acquire an overview of the music (according to abilityinternal

aural representation)

2According to structure divide the piece into sections

3Subsectionssolving technical problems

4The more complex the music the smaller the chunks

5Units start to become larger as practice progress

6Hierarchical structure appears to develop

7Performance plans integrate to a coherent whole(guided

by musical considerations)

48Friday 18 November 11

49Friday 18 November 11

Psy And Music Education

bull Music is a universal trait of human kindbull Propensity for musical developmentbull This potential is universal as linguistic

ability

50Friday 18 November 11

The pianist example

Nature vs Nurture

51Friday 18 November 11

PSY and Music Education

While self-selection for musicianship by individuals with innate functional and structural

brain differences cannot be completely ruled out the evidence indicates that it is musical training

that leads to changes in brain function and structure

Schlaug 2003

52Friday 18 November 11

Training in Western Edu Comm

Teacher Student

Material Context

Jones 2005Biggs 19992007

Light and Cox 2009

53Friday 18 November 11

What is Learning

What is Teaching

54Friday 18 November 11

Learning

1960s-1970s Learning as lsquoproductrsquo or lsquoprocessrsquo

Product learning is a change in behaviour

Process Learning is a continuous developmental pathwhich hierarchically reflects knowledge growth and

understanding of the reality

55Friday 18 November 11

Teaching

(a) Teaching is transmission of knowledge (kurtrsquos template)

(b) Teaching is a facilitation process towards knowledge

construction

XWorldPlugInBrainBucketVTS_05_1VOBlnk

7

Pervasive Metaphor in Our Culture forLearningTeaching Conduit ndash Knowledge Is Made of Objects That We Give to Each Other

Lakoff amp Johnson Metaphors We Live By These ModelsMetaphors Ground Our Mental Life

Teaching as Pumping Knowledge into Student

8

Key Neuromyth or Brain ScamBrain Download Fallacy

Incorrect Metaphor

Positive Conclusion from NeuroscienceKnowledge Grows from Active ExperienceBrains Cannot Be Directly Filled with WorldKnowledge

Remarkable Plasticityfrom Neuroscience amp Genetics

56Friday 18 November 11

Education

bull Dynamics in teaching and learning are not linear and clearly settled in any way Thus we have a great variation of final Educational Concepts

57Friday 18 November 11

Education

Teaching and Learning Theories

Educational Concepts

58Friday 18 November 11

Important TampL Theories

bull The behaviouristbull The humanistbull The socialbull The cognitivebull The neo-cognitive

(stimulus-response)

(the concern with self)

(communities of practise)

(active process of knowledge construction)

(all the above together)

59Friday 18 November 11

Models of Learning-Tools for Teaching

bull Generated by the lsquoLearning Theoriesrsquobull 4 categories

60Friday 18 November 11

Information Processing Models

Inducampve13 ThinkingDevelopment13 of13 classificaampon13 skills13 hypothesis13 building13 and13 tesampng13 and13 understanding13 of13 how13 to13 build13 conceptual13 understanding13 of13 content13 areas

Concept13 Aainment Learning13 concepts13 and13 studying13 strategies13 for13 aaining13 and13 applying13 them13 Building13 and13 tesampng13 hypothesis

13 Scienampfic13 Inquiry Learning13 the13 research13 system13 of13 the13 academic13 disciplines13 ndash13 how13 knowledge13 is13 produced13 and13 organized

Inquiry13 Training Casual13 reasoning13 and13 understanding13 of13 how13 to13 collect13 informaampon13 build13 concepts13 and13 build13 and13 test13 hypotheses

13 Cogniampve13 Growth Increase13 general13 intellectual13 development13 and13 adjust13 instrucampon13 to13 facilitate13 intellectual13 growth

Advance13 Organizers Designed13 to13 increase13 ability13 to13 absorb13 informaampon13 and13 organize13 it13 especially13 in13 learning13 from13 lectures13 and13 readings

MnemonicsIncrease13 ability13 to13 acquire13 informaampon13 concepts13 conceptual13 systems13 and13 metacogniampve13 control13 of13 informaampon13 processing13 capability

Picture13 ndash13 Word13 Inducampve Learning13 to13 read13 and13 write13 inquiry13 into13 language

61Friday 18 November 11

Social Family of Models

Group13 InvesampgaamponDevelopment13 of13 skills13 for13 parampcipaampon13 in13 democraampc13 process13 Simultaneously13 emphasises13 social13 development13 academic13 skills13 and13 personal13 understanding

Social13 Inquiry Social13 problem13 solving13 through13 collecampve13 academic13 study13 and13 logical13 reasoning

Jurisprudenampal13 InquiryAnalysis13 of13 policy13 issues13 through13 a13 jurisprudenampal13 framework13 Collecampon13 of13 data13 analysis13 of13 value13 quesampons13 and13 posiampons13 study13 of13 personal13 beliefs

Laboratory13 Method Understanding13 of13 group13 dynamics13 leadership13 understanding13 of13 personal13 styles

Role13 Playing Study13 of13 values13 and13 their13 role13 in13 social13 interacampon13 Personal13 understanding13 of13 values13 and13 behaviour

Posiampve13 Interdependence Development13 of13 interdependent13 strategies13 of13 social13 interacampon13 Understanding13 of13 self13 ndash13 other13 relaamponships13 and13 emoampons

Structured13 Social13 Inquiry Academic13 inquiry13 and13 social13 and13 personal13 development13 Cooperaampve13 strategies13 for13 approaching13 academic13 study

62Friday 18 November 11

Personal Family of Models

Nondirecampve13 Teaching Building13 capacity13 for13 personal13 development13 self13 ndash13 understanding13 autonomy13 and13 esteem13 of13 self

13 Awareness13 TrainingIncreasing13 self13 ndash13 understanding13 self13 ndash13 esteem13 and13 capacity13 for13 exploraampon13 Development13 of13 interpersonal13 sensiampvity13 and13 empathy

Classroom13 Meeampng Development13 of13 self13 ndash13 understanding13 and13 responsibility13 to13 self13 and13 others

Self13 ndash13 Actualisaampon Development13 of13 personal13 understanding13 and13 capacity13 for13 development

Conceptual13 Systems Increasing13 personal13 complexity13 and13 flexibility13 in13 processing13 informaampon13 and13 interacampng13 with13 others

63Friday 18 November 11

Behavioural systems Family of Models

Social13 Learning

Management13 of13 behaviour13 Learning13 new13 paerns13 of13 behaviour13

reducing13 phobic13 and13 other13 dysfuncamponal13 paerns13 learning13 self13 ndash13

control

Mastery13 Learning Mastery13 of13 academic13 skills13 and13 content13 of13 all13 types

Programmed13 Learning Mastery13 of13 skills13 concepts13 factual13 informaampon

SimulaamponMastery13 of13 complex13 skills13 and13 concepts13 in13 a13 wide13 range13 of13 areas13

of13 study

Direct13 TeachingMastery13 of13 academic13 content13 and13 skills13 in13 a13 wide13 range13 of13 areas13

of13 study

Anxiety13 Reducampon

Control13 over13 aversive13 reacampons13 Applicaampons13 in13 treatment13 and13

self13 ndash13 treatment13 of13 avoidance13 and13 dysfuncamponal13 paerns13 of13

response

64Friday 18 November 11

1st Musical Example

65Friday 18 November 11

2nd Musical Example

66Friday 18 November 11

Why is it important to Know

bull You can handle better your own education and practice (constructional approach vs behavioural approach)

bull Different professional exit points - but

bull Will need to employ variations of the above

bull Knowingpotential for greater achievement

67Friday 18 November 11

Psy and Music Education

Group Discussion

How would you approach a lesson if were a teacher

68Friday 18 November 11

69Friday 18 November 11

In Music Psychology

bull Compositionbull Improvisationbull Aestheticsbull Creativity

70Friday 18 November 11

The Psychology of Composition

In its discussionsldquoquestions fundamental assumptions

about the nature and role of musical activity and the

musical artefactrdquo

Impett 2009 p403

71Friday 18 November 11

The Psychology of Composition

It is not widely researched

ldquoLeast studied least understood of all musical artefactsrdquo

Sloboda 1985

ldquoLittle progress has been made in understanding composition per serdquo

Brown 2003

72Friday 18 November 11

The Psychology of Composition

What is Composition in terms of Psychology

73Friday 18 November 11

The Psychology of Composition

Composition (organisation of musical sound) could be seen as a process of self-reflection

from where self-expression derives

74Friday 18 November 11

The Psychology of Composition

ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated

expression the conscious embodiment of psychological

statesrdquo

Impett 2009

75Friday 18 November 11

Composition Psychology

76Friday 18 November 11

Composition Psychology

Creativity

77Friday 18 November 11

How could we perceive Composition

78Friday 18 November 11

Composition

it is a lsquoDiscussion of Mindsrsquo

Composer + Performer + Audience

79Friday 18 November 11

The Psychology of Composition

ldquoAlthough Composition to some degree is innateit is a product of a

situated processrdquo

Impett 2009

80Friday 18 November 11

Composition

a Process

whichby itself is in some sense creative

81Friday 18 November 11

Composition

In this ProcesshellipMetaphors and Imagination come into play

where personal aesthetics concepts and innovation (for example) shape the outcome

82Friday 18 November 11

The Psychology of Composition

based on the aforementionedSome fundamental principles exist

eg rhythm perception tonal perception

83Friday 18 November 11

The Psychology of Composition

Howevera precise nature for a personsrsquos psychology of

composition seems to be a highly individual question

84Friday 18 November 11

85Friday 18 November 11

Improvisation and Psychology

Studying Improvisation and its psychological aspect might provide

further insight into Composition

Why

86Friday 18 November 11

Improvisation and Psychology

ldquoUnlike musical composition which can be mostly construed as a more-or-

less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the

human bodyrdquo

Ashley 2009

87Friday 18 November 11

To Improvisehellipis

to produce music (composing) audibly

and in real time

88Friday 18 November 11

Improvisation and Psychology

bull Psychology of Musical Performance (eg motor behaviourhellip)

bull Pitch

bull Tone (perception)

bull and othersapproaching

deeper lsquocreativityrsquo

come altogether and in real time into play

89Friday 18 November 11

improvisation and Psychology

bull Learningbull Teachingbull Cognitionbull Society

lsquoCreativityrsquois further connected with

90Friday 18 November 11

Teaching and Learning

Perception

Instrumental Performance Composition-Improvisation

Psychology of Music

91Friday 18 November 11

end of part II92Friday 18 November 11

Music And Neuroscience

1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning

2) Knowledge acquisition is governed by factors that are not

fully under conscious control and can hardly be influenced

externally (Roth 2006)

93Friday 18 November 11

However we try to understand this lsquoknowledge acquisitionrsquo

frameworkand this is where Neuroscience comes into Music

(performance teaching learninghellip)

94Friday 18 November 11

What is Neuroscience

bull Neuroscience is this science which studies the Brain

bull This is where new experiences and knowledge are processed by interconnected Neurons which

become activated when a sensorial input is perceived

95Friday 18 November 11

How the Brain looks like

96Friday 18 November 11

97Friday 18 November 11

98Friday 18 November 11

lsquoBrain Voyagerrsquo Pictures

99Friday 18 November 11

bull The structure of the brain alters continuously

throughout our lives

bull This happens via experiences stimuli studies a walk in the parkby playing a musical

instrument

100Friday 18 November 11

The change of the brain structure we call it - Plasticity -

lsquoexperience-driven brain plasticityrsquo

101Friday 18 November 11

Why is it important to know about lsquoPlasticityrsquo

By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos

saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political

version of schooling

102Friday 18 November 11

A bit of History

ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt

almost 5000 years agohelliprdquo

Minagar Ragheb and Kelley 2003

103Friday 18 November 11

A Musical Fact

We know that evidence of music has been confirmed in every civilisation

throughout history

Chailley 1964

104Friday 18 November 11

Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology

(egGardner 1983)

Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful

musical experience

105Friday 18 November 11

History of Neuroscience in Music

One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)

106Friday 18 November 11

Supporting Areas

bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology

107Friday 18 November 11

Ways (Tools) of neuroscientific Rsc

bullMagnetic Resonance Imaging (MRI)

bullfunctional MRI

bullElectroencephalography (EEG)

bullEvent Related Potentials (ERPs)

bullTranscranial magnetic Stimulation (TMS)

bullMagnetoencephalography (MEG)

bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target

108Friday 18 November 11

Research Areas in Music

bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors

109Friday 18 November 11

Perception and Cognition -Musical Performance

Your Opinionhellip

Group Discussion

110Friday 18 November 11

Perception in Meuromusic

Perception (in music) is based on the sensory information that is

gathered by the brain regarding onersquos external and internal

environment

111Friday 18 November 11

Perception in Neuromusic

PitchRhythm

112Friday 18 November 11

We donrsquot know yet wether musical cognition and perception is

(a) specifically localised to distinct neural networks

(b) made up of shared neural networks that are associated with other brain processes

(c) a bit of both

113Friday 18 November 11

Musical Performance

Motor Learning and Instrumental Training

the act of making music is physically

intensivea pianist may bimanually

coordinate and lsquoscrutinisersquo up to 1800 notes per minute

114Friday 18 November 11

Musical Performance

3 parts of the brain are involved

bullthe sensorimotor cortex (interpretation of stimuli control of muscles)

bullthe basal ganglia (muscles in cooperative functions)

bullthe cerebellum (fine-tuning of motor movements stores motor patterns)

115Friday 18 November 11

Growth and Development proceed from general to specific

116Friday 18 November 11

Musicians appear to process new incoming stimuli more effectively

compared to non-musicians

117Friday 18 November 11

Meaning

if you practise more your brain learns to work more effectively

118Friday 18 November 11

lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop

brain cells and neurons

makes us even more effective

119Friday 18 November 11

It is evident that musicians have different brain structure than

non-musiciansAmunts et al 1997Schlaug et al 1995b

enhanced if training has started earlier in life

120Friday 18 November 11

For musical training there is this concept of lsquodeliberate practicersquo

motivation resources and attention determine the amount and quality of practice undertaken

121Friday 18 November 11

In Neuroscience scientists uncovered evidence showing a close association

between practice and expertisehellip

hours of deliberate practice

level of expertise

Lehmann and Gruber 2006

122Friday 18 November 11

implications to Musical performance and Training

1How to practise is best learned by practising

2Start early but not to early with playing an instrument

3Breaks and sleep is essential for motor learning and memory

4Use the human lsquomirror systemrsquo

123Friday 18 November 11

Examples of practisinghellip

124Friday 18 November 11

Neuroscience and Emotion in Music

Largely overlapping networks required for the processing of both

general and music-specific emotions

125Friday 18 November 11

Whether the neural basis of emotional appraisal of music is

innate or rather acquired through enculturation is subject

to ongoing discussion

Peretz and Sloboda 2005

126Friday 18 November 11

Nature vs NurtureProblem

127Friday 18 November 11

Howeverrecognition of emotions appears independent of musical

training

howhellipfamily environment possibly

128Friday 18 November 11

Recognising from Experiencing musical emotion is different

129Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

Performance Planning

Low Level

Mid Level

High Level

trial-and-errorsight reading

speed alterationchunking

linking of elements

interpretationpatterningprioritisingmonitoring

42Friday 18 November 11

Performance Planning

bull Practice of Performance bull Different from Planningalthough

interconnectedbull macro- and micro- levelsbull mental vs practical aspects

43Friday 18 November 11

Practice

bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason)bull Versatile Learners (most musicianshellip)

Types of Musicians Practising

44Friday 18 November 11

Practice

bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason) thought

to be together but not

Types of Musicians Practising

45Friday 18 November 11

Prof Musiciansrsquo Practice

Deliberate Practice

46Friday 18 November 11

Deliberate Practice

bull For professional musicians is crucial

Carefully structured activities

in order to improve performance

High Motivation

Extended Effort

Full Attention

Favourable Environment

Support

47Friday 18 November 11

PracticeThe way experts practise

1Acquire an overview of the music (according to abilityinternal

aural representation)

2According to structure divide the piece into sections

3Subsectionssolving technical problems

4The more complex the music the smaller the chunks

5Units start to become larger as practice progress

6Hierarchical structure appears to develop

7Performance plans integrate to a coherent whole(guided

by musical considerations)

48Friday 18 November 11

49Friday 18 November 11

Psy And Music Education

bull Music is a universal trait of human kindbull Propensity for musical developmentbull This potential is universal as linguistic

ability

50Friday 18 November 11

The pianist example

Nature vs Nurture

51Friday 18 November 11

PSY and Music Education

While self-selection for musicianship by individuals with innate functional and structural

brain differences cannot be completely ruled out the evidence indicates that it is musical training

that leads to changes in brain function and structure

Schlaug 2003

52Friday 18 November 11

Training in Western Edu Comm

Teacher Student

Material Context

Jones 2005Biggs 19992007

Light and Cox 2009

53Friday 18 November 11

What is Learning

What is Teaching

54Friday 18 November 11

Learning

1960s-1970s Learning as lsquoproductrsquo or lsquoprocessrsquo

Product learning is a change in behaviour

Process Learning is a continuous developmental pathwhich hierarchically reflects knowledge growth and

understanding of the reality

55Friday 18 November 11

Teaching

(a) Teaching is transmission of knowledge (kurtrsquos template)

(b) Teaching is a facilitation process towards knowledge

construction

XWorldPlugInBrainBucketVTS_05_1VOBlnk

7

Pervasive Metaphor in Our Culture forLearningTeaching Conduit ndash Knowledge Is Made of Objects That We Give to Each Other

Lakoff amp Johnson Metaphors We Live By These ModelsMetaphors Ground Our Mental Life

Teaching as Pumping Knowledge into Student

8

Key Neuromyth or Brain ScamBrain Download Fallacy

Incorrect Metaphor

Positive Conclusion from NeuroscienceKnowledge Grows from Active ExperienceBrains Cannot Be Directly Filled with WorldKnowledge

Remarkable Plasticityfrom Neuroscience amp Genetics

56Friday 18 November 11

Education

bull Dynamics in teaching and learning are not linear and clearly settled in any way Thus we have a great variation of final Educational Concepts

57Friday 18 November 11

Education

Teaching and Learning Theories

Educational Concepts

58Friday 18 November 11

Important TampL Theories

bull The behaviouristbull The humanistbull The socialbull The cognitivebull The neo-cognitive

(stimulus-response)

(the concern with self)

(communities of practise)

(active process of knowledge construction)

(all the above together)

59Friday 18 November 11

Models of Learning-Tools for Teaching

bull Generated by the lsquoLearning Theoriesrsquobull 4 categories

60Friday 18 November 11

Information Processing Models

Inducampve13 ThinkingDevelopment13 of13 classificaampon13 skills13 hypothesis13 building13 and13 tesampng13 and13 understanding13 of13 how13 to13 build13 conceptual13 understanding13 of13 content13 areas

Concept13 Aainment Learning13 concepts13 and13 studying13 strategies13 for13 aaining13 and13 applying13 them13 Building13 and13 tesampng13 hypothesis

13 Scienampfic13 Inquiry Learning13 the13 research13 system13 of13 the13 academic13 disciplines13 ndash13 how13 knowledge13 is13 produced13 and13 organized

Inquiry13 Training Casual13 reasoning13 and13 understanding13 of13 how13 to13 collect13 informaampon13 build13 concepts13 and13 build13 and13 test13 hypotheses

13 Cogniampve13 Growth Increase13 general13 intellectual13 development13 and13 adjust13 instrucampon13 to13 facilitate13 intellectual13 growth

Advance13 Organizers Designed13 to13 increase13 ability13 to13 absorb13 informaampon13 and13 organize13 it13 especially13 in13 learning13 from13 lectures13 and13 readings

MnemonicsIncrease13 ability13 to13 acquire13 informaampon13 concepts13 conceptual13 systems13 and13 metacogniampve13 control13 of13 informaampon13 processing13 capability

Picture13 ndash13 Word13 Inducampve Learning13 to13 read13 and13 write13 inquiry13 into13 language

61Friday 18 November 11

Social Family of Models

Group13 InvesampgaamponDevelopment13 of13 skills13 for13 parampcipaampon13 in13 democraampc13 process13 Simultaneously13 emphasises13 social13 development13 academic13 skills13 and13 personal13 understanding

Social13 Inquiry Social13 problem13 solving13 through13 collecampve13 academic13 study13 and13 logical13 reasoning

Jurisprudenampal13 InquiryAnalysis13 of13 policy13 issues13 through13 a13 jurisprudenampal13 framework13 Collecampon13 of13 data13 analysis13 of13 value13 quesampons13 and13 posiampons13 study13 of13 personal13 beliefs

Laboratory13 Method Understanding13 of13 group13 dynamics13 leadership13 understanding13 of13 personal13 styles

Role13 Playing Study13 of13 values13 and13 their13 role13 in13 social13 interacampon13 Personal13 understanding13 of13 values13 and13 behaviour

Posiampve13 Interdependence Development13 of13 interdependent13 strategies13 of13 social13 interacampon13 Understanding13 of13 self13 ndash13 other13 relaamponships13 and13 emoampons

Structured13 Social13 Inquiry Academic13 inquiry13 and13 social13 and13 personal13 development13 Cooperaampve13 strategies13 for13 approaching13 academic13 study

62Friday 18 November 11

Personal Family of Models

Nondirecampve13 Teaching Building13 capacity13 for13 personal13 development13 self13 ndash13 understanding13 autonomy13 and13 esteem13 of13 self

13 Awareness13 TrainingIncreasing13 self13 ndash13 understanding13 self13 ndash13 esteem13 and13 capacity13 for13 exploraampon13 Development13 of13 interpersonal13 sensiampvity13 and13 empathy

Classroom13 Meeampng Development13 of13 self13 ndash13 understanding13 and13 responsibility13 to13 self13 and13 others

Self13 ndash13 Actualisaampon Development13 of13 personal13 understanding13 and13 capacity13 for13 development

Conceptual13 Systems Increasing13 personal13 complexity13 and13 flexibility13 in13 processing13 informaampon13 and13 interacampng13 with13 others

63Friday 18 November 11

Behavioural systems Family of Models

Social13 Learning

Management13 of13 behaviour13 Learning13 new13 paerns13 of13 behaviour13

reducing13 phobic13 and13 other13 dysfuncamponal13 paerns13 learning13 self13 ndash13

control

Mastery13 Learning Mastery13 of13 academic13 skills13 and13 content13 of13 all13 types

Programmed13 Learning Mastery13 of13 skills13 concepts13 factual13 informaampon

SimulaamponMastery13 of13 complex13 skills13 and13 concepts13 in13 a13 wide13 range13 of13 areas13

of13 study

Direct13 TeachingMastery13 of13 academic13 content13 and13 skills13 in13 a13 wide13 range13 of13 areas13

of13 study

Anxiety13 Reducampon

Control13 over13 aversive13 reacampons13 Applicaampons13 in13 treatment13 and13

self13 ndash13 treatment13 of13 avoidance13 and13 dysfuncamponal13 paerns13 of13

response

64Friday 18 November 11

1st Musical Example

65Friday 18 November 11

2nd Musical Example

66Friday 18 November 11

Why is it important to Know

bull You can handle better your own education and practice (constructional approach vs behavioural approach)

bull Different professional exit points - but

bull Will need to employ variations of the above

bull Knowingpotential for greater achievement

67Friday 18 November 11

Psy and Music Education

Group Discussion

How would you approach a lesson if were a teacher

68Friday 18 November 11

69Friday 18 November 11

In Music Psychology

bull Compositionbull Improvisationbull Aestheticsbull Creativity

70Friday 18 November 11

The Psychology of Composition

In its discussionsldquoquestions fundamental assumptions

about the nature and role of musical activity and the

musical artefactrdquo

Impett 2009 p403

71Friday 18 November 11

The Psychology of Composition

It is not widely researched

ldquoLeast studied least understood of all musical artefactsrdquo

Sloboda 1985

ldquoLittle progress has been made in understanding composition per serdquo

Brown 2003

72Friday 18 November 11

The Psychology of Composition

What is Composition in terms of Psychology

73Friday 18 November 11

The Psychology of Composition

Composition (organisation of musical sound) could be seen as a process of self-reflection

from where self-expression derives

74Friday 18 November 11

The Psychology of Composition

ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated

expression the conscious embodiment of psychological

statesrdquo

Impett 2009

75Friday 18 November 11

Composition Psychology

76Friday 18 November 11

Composition Psychology

Creativity

77Friday 18 November 11

How could we perceive Composition

78Friday 18 November 11

Composition

it is a lsquoDiscussion of Mindsrsquo

Composer + Performer + Audience

79Friday 18 November 11

The Psychology of Composition

ldquoAlthough Composition to some degree is innateit is a product of a

situated processrdquo

Impett 2009

80Friday 18 November 11

Composition

a Process

whichby itself is in some sense creative

81Friday 18 November 11

Composition

In this ProcesshellipMetaphors and Imagination come into play

where personal aesthetics concepts and innovation (for example) shape the outcome

82Friday 18 November 11

The Psychology of Composition

based on the aforementionedSome fundamental principles exist

eg rhythm perception tonal perception

83Friday 18 November 11

The Psychology of Composition

Howevera precise nature for a personsrsquos psychology of

composition seems to be a highly individual question

84Friday 18 November 11

85Friday 18 November 11

Improvisation and Psychology

Studying Improvisation and its psychological aspect might provide

further insight into Composition

Why

86Friday 18 November 11

Improvisation and Psychology

ldquoUnlike musical composition which can be mostly construed as a more-or-

less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the

human bodyrdquo

Ashley 2009

87Friday 18 November 11

To Improvisehellipis

to produce music (composing) audibly

and in real time

88Friday 18 November 11

Improvisation and Psychology

bull Psychology of Musical Performance (eg motor behaviourhellip)

bull Pitch

bull Tone (perception)

bull and othersapproaching

deeper lsquocreativityrsquo

come altogether and in real time into play

89Friday 18 November 11

improvisation and Psychology

bull Learningbull Teachingbull Cognitionbull Society

lsquoCreativityrsquois further connected with

90Friday 18 November 11

Teaching and Learning

Perception

Instrumental Performance Composition-Improvisation

Psychology of Music

91Friday 18 November 11

end of part II92Friday 18 November 11

Music And Neuroscience

1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning

2) Knowledge acquisition is governed by factors that are not

fully under conscious control and can hardly be influenced

externally (Roth 2006)

93Friday 18 November 11

However we try to understand this lsquoknowledge acquisitionrsquo

frameworkand this is where Neuroscience comes into Music

(performance teaching learninghellip)

94Friday 18 November 11

What is Neuroscience

bull Neuroscience is this science which studies the Brain

bull This is where new experiences and knowledge are processed by interconnected Neurons which

become activated when a sensorial input is perceived

95Friday 18 November 11

How the Brain looks like

96Friday 18 November 11

97Friday 18 November 11

98Friday 18 November 11

lsquoBrain Voyagerrsquo Pictures

99Friday 18 November 11

bull The structure of the brain alters continuously

throughout our lives

bull This happens via experiences stimuli studies a walk in the parkby playing a musical

instrument

100Friday 18 November 11

The change of the brain structure we call it - Plasticity -

lsquoexperience-driven brain plasticityrsquo

101Friday 18 November 11

Why is it important to know about lsquoPlasticityrsquo

By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos

saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political

version of schooling

102Friday 18 November 11

A bit of History

ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt

almost 5000 years agohelliprdquo

Minagar Ragheb and Kelley 2003

103Friday 18 November 11

A Musical Fact

We know that evidence of music has been confirmed in every civilisation

throughout history

Chailley 1964

104Friday 18 November 11

Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology

(egGardner 1983)

Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful

musical experience

105Friday 18 November 11

History of Neuroscience in Music

One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)

106Friday 18 November 11

Supporting Areas

bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology

107Friday 18 November 11

Ways (Tools) of neuroscientific Rsc

bullMagnetic Resonance Imaging (MRI)

bullfunctional MRI

bullElectroencephalography (EEG)

bullEvent Related Potentials (ERPs)

bullTranscranial magnetic Stimulation (TMS)

bullMagnetoencephalography (MEG)

bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target

108Friday 18 November 11

Research Areas in Music

bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors

109Friday 18 November 11

Perception and Cognition -Musical Performance

Your Opinionhellip

Group Discussion

110Friday 18 November 11

Perception in Meuromusic

Perception (in music) is based on the sensory information that is

gathered by the brain regarding onersquos external and internal

environment

111Friday 18 November 11

Perception in Neuromusic

PitchRhythm

112Friday 18 November 11

We donrsquot know yet wether musical cognition and perception is

(a) specifically localised to distinct neural networks

(b) made up of shared neural networks that are associated with other brain processes

(c) a bit of both

113Friday 18 November 11

Musical Performance

Motor Learning and Instrumental Training

the act of making music is physically

intensivea pianist may bimanually

coordinate and lsquoscrutinisersquo up to 1800 notes per minute

114Friday 18 November 11

Musical Performance

3 parts of the brain are involved

bullthe sensorimotor cortex (interpretation of stimuli control of muscles)

bullthe basal ganglia (muscles in cooperative functions)

bullthe cerebellum (fine-tuning of motor movements stores motor patterns)

115Friday 18 November 11

Growth and Development proceed from general to specific

116Friday 18 November 11

Musicians appear to process new incoming stimuli more effectively

compared to non-musicians

117Friday 18 November 11

Meaning

if you practise more your brain learns to work more effectively

118Friday 18 November 11

lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop

brain cells and neurons

makes us even more effective

119Friday 18 November 11

It is evident that musicians have different brain structure than

non-musiciansAmunts et al 1997Schlaug et al 1995b

enhanced if training has started earlier in life

120Friday 18 November 11

For musical training there is this concept of lsquodeliberate practicersquo

motivation resources and attention determine the amount and quality of practice undertaken

121Friday 18 November 11

In Neuroscience scientists uncovered evidence showing a close association

between practice and expertisehellip

hours of deliberate practice

level of expertise

Lehmann and Gruber 2006

122Friday 18 November 11

implications to Musical performance and Training

1How to practise is best learned by practising

2Start early but not to early with playing an instrument

3Breaks and sleep is essential for motor learning and memory

4Use the human lsquomirror systemrsquo

123Friday 18 November 11

Examples of practisinghellip

124Friday 18 November 11

Neuroscience and Emotion in Music

Largely overlapping networks required for the processing of both

general and music-specific emotions

125Friday 18 November 11

Whether the neural basis of emotional appraisal of music is

innate or rather acquired through enculturation is subject

to ongoing discussion

Peretz and Sloboda 2005

126Friday 18 November 11

Nature vs NurtureProblem

127Friday 18 November 11

Howeverrecognition of emotions appears independent of musical

training

howhellipfamily environment possibly

128Friday 18 November 11

Recognising from Experiencing musical emotion is different

129Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

Performance Planning

bull Practice of Performance bull Different from Planningalthough

interconnectedbull macro- and micro- levelsbull mental vs practical aspects

43Friday 18 November 11

Practice

bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason)bull Versatile Learners (most musicianshellip)

Types of Musicians Practising

44Friday 18 November 11

Practice

bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason) thought

to be together but not

Types of Musicians Practising

45Friday 18 November 11

Prof Musiciansrsquo Practice

Deliberate Practice

46Friday 18 November 11

Deliberate Practice

bull For professional musicians is crucial

Carefully structured activities

in order to improve performance

High Motivation

Extended Effort

Full Attention

Favourable Environment

Support

47Friday 18 November 11

PracticeThe way experts practise

1Acquire an overview of the music (according to abilityinternal

aural representation)

2According to structure divide the piece into sections

3Subsectionssolving technical problems

4The more complex the music the smaller the chunks

5Units start to become larger as practice progress

6Hierarchical structure appears to develop

7Performance plans integrate to a coherent whole(guided

by musical considerations)

48Friday 18 November 11

49Friday 18 November 11

Psy And Music Education

bull Music is a universal trait of human kindbull Propensity for musical developmentbull This potential is universal as linguistic

ability

50Friday 18 November 11

The pianist example

Nature vs Nurture

51Friday 18 November 11

PSY and Music Education

While self-selection for musicianship by individuals with innate functional and structural

brain differences cannot be completely ruled out the evidence indicates that it is musical training

that leads to changes in brain function and structure

Schlaug 2003

52Friday 18 November 11

Training in Western Edu Comm

Teacher Student

Material Context

Jones 2005Biggs 19992007

Light and Cox 2009

53Friday 18 November 11

What is Learning

What is Teaching

54Friday 18 November 11

Learning

1960s-1970s Learning as lsquoproductrsquo or lsquoprocessrsquo

Product learning is a change in behaviour

Process Learning is a continuous developmental pathwhich hierarchically reflects knowledge growth and

understanding of the reality

55Friday 18 November 11

Teaching

(a) Teaching is transmission of knowledge (kurtrsquos template)

(b) Teaching is a facilitation process towards knowledge

construction

XWorldPlugInBrainBucketVTS_05_1VOBlnk

7

Pervasive Metaphor in Our Culture forLearningTeaching Conduit ndash Knowledge Is Made of Objects That We Give to Each Other

Lakoff amp Johnson Metaphors We Live By These ModelsMetaphors Ground Our Mental Life

Teaching as Pumping Knowledge into Student

8

Key Neuromyth or Brain ScamBrain Download Fallacy

Incorrect Metaphor

Positive Conclusion from NeuroscienceKnowledge Grows from Active ExperienceBrains Cannot Be Directly Filled with WorldKnowledge

Remarkable Plasticityfrom Neuroscience amp Genetics

56Friday 18 November 11

Education

bull Dynamics in teaching and learning are not linear and clearly settled in any way Thus we have a great variation of final Educational Concepts

57Friday 18 November 11

Education

Teaching and Learning Theories

Educational Concepts

58Friday 18 November 11

Important TampL Theories

bull The behaviouristbull The humanistbull The socialbull The cognitivebull The neo-cognitive

(stimulus-response)

(the concern with self)

(communities of practise)

(active process of knowledge construction)

(all the above together)

59Friday 18 November 11

Models of Learning-Tools for Teaching

bull Generated by the lsquoLearning Theoriesrsquobull 4 categories

60Friday 18 November 11

Information Processing Models

Inducampve13 ThinkingDevelopment13 of13 classificaampon13 skills13 hypothesis13 building13 and13 tesampng13 and13 understanding13 of13 how13 to13 build13 conceptual13 understanding13 of13 content13 areas

Concept13 Aainment Learning13 concepts13 and13 studying13 strategies13 for13 aaining13 and13 applying13 them13 Building13 and13 tesampng13 hypothesis

13 Scienampfic13 Inquiry Learning13 the13 research13 system13 of13 the13 academic13 disciplines13 ndash13 how13 knowledge13 is13 produced13 and13 organized

Inquiry13 Training Casual13 reasoning13 and13 understanding13 of13 how13 to13 collect13 informaampon13 build13 concepts13 and13 build13 and13 test13 hypotheses

13 Cogniampve13 Growth Increase13 general13 intellectual13 development13 and13 adjust13 instrucampon13 to13 facilitate13 intellectual13 growth

Advance13 Organizers Designed13 to13 increase13 ability13 to13 absorb13 informaampon13 and13 organize13 it13 especially13 in13 learning13 from13 lectures13 and13 readings

MnemonicsIncrease13 ability13 to13 acquire13 informaampon13 concepts13 conceptual13 systems13 and13 metacogniampve13 control13 of13 informaampon13 processing13 capability

Picture13 ndash13 Word13 Inducampve Learning13 to13 read13 and13 write13 inquiry13 into13 language

61Friday 18 November 11

Social Family of Models

Group13 InvesampgaamponDevelopment13 of13 skills13 for13 parampcipaampon13 in13 democraampc13 process13 Simultaneously13 emphasises13 social13 development13 academic13 skills13 and13 personal13 understanding

Social13 Inquiry Social13 problem13 solving13 through13 collecampve13 academic13 study13 and13 logical13 reasoning

Jurisprudenampal13 InquiryAnalysis13 of13 policy13 issues13 through13 a13 jurisprudenampal13 framework13 Collecampon13 of13 data13 analysis13 of13 value13 quesampons13 and13 posiampons13 study13 of13 personal13 beliefs

Laboratory13 Method Understanding13 of13 group13 dynamics13 leadership13 understanding13 of13 personal13 styles

Role13 Playing Study13 of13 values13 and13 their13 role13 in13 social13 interacampon13 Personal13 understanding13 of13 values13 and13 behaviour

Posiampve13 Interdependence Development13 of13 interdependent13 strategies13 of13 social13 interacampon13 Understanding13 of13 self13 ndash13 other13 relaamponships13 and13 emoampons

Structured13 Social13 Inquiry Academic13 inquiry13 and13 social13 and13 personal13 development13 Cooperaampve13 strategies13 for13 approaching13 academic13 study

62Friday 18 November 11

Personal Family of Models

Nondirecampve13 Teaching Building13 capacity13 for13 personal13 development13 self13 ndash13 understanding13 autonomy13 and13 esteem13 of13 self

13 Awareness13 TrainingIncreasing13 self13 ndash13 understanding13 self13 ndash13 esteem13 and13 capacity13 for13 exploraampon13 Development13 of13 interpersonal13 sensiampvity13 and13 empathy

Classroom13 Meeampng Development13 of13 self13 ndash13 understanding13 and13 responsibility13 to13 self13 and13 others

Self13 ndash13 Actualisaampon Development13 of13 personal13 understanding13 and13 capacity13 for13 development

Conceptual13 Systems Increasing13 personal13 complexity13 and13 flexibility13 in13 processing13 informaampon13 and13 interacampng13 with13 others

63Friday 18 November 11

Behavioural systems Family of Models

Social13 Learning

Management13 of13 behaviour13 Learning13 new13 paerns13 of13 behaviour13

reducing13 phobic13 and13 other13 dysfuncamponal13 paerns13 learning13 self13 ndash13

control

Mastery13 Learning Mastery13 of13 academic13 skills13 and13 content13 of13 all13 types

Programmed13 Learning Mastery13 of13 skills13 concepts13 factual13 informaampon

SimulaamponMastery13 of13 complex13 skills13 and13 concepts13 in13 a13 wide13 range13 of13 areas13

of13 study

Direct13 TeachingMastery13 of13 academic13 content13 and13 skills13 in13 a13 wide13 range13 of13 areas13

of13 study

Anxiety13 Reducampon

Control13 over13 aversive13 reacampons13 Applicaampons13 in13 treatment13 and13

self13 ndash13 treatment13 of13 avoidance13 and13 dysfuncamponal13 paerns13 of13

response

64Friday 18 November 11

1st Musical Example

65Friday 18 November 11

2nd Musical Example

66Friday 18 November 11

Why is it important to Know

bull You can handle better your own education and practice (constructional approach vs behavioural approach)

bull Different professional exit points - but

bull Will need to employ variations of the above

bull Knowingpotential for greater achievement

67Friday 18 November 11

Psy and Music Education

Group Discussion

How would you approach a lesson if were a teacher

68Friday 18 November 11

69Friday 18 November 11

In Music Psychology

bull Compositionbull Improvisationbull Aestheticsbull Creativity

70Friday 18 November 11

The Psychology of Composition

In its discussionsldquoquestions fundamental assumptions

about the nature and role of musical activity and the

musical artefactrdquo

Impett 2009 p403

71Friday 18 November 11

The Psychology of Composition

It is not widely researched

ldquoLeast studied least understood of all musical artefactsrdquo

Sloboda 1985

ldquoLittle progress has been made in understanding composition per serdquo

Brown 2003

72Friday 18 November 11

The Psychology of Composition

What is Composition in terms of Psychology

73Friday 18 November 11

The Psychology of Composition

Composition (organisation of musical sound) could be seen as a process of self-reflection

from where self-expression derives

74Friday 18 November 11

The Psychology of Composition

ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated

expression the conscious embodiment of psychological

statesrdquo

Impett 2009

75Friday 18 November 11

Composition Psychology

76Friday 18 November 11

Composition Psychology

Creativity

77Friday 18 November 11

How could we perceive Composition

78Friday 18 November 11

Composition

it is a lsquoDiscussion of Mindsrsquo

Composer + Performer + Audience

79Friday 18 November 11

The Psychology of Composition

ldquoAlthough Composition to some degree is innateit is a product of a

situated processrdquo

Impett 2009

80Friday 18 November 11

Composition

a Process

whichby itself is in some sense creative

81Friday 18 November 11

Composition

In this ProcesshellipMetaphors and Imagination come into play

where personal aesthetics concepts and innovation (for example) shape the outcome

82Friday 18 November 11

The Psychology of Composition

based on the aforementionedSome fundamental principles exist

eg rhythm perception tonal perception

83Friday 18 November 11

The Psychology of Composition

Howevera precise nature for a personsrsquos psychology of

composition seems to be a highly individual question

84Friday 18 November 11

85Friday 18 November 11

Improvisation and Psychology

Studying Improvisation and its psychological aspect might provide

further insight into Composition

Why

86Friday 18 November 11

Improvisation and Psychology

ldquoUnlike musical composition which can be mostly construed as a more-or-

less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the

human bodyrdquo

Ashley 2009

87Friday 18 November 11

To Improvisehellipis

to produce music (composing) audibly

and in real time

88Friday 18 November 11

Improvisation and Psychology

bull Psychology of Musical Performance (eg motor behaviourhellip)

bull Pitch

bull Tone (perception)

bull and othersapproaching

deeper lsquocreativityrsquo

come altogether and in real time into play

89Friday 18 November 11

improvisation and Psychology

bull Learningbull Teachingbull Cognitionbull Society

lsquoCreativityrsquois further connected with

90Friday 18 November 11

Teaching and Learning

Perception

Instrumental Performance Composition-Improvisation

Psychology of Music

91Friday 18 November 11

end of part II92Friday 18 November 11

Music And Neuroscience

1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning

2) Knowledge acquisition is governed by factors that are not

fully under conscious control and can hardly be influenced

externally (Roth 2006)

93Friday 18 November 11

However we try to understand this lsquoknowledge acquisitionrsquo

frameworkand this is where Neuroscience comes into Music

(performance teaching learninghellip)

94Friday 18 November 11

What is Neuroscience

bull Neuroscience is this science which studies the Brain

bull This is where new experiences and knowledge are processed by interconnected Neurons which

become activated when a sensorial input is perceived

95Friday 18 November 11

How the Brain looks like

96Friday 18 November 11

97Friday 18 November 11

98Friday 18 November 11

lsquoBrain Voyagerrsquo Pictures

99Friday 18 November 11

bull The structure of the brain alters continuously

throughout our lives

bull This happens via experiences stimuli studies a walk in the parkby playing a musical

instrument

100Friday 18 November 11

The change of the brain structure we call it - Plasticity -

lsquoexperience-driven brain plasticityrsquo

101Friday 18 November 11

Why is it important to know about lsquoPlasticityrsquo

By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos

saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political

version of schooling

102Friday 18 November 11

A bit of History

ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt

almost 5000 years agohelliprdquo

Minagar Ragheb and Kelley 2003

103Friday 18 November 11

A Musical Fact

We know that evidence of music has been confirmed in every civilisation

throughout history

Chailley 1964

104Friday 18 November 11

Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology

(egGardner 1983)

Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful

musical experience

105Friday 18 November 11

History of Neuroscience in Music

One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)

106Friday 18 November 11

Supporting Areas

bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology

107Friday 18 November 11

Ways (Tools) of neuroscientific Rsc

bullMagnetic Resonance Imaging (MRI)

bullfunctional MRI

bullElectroencephalography (EEG)

bullEvent Related Potentials (ERPs)

bullTranscranial magnetic Stimulation (TMS)

bullMagnetoencephalography (MEG)

bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target

108Friday 18 November 11

Research Areas in Music

bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors

109Friday 18 November 11

Perception and Cognition -Musical Performance

Your Opinionhellip

Group Discussion

110Friday 18 November 11

Perception in Meuromusic

Perception (in music) is based on the sensory information that is

gathered by the brain regarding onersquos external and internal

environment

111Friday 18 November 11

Perception in Neuromusic

PitchRhythm

112Friday 18 November 11

We donrsquot know yet wether musical cognition and perception is

(a) specifically localised to distinct neural networks

(b) made up of shared neural networks that are associated with other brain processes

(c) a bit of both

113Friday 18 November 11

Musical Performance

Motor Learning and Instrumental Training

the act of making music is physically

intensivea pianist may bimanually

coordinate and lsquoscrutinisersquo up to 1800 notes per minute

114Friday 18 November 11

Musical Performance

3 parts of the brain are involved

bullthe sensorimotor cortex (interpretation of stimuli control of muscles)

bullthe basal ganglia (muscles in cooperative functions)

bullthe cerebellum (fine-tuning of motor movements stores motor patterns)

115Friday 18 November 11

Growth and Development proceed from general to specific

116Friday 18 November 11

Musicians appear to process new incoming stimuli more effectively

compared to non-musicians

117Friday 18 November 11

Meaning

if you practise more your brain learns to work more effectively

118Friday 18 November 11

lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop

brain cells and neurons

makes us even more effective

119Friday 18 November 11

It is evident that musicians have different brain structure than

non-musiciansAmunts et al 1997Schlaug et al 1995b

enhanced if training has started earlier in life

120Friday 18 November 11

For musical training there is this concept of lsquodeliberate practicersquo

motivation resources and attention determine the amount and quality of practice undertaken

121Friday 18 November 11

In Neuroscience scientists uncovered evidence showing a close association

between practice and expertisehellip

hours of deliberate practice

level of expertise

Lehmann and Gruber 2006

122Friday 18 November 11

implications to Musical performance and Training

1How to practise is best learned by practising

2Start early but not to early with playing an instrument

3Breaks and sleep is essential for motor learning and memory

4Use the human lsquomirror systemrsquo

123Friday 18 November 11

Examples of practisinghellip

124Friday 18 November 11

Neuroscience and Emotion in Music

Largely overlapping networks required for the processing of both

general and music-specific emotions

125Friday 18 November 11

Whether the neural basis of emotional appraisal of music is

innate or rather acquired through enculturation is subject

to ongoing discussion

Peretz and Sloboda 2005

126Friday 18 November 11

Nature vs NurtureProblem

127Friday 18 November 11

Howeverrecognition of emotions appears independent of musical

training

howhellipfamily environment possibly

128Friday 18 November 11

Recognising from Experiencing musical emotion is different

129Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

Practice

bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason)bull Versatile Learners (most musicianshellip)

Types of Musicians Practising

44Friday 18 November 11

Practice

bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason) thought

to be together but not

Types of Musicians Practising

45Friday 18 November 11

Prof Musiciansrsquo Practice

Deliberate Practice

46Friday 18 November 11

Deliberate Practice

bull For professional musicians is crucial

Carefully structured activities

in order to improve performance

High Motivation

Extended Effort

Full Attention

Favourable Environment

Support

47Friday 18 November 11

PracticeThe way experts practise

1Acquire an overview of the music (according to abilityinternal

aural representation)

2According to structure divide the piece into sections

3Subsectionssolving technical problems

4The more complex the music the smaller the chunks

5Units start to become larger as practice progress

6Hierarchical structure appears to develop

7Performance plans integrate to a coherent whole(guided

by musical considerations)

48Friday 18 November 11

49Friday 18 November 11

Psy And Music Education

bull Music is a universal trait of human kindbull Propensity for musical developmentbull This potential is universal as linguistic

ability

50Friday 18 November 11

The pianist example

Nature vs Nurture

51Friday 18 November 11

PSY and Music Education

While self-selection for musicianship by individuals with innate functional and structural

brain differences cannot be completely ruled out the evidence indicates that it is musical training

that leads to changes in brain function and structure

Schlaug 2003

52Friday 18 November 11

Training in Western Edu Comm

Teacher Student

Material Context

Jones 2005Biggs 19992007

Light and Cox 2009

53Friday 18 November 11

What is Learning

What is Teaching

54Friday 18 November 11

Learning

1960s-1970s Learning as lsquoproductrsquo or lsquoprocessrsquo

Product learning is a change in behaviour

Process Learning is a continuous developmental pathwhich hierarchically reflects knowledge growth and

understanding of the reality

55Friday 18 November 11

Teaching

(a) Teaching is transmission of knowledge (kurtrsquos template)

(b) Teaching is a facilitation process towards knowledge

construction

XWorldPlugInBrainBucketVTS_05_1VOBlnk

7

Pervasive Metaphor in Our Culture forLearningTeaching Conduit ndash Knowledge Is Made of Objects That We Give to Each Other

Lakoff amp Johnson Metaphors We Live By These ModelsMetaphors Ground Our Mental Life

Teaching as Pumping Knowledge into Student

8

Key Neuromyth or Brain ScamBrain Download Fallacy

Incorrect Metaphor

Positive Conclusion from NeuroscienceKnowledge Grows from Active ExperienceBrains Cannot Be Directly Filled with WorldKnowledge

Remarkable Plasticityfrom Neuroscience amp Genetics

56Friday 18 November 11

Education

bull Dynamics in teaching and learning are not linear and clearly settled in any way Thus we have a great variation of final Educational Concepts

57Friday 18 November 11

Education

Teaching and Learning Theories

Educational Concepts

58Friday 18 November 11

Important TampL Theories

bull The behaviouristbull The humanistbull The socialbull The cognitivebull The neo-cognitive

(stimulus-response)

(the concern with self)

(communities of practise)

(active process of knowledge construction)

(all the above together)

59Friday 18 November 11

Models of Learning-Tools for Teaching

bull Generated by the lsquoLearning Theoriesrsquobull 4 categories

60Friday 18 November 11

Information Processing Models

Inducampve13 ThinkingDevelopment13 of13 classificaampon13 skills13 hypothesis13 building13 and13 tesampng13 and13 understanding13 of13 how13 to13 build13 conceptual13 understanding13 of13 content13 areas

Concept13 Aainment Learning13 concepts13 and13 studying13 strategies13 for13 aaining13 and13 applying13 them13 Building13 and13 tesampng13 hypothesis

13 Scienampfic13 Inquiry Learning13 the13 research13 system13 of13 the13 academic13 disciplines13 ndash13 how13 knowledge13 is13 produced13 and13 organized

Inquiry13 Training Casual13 reasoning13 and13 understanding13 of13 how13 to13 collect13 informaampon13 build13 concepts13 and13 build13 and13 test13 hypotheses

13 Cogniampve13 Growth Increase13 general13 intellectual13 development13 and13 adjust13 instrucampon13 to13 facilitate13 intellectual13 growth

Advance13 Organizers Designed13 to13 increase13 ability13 to13 absorb13 informaampon13 and13 organize13 it13 especially13 in13 learning13 from13 lectures13 and13 readings

MnemonicsIncrease13 ability13 to13 acquire13 informaampon13 concepts13 conceptual13 systems13 and13 metacogniampve13 control13 of13 informaampon13 processing13 capability

Picture13 ndash13 Word13 Inducampve Learning13 to13 read13 and13 write13 inquiry13 into13 language

61Friday 18 November 11

Social Family of Models

Group13 InvesampgaamponDevelopment13 of13 skills13 for13 parampcipaampon13 in13 democraampc13 process13 Simultaneously13 emphasises13 social13 development13 academic13 skills13 and13 personal13 understanding

Social13 Inquiry Social13 problem13 solving13 through13 collecampve13 academic13 study13 and13 logical13 reasoning

Jurisprudenampal13 InquiryAnalysis13 of13 policy13 issues13 through13 a13 jurisprudenampal13 framework13 Collecampon13 of13 data13 analysis13 of13 value13 quesampons13 and13 posiampons13 study13 of13 personal13 beliefs

Laboratory13 Method Understanding13 of13 group13 dynamics13 leadership13 understanding13 of13 personal13 styles

Role13 Playing Study13 of13 values13 and13 their13 role13 in13 social13 interacampon13 Personal13 understanding13 of13 values13 and13 behaviour

Posiampve13 Interdependence Development13 of13 interdependent13 strategies13 of13 social13 interacampon13 Understanding13 of13 self13 ndash13 other13 relaamponships13 and13 emoampons

Structured13 Social13 Inquiry Academic13 inquiry13 and13 social13 and13 personal13 development13 Cooperaampve13 strategies13 for13 approaching13 academic13 study

62Friday 18 November 11

Personal Family of Models

Nondirecampve13 Teaching Building13 capacity13 for13 personal13 development13 self13 ndash13 understanding13 autonomy13 and13 esteem13 of13 self

13 Awareness13 TrainingIncreasing13 self13 ndash13 understanding13 self13 ndash13 esteem13 and13 capacity13 for13 exploraampon13 Development13 of13 interpersonal13 sensiampvity13 and13 empathy

Classroom13 Meeampng Development13 of13 self13 ndash13 understanding13 and13 responsibility13 to13 self13 and13 others

Self13 ndash13 Actualisaampon Development13 of13 personal13 understanding13 and13 capacity13 for13 development

Conceptual13 Systems Increasing13 personal13 complexity13 and13 flexibility13 in13 processing13 informaampon13 and13 interacampng13 with13 others

63Friday 18 November 11

Behavioural systems Family of Models

Social13 Learning

Management13 of13 behaviour13 Learning13 new13 paerns13 of13 behaviour13

reducing13 phobic13 and13 other13 dysfuncamponal13 paerns13 learning13 self13 ndash13

control

Mastery13 Learning Mastery13 of13 academic13 skills13 and13 content13 of13 all13 types

Programmed13 Learning Mastery13 of13 skills13 concepts13 factual13 informaampon

SimulaamponMastery13 of13 complex13 skills13 and13 concepts13 in13 a13 wide13 range13 of13 areas13

of13 study

Direct13 TeachingMastery13 of13 academic13 content13 and13 skills13 in13 a13 wide13 range13 of13 areas13

of13 study

Anxiety13 Reducampon

Control13 over13 aversive13 reacampons13 Applicaampons13 in13 treatment13 and13

self13 ndash13 treatment13 of13 avoidance13 and13 dysfuncamponal13 paerns13 of13

response

64Friday 18 November 11

1st Musical Example

65Friday 18 November 11

2nd Musical Example

66Friday 18 November 11

Why is it important to Know

bull You can handle better your own education and practice (constructional approach vs behavioural approach)

bull Different professional exit points - but

bull Will need to employ variations of the above

bull Knowingpotential for greater achievement

67Friday 18 November 11

Psy and Music Education

Group Discussion

How would you approach a lesson if were a teacher

68Friday 18 November 11

69Friday 18 November 11

In Music Psychology

bull Compositionbull Improvisationbull Aestheticsbull Creativity

70Friday 18 November 11

The Psychology of Composition

In its discussionsldquoquestions fundamental assumptions

about the nature and role of musical activity and the

musical artefactrdquo

Impett 2009 p403

71Friday 18 November 11

The Psychology of Composition

It is not widely researched

ldquoLeast studied least understood of all musical artefactsrdquo

Sloboda 1985

ldquoLittle progress has been made in understanding composition per serdquo

Brown 2003

72Friday 18 November 11

The Psychology of Composition

What is Composition in terms of Psychology

73Friday 18 November 11

The Psychology of Composition

Composition (organisation of musical sound) could be seen as a process of self-reflection

from where self-expression derives

74Friday 18 November 11

The Psychology of Composition

ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated

expression the conscious embodiment of psychological

statesrdquo

Impett 2009

75Friday 18 November 11

Composition Psychology

76Friday 18 November 11

Composition Psychology

Creativity

77Friday 18 November 11

How could we perceive Composition

78Friday 18 November 11

Composition

it is a lsquoDiscussion of Mindsrsquo

Composer + Performer + Audience

79Friday 18 November 11

The Psychology of Composition

ldquoAlthough Composition to some degree is innateit is a product of a

situated processrdquo

Impett 2009

80Friday 18 November 11

Composition

a Process

whichby itself is in some sense creative

81Friday 18 November 11

Composition

In this ProcesshellipMetaphors and Imagination come into play

where personal aesthetics concepts and innovation (for example) shape the outcome

82Friday 18 November 11

The Psychology of Composition

based on the aforementionedSome fundamental principles exist

eg rhythm perception tonal perception

83Friday 18 November 11

The Psychology of Composition

Howevera precise nature for a personsrsquos psychology of

composition seems to be a highly individual question

84Friday 18 November 11

85Friday 18 November 11

Improvisation and Psychology

Studying Improvisation and its psychological aspect might provide

further insight into Composition

Why

86Friday 18 November 11

Improvisation and Psychology

ldquoUnlike musical composition which can be mostly construed as a more-or-

less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the

human bodyrdquo

Ashley 2009

87Friday 18 November 11

To Improvisehellipis

to produce music (composing) audibly

and in real time

88Friday 18 November 11

Improvisation and Psychology

bull Psychology of Musical Performance (eg motor behaviourhellip)

bull Pitch

bull Tone (perception)

bull and othersapproaching

deeper lsquocreativityrsquo

come altogether and in real time into play

89Friday 18 November 11

improvisation and Psychology

bull Learningbull Teachingbull Cognitionbull Society

lsquoCreativityrsquois further connected with

90Friday 18 November 11

Teaching and Learning

Perception

Instrumental Performance Composition-Improvisation

Psychology of Music

91Friday 18 November 11

end of part II92Friday 18 November 11

Music And Neuroscience

1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning

2) Knowledge acquisition is governed by factors that are not

fully under conscious control and can hardly be influenced

externally (Roth 2006)

93Friday 18 November 11

However we try to understand this lsquoknowledge acquisitionrsquo

frameworkand this is where Neuroscience comes into Music

(performance teaching learninghellip)

94Friday 18 November 11

What is Neuroscience

bull Neuroscience is this science which studies the Brain

bull This is where new experiences and knowledge are processed by interconnected Neurons which

become activated when a sensorial input is perceived

95Friday 18 November 11

How the Brain looks like

96Friday 18 November 11

97Friday 18 November 11

98Friday 18 November 11

lsquoBrain Voyagerrsquo Pictures

99Friday 18 November 11

bull The structure of the brain alters continuously

throughout our lives

bull This happens via experiences stimuli studies a walk in the parkby playing a musical

instrument

100Friday 18 November 11

The change of the brain structure we call it - Plasticity -

lsquoexperience-driven brain plasticityrsquo

101Friday 18 November 11

Why is it important to know about lsquoPlasticityrsquo

By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos

saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political

version of schooling

102Friday 18 November 11

A bit of History

ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt

almost 5000 years agohelliprdquo

Minagar Ragheb and Kelley 2003

103Friday 18 November 11

A Musical Fact

We know that evidence of music has been confirmed in every civilisation

throughout history

Chailley 1964

104Friday 18 November 11

Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology

(egGardner 1983)

Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful

musical experience

105Friday 18 November 11

History of Neuroscience in Music

One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)

106Friday 18 November 11

Supporting Areas

bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology

107Friday 18 November 11

Ways (Tools) of neuroscientific Rsc

bullMagnetic Resonance Imaging (MRI)

bullfunctional MRI

bullElectroencephalography (EEG)

bullEvent Related Potentials (ERPs)

bullTranscranial magnetic Stimulation (TMS)

bullMagnetoencephalography (MEG)

bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target

108Friday 18 November 11

Research Areas in Music

bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors

109Friday 18 November 11

Perception and Cognition -Musical Performance

Your Opinionhellip

Group Discussion

110Friday 18 November 11

Perception in Meuromusic

Perception (in music) is based on the sensory information that is

gathered by the brain regarding onersquos external and internal

environment

111Friday 18 November 11

Perception in Neuromusic

PitchRhythm

112Friday 18 November 11

We donrsquot know yet wether musical cognition and perception is

(a) specifically localised to distinct neural networks

(b) made up of shared neural networks that are associated with other brain processes

(c) a bit of both

113Friday 18 November 11

Musical Performance

Motor Learning and Instrumental Training

the act of making music is physically

intensivea pianist may bimanually

coordinate and lsquoscrutinisersquo up to 1800 notes per minute

114Friday 18 November 11

Musical Performance

3 parts of the brain are involved

bullthe sensorimotor cortex (interpretation of stimuli control of muscles)

bullthe basal ganglia (muscles in cooperative functions)

bullthe cerebellum (fine-tuning of motor movements stores motor patterns)

115Friday 18 November 11

Growth and Development proceed from general to specific

116Friday 18 November 11

Musicians appear to process new incoming stimuli more effectively

compared to non-musicians

117Friday 18 November 11

Meaning

if you practise more your brain learns to work more effectively

118Friday 18 November 11

lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop

brain cells and neurons

makes us even more effective

119Friday 18 November 11

It is evident that musicians have different brain structure than

non-musiciansAmunts et al 1997Schlaug et al 1995b

enhanced if training has started earlier in life

120Friday 18 November 11

For musical training there is this concept of lsquodeliberate practicersquo

motivation resources and attention determine the amount and quality of practice undertaken

121Friday 18 November 11

In Neuroscience scientists uncovered evidence showing a close association

between practice and expertisehellip

hours of deliberate practice

level of expertise

Lehmann and Gruber 2006

122Friday 18 November 11

implications to Musical performance and Training

1How to practise is best learned by practising

2Start early but not to early with playing an instrument

3Breaks and sleep is essential for motor learning and memory

4Use the human lsquomirror systemrsquo

123Friday 18 November 11

Examples of practisinghellip

124Friday 18 November 11

Neuroscience and Emotion in Music

Largely overlapping networks required for the processing of both

general and music-specific emotions

125Friday 18 November 11

Whether the neural basis of emotional appraisal of music is

innate or rather acquired through enculturation is subject

to ongoing discussion

Peretz and Sloboda 2005

126Friday 18 November 11

Nature vs NurtureProblem

127Friday 18 November 11

Howeverrecognition of emotions appears independent of musical

training

howhellipfamily environment possibly

128Friday 18 November 11

Recognising from Experiencing musical emotion is different

129Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

Practice

bull Analytic Holists (analysis of the whole)bull Intuitive Serialists (no specific reason) thought

to be together but not

Types of Musicians Practising

45Friday 18 November 11

Prof Musiciansrsquo Practice

Deliberate Practice

46Friday 18 November 11

Deliberate Practice

bull For professional musicians is crucial

Carefully structured activities

in order to improve performance

High Motivation

Extended Effort

Full Attention

Favourable Environment

Support

47Friday 18 November 11

PracticeThe way experts practise

1Acquire an overview of the music (according to abilityinternal

aural representation)

2According to structure divide the piece into sections

3Subsectionssolving technical problems

4The more complex the music the smaller the chunks

5Units start to become larger as practice progress

6Hierarchical structure appears to develop

7Performance plans integrate to a coherent whole(guided

by musical considerations)

48Friday 18 November 11

49Friday 18 November 11

Psy And Music Education

bull Music is a universal trait of human kindbull Propensity for musical developmentbull This potential is universal as linguistic

ability

50Friday 18 November 11

The pianist example

Nature vs Nurture

51Friday 18 November 11

PSY and Music Education

While self-selection for musicianship by individuals with innate functional and structural

brain differences cannot be completely ruled out the evidence indicates that it is musical training

that leads to changes in brain function and structure

Schlaug 2003

52Friday 18 November 11

Training in Western Edu Comm

Teacher Student

Material Context

Jones 2005Biggs 19992007

Light and Cox 2009

53Friday 18 November 11

What is Learning

What is Teaching

54Friday 18 November 11

Learning

1960s-1970s Learning as lsquoproductrsquo or lsquoprocessrsquo

Product learning is a change in behaviour

Process Learning is a continuous developmental pathwhich hierarchically reflects knowledge growth and

understanding of the reality

55Friday 18 November 11

Teaching

(a) Teaching is transmission of knowledge (kurtrsquos template)

(b) Teaching is a facilitation process towards knowledge

construction

XWorldPlugInBrainBucketVTS_05_1VOBlnk

7

Pervasive Metaphor in Our Culture forLearningTeaching Conduit ndash Knowledge Is Made of Objects That We Give to Each Other

Lakoff amp Johnson Metaphors We Live By These ModelsMetaphors Ground Our Mental Life

Teaching as Pumping Knowledge into Student

8

Key Neuromyth or Brain ScamBrain Download Fallacy

Incorrect Metaphor

Positive Conclusion from NeuroscienceKnowledge Grows from Active ExperienceBrains Cannot Be Directly Filled with WorldKnowledge

Remarkable Plasticityfrom Neuroscience amp Genetics

56Friday 18 November 11

Education

bull Dynamics in teaching and learning are not linear and clearly settled in any way Thus we have a great variation of final Educational Concepts

57Friday 18 November 11

Education

Teaching and Learning Theories

Educational Concepts

58Friday 18 November 11

Important TampL Theories

bull The behaviouristbull The humanistbull The socialbull The cognitivebull The neo-cognitive

(stimulus-response)

(the concern with self)

(communities of practise)

(active process of knowledge construction)

(all the above together)

59Friday 18 November 11

Models of Learning-Tools for Teaching

bull Generated by the lsquoLearning Theoriesrsquobull 4 categories

60Friday 18 November 11

Information Processing Models

Inducampve13 ThinkingDevelopment13 of13 classificaampon13 skills13 hypothesis13 building13 and13 tesampng13 and13 understanding13 of13 how13 to13 build13 conceptual13 understanding13 of13 content13 areas

Concept13 Aainment Learning13 concepts13 and13 studying13 strategies13 for13 aaining13 and13 applying13 them13 Building13 and13 tesampng13 hypothesis

13 Scienampfic13 Inquiry Learning13 the13 research13 system13 of13 the13 academic13 disciplines13 ndash13 how13 knowledge13 is13 produced13 and13 organized

Inquiry13 Training Casual13 reasoning13 and13 understanding13 of13 how13 to13 collect13 informaampon13 build13 concepts13 and13 build13 and13 test13 hypotheses

13 Cogniampve13 Growth Increase13 general13 intellectual13 development13 and13 adjust13 instrucampon13 to13 facilitate13 intellectual13 growth

Advance13 Organizers Designed13 to13 increase13 ability13 to13 absorb13 informaampon13 and13 organize13 it13 especially13 in13 learning13 from13 lectures13 and13 readings

MnemonicsIncrease13 ability13 to13 acquire13 informaampon13 concepts13 conceptual13 systems13 and13 metacogniampve13 control13 of13 informaampon13 processing13 capability

Picture13 ndash13 Word13 Inducampve Learning13 to13 read13 and13 write13 inquiry13 into13 language

61Friday 18 November 11

Social Family of Models

Group13 InvesampgaamponDevelopment13 of13 skills13 for13 parampcipaampon13 in13 democraampc13 process13 Simultaneously13 emphasises13 social13 development13 academic13 skills13 and13 personal13 understanding

Social13 Inquiry Social13 problem13 solving13 through13 collecampve13 academic13 study13 and13 logical13 reasoning

Jurisprudenampal13 InquiryAnalysis13 of13 policy13 issues13 through13 a13 jurisprudenampal13 framework13 Collecampon13 of13 data13 analysis13 of13 value13 quesampons13 and13 posiampons13 study13 of13 personal13 beliefs

Laboratory13 Method Understanding13 of13 group13 dynamics13 leadership13 understanding13 of13 personal13 styles

Role13 Playing Study13 of13 values13 and13 their13 role13 in13 social13 interacampon13 Personal13 understanding13 of13 values13 and13 behaviour

Posiampve13 Interdependence Development13 of13 interdependent13 strategies13 of13 social13 interacampon13 Understanding13 of13 self13 ndash13 other13 relaamponships13 and13 emoampons

Structured13 Social13 Inquiry Academic13 inquiry13 and13 social13 and13 personal13 development13 Cooperaampve13 strategies13 for13 approaching13 academic13 study

62Friday 18 November 11

Personal Family of Models

Nondirecampve13 Teaching Building13 capacity13 for13 personal13 development13 self13 ndash13 understanding13 autonomy13 and13 esteem13 of13 self

13 Awareness13 TrainingIncreasing13 self13 ndash13 understanding13 self13 ndash13 esteem13 and13 capacity13 for13 exploraampon13 Development13 of13 interpersonal13 sensiampvity13 and13 empathy

Classroom13 Meeampng Development13 of13 self13 ndash13 understanding13 and13 responsibility13 to13 self13 and13 others

Self13 ndash13 Actualisaampon Development13 of13 personal13 understanding13 and13 capacity13 for13 development

Conceptual13 Systems Increasing13 personal13 complexity13 and13 flexibility13 in13 processing13 informaampon13 and13 interacampng13 with13 others

63Friday 18 November 11

Behavioural systems Family of Models

Social13 Learning

Management13 of13 behaviour13 Learning13 new13 paerns13 of13 behaviour13

reducing13 phobic13 and13 other13 dysfuncamponal13 paerns13 learning13 self13 ndash13

control

Mastery13 Learning Mastery13 of13 academic13 skills13 and13 content13 of13 all13 types

Programmed13 Learning Mastery13 of13 skills13 concepts13 factual13 informaampon

SimulaamponMastery13 of13 complex13 skills13 and13 concepts13 in13 a13 wide13 range13 of13 areas13

of13 study

Direct13 TeachingMastery13 of13 academic13 content13 and13 skills13 in13 a13 wide13 range13 of13 areas13

of13 study

Anxiety13 Reducampon

Control13 over13 aversive13 reacampons13 Applicaampons13 in13 treatment13 and13

self13 ndash13 treatment13 of13 avoidance13 and13 dysfuncamponal13 paerns13 of13

response

64Friday 18 November 11

1st Musical Example

65Friday 18 November 11

2nd Musical Example

66Friday 18 November 11

Why is it important to Know

bull You can handle better your own education and practice (constructional approach vs behavioural approach)

bull Different professional exit points - but

bull Will need to employ variations of the above

bull Knowingpotential for greater achievement

67Friday 18 November 11

Psy and Music Education

Group Discussion

How would you approach a lesson if were a teacher

68Friday 18 November 11

69Friday 18 November 11

In Music Psychology

bull Compositionbull Improvisationbull Aestheticsbull Creativity

70Friday 18 November 11

The Psychology of Composition

In its discussionsldquoquestions fundamental assumptions

about the nature and role of musical activity and the

musical artefactrdquo

Impett 2009 p403

71Friday 18 November 11

The Psychology of Composition

It is not widely researched

ldquoLeast studied least understood of all musical artefactsrdquo

Sloboda 1985

ldquoLittle progress has been made in understanding composition per serdquo

Brown 2003

72Friday 18 November 11

The Psychology of Composition

What is Composition in terms of Psychology

73Friday 18 November 11

The Psychology of Composition

Composition (organisation of musical sound) could be seen as a process of self-reflection

from where self-expression derives

74Friday 18 November 11

The Psychology of Composition

ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated

expression the conscious embodiment of psychological

statesrdquo

Impett 2009

75Friday 18 November 11

Composition Psychology

76Friday 18 November 11

Composition Psychology

Creativity

77Friday 18 November 11

How could we perceive Composition

78Friday 18 November 11

Composition

it is a lsquoDiscussion of Mindsrsquo

Composer + Performer + Audience

79Friday 18 November 11

The Psychology of Composition

ldquoAlthough Composition to some degree is innateit is a product of a

situated processrdquo

Impett 2009

80Friday 18 November 11

Composition

a Process

whichby itself is in some sense creative

81Friday 18 November 11

Composition

In this ProcesshellipMetaphors and Imagination come into play

where personal aesthetics concepts and innovation (for example) shape the outcome

82Friday 18 November 11

The Psychology of Composition

based on the aforementionedSome fundamental principles exist

eg rhythm perception tonal perception

83Friday 18 November 11

The Psychology of Composition

Howevera precise nature for a personsrsquos psychology of

composition seems to be a highly individual question

84Friday 18 November 11

85Friday 18 November 11

Improvisation and Psychology

Studying Improvisation and its psychological aspect might provide

further insight into Composition

Why

86Friday 18 November 11

Improvisation and Psychology

ldquoUnlike musical composition which can be mostly construed as a more-or-

less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the

human bodyrdquo

Ashley 2009

87Friday 18 November 11

To Improvisehellipis

to produce music (composing) audibly

and in real time

88Friday 18 November 11

Improvisation and Psychology

bull Psychology of Musical Performance (eg motor behaviourhellip)

bull Pitch

bull Tone (perception)

bull and othersapproaching

deeper lsquocreativityrsquo

come altogether and in real time into play

89Friday 18 November 11

improvisation and Psychology

bull Learningbull Teachingbull Cognitionbull Society

lsquoCreativityrsquois further connected with

90Friday 18 November 11

Teaching and Learning

Perception

Instrumental Performance Composition-Improvisation

Psychology of Music

91Friday 18 November 11

end of part II92Friday 18 November 11

Music And Neuroscience

1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning

2) Knowledge acquisition is governed by factors that are not

fully under conscious control and can hardly be influenced

externally (Roth 2006)

93Friday 18 November 11

However we try to understand this lsquoknowledge acquisitionrsquo

frameworkand this is where Neuroscience comes into Music

(performance teaching learninghellip)

94Friday 18 November 11

What is Neuroscience

bull Neuroscience is this science which studies the Brain

bull This is where new experiences and knowledge are processed by interconnected Neurons which

become activated when a sensorial input is perceived

95Friday 18 November 11

How the Brain looks like

96Friday 18 November 11

97Friday 18 November 11

98Friday 18 November 11

lsquoBrain Voyagerrsquo Pictures

99Friday 18 November 11

bull The structure of the brain alters continuously

throughout our lives

bull This happens via experiences stimuli studies a walk in the parkby playing a musical

instrument

100Friday 18 November 11

The change of the brain structure we call it - Plasticity -

lsquoexperience-driven brain plasticityrsquo

101Friday 18 November 11

Why is it important to know about lsquoPlasticityrsquo

By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos

saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political

version of schooling

102Friday 18 November 11

A bit of History

ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt

almost 5000 years agohelliprdquo

Minagar Ragheb and Kelley 2003

103Friday 18 November 11

A Musical Fact

We know that evidence of music has been confirmed in every civilisation

throughout history

Chailley 1964

104Friday 18 November 11

Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology

(egGardner 1983)

Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful

musical experience

105Friday 18 November 11

History of Neuroscience in Music

One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)

106Friday 18 November 11

Supporting Areas

bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology

107Friday 18 November 11

Ways (Tools) of neuroscientific Rsc

bullMagnetic Resonance Imaging (MRI)

bullfunctional MRI

bullElectroencephalography (EEG)

bullEvent Related Potentials (ERPs)

bullTranscranial magnetic Stimulation (TMS)

bullMagnetoencephalography (MEG)

bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target

108Friday 18 November 11

Research Areas in Music

bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors

109Friday 18 November 11

Perception and Cognition -Musical Performance

Your Opinionhellip

Group Discussion

110Friday 18 November 11

Perception in Meuromusic

Perception (in music) is based on the sensory information that is

gathered by the brain regarding onersquos external and internal

environment

111Friday 18 November 11

Perception in Neuromusic

PitchRhythm

112Friday 18 November 11

We donrsquot know yet wether musical cognition and perception is

(a) specifically localised to distinct neural networks

(b) made up of shared neural networks that are associated with other brain processes

(c) a bit of both

113Friday 18 November 11

Musical Performance

Motor Learning and Instrumental Training

the act of making music is physically

intensivea pianist may bimanually

coordinate and lsquoscrutinisersquo up to 1800 notes per minute

114Friday 18 November 11

Musical Performance

3 parts of the brain are involved

bullthe sensorimotor cortex (interpretation of stimuli control of muscles)

bullthe basal ganglia (muscles in cooperative functions)

bullthe cerebellum (fine-tuning of motor movements stores motor patterns)

115Friday 18 November 11

Growth and Development proceed from general to specific

116Friday 18 November 11

Musicians appear to process new incoming stimuli more effectively

compared to non-musicians

117Friday 18 November 11

Meaning

if you practise more your brain learns to work more effectively

118Friday 18 November 11

lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop

brain cells and neurons

makes us even more effective

119Friday 18 November 11

It is evident that musicians have different brain structure than

non-musiciansAmunts et al 1997Schlaug et al 1995b

enhanced if training has started earlier in life

120Friday 18 November 11

For musical training there is this concept of lsquodeliberate practicersquo

motivation resources and attention determine the amount and quality of practice undertaken

121Friday 18 November 11

In Neuroscience scientists uncovered evidence showing a close association

between practice and expertisehellip

hours of deliberate practice

level of expertise

Lehmann and Gruber 2006

122Friday 18 November 11

implications to Musical performance and Training

1How to practise is best learned by practising

2Start early but not to early with playing an instrument

3Breaks and sleep is essential for motor learning and memory

4Use the human lsquomirror systemrsquo

123Friday 18 November 11

Examples of practisinghellip

124Friday 18 November 11

Neuroscience and Emotion in Music

Largely overlapping networks required for the processing of both

general and music-specific emotions

125Friday 18 November 11

Whether the neural basis of emotional appraisal of music is

innate or rather acquired through enculturation is subject

to ongoing discussion

Peretz and Sloboda 2005

126Friday 18 November 11

Nature vs NurtureProblem

127Friday 18 November 11

Howeverrecognition of emotions appears independent of musical

training

howhellipfamily environment possibly

128Friday 18 November 11

Recognising from Experiencing musical emotion is different

129Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

Prof Musiciansrsquo Practice

Deliberate Practice

46Friday 18 November 11

Deliberate Practice

bull For professional musicians is crucial

Carefully structured activities

in order to improve performance

High Motivation

Extended Effort

Full Attention

Favourable Environment

Support

47Friday 18 November 11

PracticeThe way experts practise

1Acquire an overview of the music (according to abilityinternal

aural representation)

2According to structure divide the piece into sections

3Subsectionssolving technical problems

4The more complex the music the smaller the chunks

5Units start to become larger as practice progress

6Hierarchical structure appears to develop

7Performance plans integrate to a coherent whole(guided

by musical considerations)

48Friday 18 November 11

49Friday 18 November 11

Psy And Music Education

bull Music is a universal trait of human kindbull Propensity for musical developmentbull This potential is universal as linguistic

ability

50Friday 18 November 11

The pianist example

Nature vs Nurture

51Friday 18 November 11

PSY and Music Education

While self-selection for musicianship by individuals with innate functional and structural

brain differences cannot be completely ruled out the evidence indicates that it is musical training

that leads to changes in brain function and structure

Schlaug 2003

52Friday 18 November 11

Training in Western Edu Comm

Teacher Student

Material Context

Jones 2005Biggs 19992007

Light and Cox 2009

53Friday 18 November 11

What is Learning

What is Teaching

54Friday 18 November 11

Learning

1960s-1970s Learning as lsquoproductrsquo or lsquoprocessrsquo

Product learning is a change in behaviour

Process Learning is a continuous developmental pathwhich hierarchically reflects knowledge growth and

understanding of the reality

55Friday 18 November 11

Teaching

(a) Teaching is transmission of knowledge (kurtrsquos template)

(b) Teaching is a facilitation process towards knowledge

construction

XWorldPlugInBrainBucketVTS_05_1VOBlnk

7

Pervasive Metaphor in Our Culture forLearningTeaching Conduit ndash Knowledge Is Made of Objects That We Give to Each Other

Lakoff amp Johnson Metaphors We Live By These ModelsMetaphors Ground Our Mental Life

Teaching as Pumping Knowledge into Student

8

Key Neuromyth or Brain ScamBrain Download Fallacy

Incorrect Metaphor

Positive Conclusion from NeuroscienceKnowledge Grows from Active ExperienceBrains Cannot Be Directly Filled with WorldKnowledge

Remarkable Plasticityfrom Neuroscience amp Genetics

56Friday 18 November 11

Education

bull Dynamics in teaching and learning are not linear and clearly settled in any way Thus we have a great variation of final Educational Concepts

57Friday 18 November 11

Education

Teaching and Learning Theories

Educational Concepts

58Friday 18 November 11

Important TampL Theories

bull The behaviouristbull The humanistbull The socialbull The cognitivebull The neo-cognitive

(stimulus-response)

(the concern with self)

(communities of practise)

(active process of knowledge construction)

(all the above together)

59Friday 18 November 11

Models of Learning-Tools for Teaching

bull Generated by the lsquoLearning Theoriesrsquobull 4 categories

60Friday 18 November 11

Information Processing Models

Inducampve13 ThinkingDevelopment13 of13 classificaampon13 skills13 hypothesis13 building13 and13 tesampng13 and13 understanding13 of13 how13 to13 build13 conceptual13 understanding13 of13 content13 areas

Concept13 Aainment Learning13 concepts13 and13 studying13 strategies13 for13 aaining13 and13 applying13 them13 Building13 and13 tesampng13 hypothesis

13 Scienampfic13 Inquiry Learning13 the13 research13 system13 of13 the13 academic13 disciplines13 ndash13 how13 knowledge13 is13 produced13 and13 organized

Inquiry13 Training Casual13 reasoning13 and13 understanding13 of13 how13 to13 collect13 informaampon13 build13 concepts13 and13 build13 and13 test13 hypotheses

13 Cogniampve13 Growth Increase13 general13 intellectual13 development13 and13 adjust13 instrucampon13 to13 facilitate13 intellectual13 growth

Advance13 Organizers Designed13 to13 increase13 ability13 to13 absorb13 informaampon13 and13 organize13 it13 especially13 in13 learning13 from13 lectures13 and13 readings

MnemonicsIncrease13 ability13 to13 acquire13 informaampon13 concepts13 conceptual13 systems13 and13 metacogniampve13 control13 of13 informaampon13 processing13 capability

Picture13 ndash13 Word13 Inducampve Learning13 to13 read13 and13 write13 inquiry13 into13 language

61Friday 18 November 11

Social Family of Models

Group13 InvesampgaamponDevelopment13 of13 skills13 for13 parampcipaampon13 in13 democraampc13 process13 Simultaneously13 emphasises13 social13 development13 academic13 skills13 and13 personal13 understanding

Social13 Inquiry Social13 problem13 solving13 through13 collecampve13 academic13 study13 and13 logical13 reasoning

Jurisprudenampal13 InquiryAnalysis13 of13 policy13 issues13 through13 a13 jurisprudenampal13 framework13 Collecampon13 of13 data13 analysis13 of13 value13 quesampons13 and13 posiampons13 study13 of13 personal13 beliefs

Laboratory13 Method Understanding13 of13 group13 dynamics13 leadership13 understanding13 of13 personal13 styles

Role13 Playing Study13 of13 values13 and13 their13 role13 in13 social13 interacampon13 Personal13 understanding13 of13 values13 and13 behaviour

Posiampve13 Interdependence Development13 of13 interdependent13 strategies13 of13 social13 interacampon13 Understanding13 of13 self13 ndash13 other13 relaamponships13 and13 emoampons

Structured13 Social13 Inquiry Academic13 inquiry13 and13 social13 and13 personal13 development13 Cooperaampve13 strategies13 for13 approaching13 academic13 study

62Friday 18 November 11

Personal Family of Models

Nondirecampve13 Teaching Building13 capacity13 for13 personal13 development13 self13 ndash13 understanding13 autonomy13 and13 esteem13 of13 self

13 Awareness13 TrainingIncreasing13 self13 ndash13 understanding13 self13 ndash13 esteem13 and13 capacity13 for13 exploraampon13 Development13 of13 interpersonal13 sensiampvity13 and13 empathy

Classroom13 Meeampng Development13 of13 self13 ndash13 understanding13 and13 responsibility13 to13 self13 and13 others

Self13 ndash13 Actualisaampon Development13 of13 personal13 understanding13 and13 capacity13 for13 development

Conceptual13 Systems Increasing13 personal13 complexity13 and13 flexibility13 in13 processing13 informaampon13 and13 interacampng13 with13 others

63Friday 18 November 11

Behavioural systems Family of Models

Social13 Learning

Management13 of13 behaviour13 Learning13 new13 paerns13 of13 behaviour13

reducing13 phobic13 and13 other13 dysfuncamponal13 paerns13 learning13 self13 ndash13

control

Mastery13 Learning Mastery13 of13 academic13 skills13 and13 content13 of13 all13 types

Programmed13 Learning Mastery13 of13 skills13 concepts13 factual13 informaampon

SimulaamponMastery13 of13 complex13 skills13 and13 concepts13 in13 a13 wide13 range13 of13 areas13

of13 study

Direct13 TeachingMastery13 of13 academic13 content13 and13 skills13 in13 a13 wide13 range13 of13 areas13

of13 study

Anxiety13 Reducampon

Control13 over13 aversive13 reacampons13 Applicaampons13 in13 treatment13 and13

self13 ndash13 treatment13 of13 avoidance13 and13 dysfuncamponal13 paerns13 of13

response

64Friday 18 November 11

1st Musical Example

65Friday 18 November 11

2nd Musical Example

66Friday 18 November 11

Why is it important to Know

bull You can handle better your own education and practice (constructional approach vs behavioural approach)

bull Different professional exit points - but

bull Will need to employ variations of the above

bull Knowingpotential for greater achievement

67Friday 18 November 11

Psy and Music Education

Group Discussion

How would you approach a lesson if were a teacher

68Friday 18 November 11

69Friday 18 November 11

In Music Psychology

bull Compositionbull Improvisationbull Aestheticsbull Creativity

70Friday 18 November 11

The Psychology of Composition

In its discussionsldquoquestions fundamental assumptions

about the nature and role of musical activity and the

musical artefactrdquo

Impett 2009 p403

71Friday 18 November 11

The Psychology of Composition

It is not widely researched

ldquoLeast studied least understood of all musical artefactsrdquo

Sloboda 1985

ldquoLittle progress has been made in understanding composition per serdquo

Brown 2003

72Friday 18 November 11

The Psychology of Composition

What is Composition in terms of Psychology

73Friday 18 November 11

The Psychology of Composition

Composition (organisation of musical sound) could be seen as a process of self-reflection

from where self-expression derives

74Friday 18 November 11

The Psychology of Composition

ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated

expression the conscious embodiment of psychological

statesrdquo

Impett 2009

75Friday 18 November 11

Composition Psychology

76Friday 18 November 11

Composition Psychology

Creativity

77Friday 18 November 11

How could we perceive Composition

78Friday 18 November 11

Composition

it is a lsquoDiscussion of Mindsrsquo

Composer + Performer + Audience

79Friday 18 November 11

The Psychology of Composition

ldquoAlthough Composition to some degree is innateit is a product of a

situated processrdquo

Impett 2009

80Friday 18 November 11

Composition

a Process

whichby itself is in some sense creative

81Friday 18 November 11

Composition

In this ProcesshellipMetaphors and Imagination come into play

where personal aesthetics concepts and innovation (for example) shape the outcome

82Friday 18 November 11

The Psychology of Composition

based on the aforementionedSome fundamental principles exist

eg rhythm perception tonal perception

83Friday 18 November 11

The Psychology of Composition

Howevera precise nature for a personsrsquos psychology of

composition seems to be a highly individual question

84Friday 18 November 11

85Friday 18 November 11

Improvisation and Psychology

Studying Improvisation and its psychological aspect might provide

further insight into Composition

Why

86Friday 18 November 11

Improvisation and Psychology

ldquoUnlike musical composition which can be mostly construed as a more-or-

less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the

human bodyrdquo

Ashley 2009

87Friday 18 November 11

To Improvisehellipis

to produce music (composing) audibly

and in real time

88Friday 18 November 11

Improvisation and Psychology

bull Psychology of Musical Performance (eg motor behaviourhellip)

bull Pitch

bull Tone (perception)

bull and othersapproaching

deeper lsquocreativityrsquo

come altogether and in real time into play

89Friday 18 November 11

improvisation and Psychology

bull Learningbull Teachingbull Cognitionbull Society

lsquoCreativityrsquois further connected with

90Friday 18 November 11

Teaching and Learning

Perception

Instrumental Performance Composition-Improvisation

Psychology of Music

91Friday 18 November 11

end of part II92Friday 18 November 11

Music And Neuroscience

1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning

2) Knowledge acquisition is governed by factors that are not

fully under conscious control and can hardly be influenced

externally (Roth 2006)

93Friday 18 November 11

However we try to understand this lsquoknowledge acquisitionrsquo

frameworkand this is where Neuroscience comes into Music

(performance teaching learninghellip)

94Friday 18 November 11

What is Neuroscience

bull Neuroscience is this science which studies the Brain

bull This is where new experiences and knowledge are processed by interconnected Neurons which

become activated when a sensorial input is perceived

95Friday 18 November 11

How the Brain looks like

96Friday 18 November 11

97Friday 18 November 11

98Friday 18 November 11

lsquoBrain Voyagerrsquo Pictures

99Friday 18 November 11

bull The structure of the brain alters continuously

throughout our lives

bull This happens via experiences stimuli studies a walk in the parkby playing a musical

instrument

100Friday 18 November 11

The change of the brain structure we call it - Plasticity -

lsquoexperience-driven brain plasticityrsquo

101Friday 18 November 11

Why is it important to know about lsquoPlasticityrsquo

By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos

saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political

version of schooling

102Friday 18 November 11

A bit of History

ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt

almost 5000 years agohelliprdquo

Minagar Ragheb and Kelley 2003

103Friday 18 November 11

A Musical Fact

We know that evidence of music has been confirmed in every civilisation

throughout history

Chailley 1964

104Friday 18 November 11

Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology

(egGardner 1983)

Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful

musical experience

105Friday 18 November 11

History of Neuroscience in Music

One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)

106Friday 18 November 11

Supporting Areas

bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology

107Friday 18 November 11

Ways (Tools) of neuroscientific Rsc

bullMagnetic Resonance Imaging (MRI)

bullfunctional MRI

bullElectroencephalography (EEG)

bullEvent Related Potentials (ERPs)

bullTranscranial magnetic Stimulation (TMS)

bullMagnetoencephalography (MEG)

bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target

108Friday 18 November 11

Research Areas in Music

bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors

109Friday 18 November 11

Perception and Cognition -Musical Performance

Your Opinionhellip

Group Discussion

110Friday 18 November 11

Perception in Meuromusic

Perception (in music) is based on the sensory information that is

gathered by the brain regarding onersquos external and internal

environment

111Friday 18 November 11

Perception in Neuromusic

PitchRhythm

112Friday 18 November 11

We donrsquot know yet wether musical cognition and perception is

(a) specifically localised to distinct neural networks

(b) made up of shared neural networks that are associated with other brain processes

(c) a bit of both

113Friday 18 November 11

Musical Performance

Motor Learning and Instrumental Training

the act of making music is physically

intensivea pianist may bimanually

coordinate and lsquoscrutinisersquo up to 1800 notes per minute

114Friday 18 November 11

Musical Performance

3 parts of the brain are involved

bullthe sensorimotor cortex (interpretation of stimuli control of muscles)

bullthe basal ganglia (muscles in cooperative functions)

bullthe cerebellum (fine-tuning of motor movements stores motor patterns)

115Friday 18 November 11

Growth and Development proceed from general to specific

116Friday 18 November 11

Musicians appear to process new incoming stimuli more effectively

compared to non-musicians

117Friday 18 November 11

Meaning

if you practise more your brain learns to work more effectively

118Friday 18 November 11

lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop

brain cells and neurons

makes us even more effective

119Friday 18 November 11

It is evident that musicians have different brain structure than

non-musiciansAmunts et al 1997Schlaug et al 1995b

enhanced if training has started earlier in life

120Friday 18 November 11

For musical training there is this concept of lsquodeliberate practicersquo

motivation resources and attention determine the amount and quality of practice undertaken

121Friday 18 November 11

In Neuroscience scientists uncovered evidence showing a close association

between practice and expertisehellip

hours of deliberate practice

level of expertise

Lehmann and Gruber 2006

122Friday 18 November 11

implications to Musical performance and Training

1How to practise is best learned by practising

2Start early but not to early with playing an instrument

3Breaks and sleep is essential for motor learning and memory

4Use the human lsquomirror systemrsquo

123Friday 18 November 11

Examples of practisinghellip

124Friday 18 November 11

Neuroscience and Emotion in Music

Largely overlapping networks required for the processing of both

general and music-specific emotions

125Friday 18 November 11

Whether the neural basis of emotional appraisal of music is

innate or rather acquired through enculturation is subject

to ongoing discussion

Peretz and Sloboda 2005

126Friday 18 November 11

Nature vs NurtureProblem

127Friday 18 November 11

Howeverrecognition of emotions appears independent of musical

training

howhellipfamily environment possibly

128Friday 18 November 11

Recognising from Experiencing musical emotion is different

129Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

Deliberate Practice

bull For professional musicians is crucial

Carefully structured activities

in order to improve performance

High Motivation

Extended Effort

Full Attention

Favourable Environment

Support

47Friday 18 November 11

PracticeThe way experts practise

1Acquire an overview of the music (according to abilityinternal

aural representation)

2According to structure divide the piece into sections

3Subsectionssolving technical problems

4The more complex the music the smaller the chunks

5Units start to become larger as practice progress

6Hierarchical structure appears to develop

7Performance plans integrate to a coherent whole(guided

by musical considerations)

48Friday 18 November 11

49Friday 18 November 11

Psy And Music Education

bull Music is a universal trait of human kindbull Propensity for musical developmentbull This potential is universal as linguistic

ability

50Friday 18 November 11

The pianist example

Nature vs Nurture

51Friday 18 November 11

PSY and Music Education

While self-selection for musicianship by individuals with innate functional and structural

brain differences cannot be completely ruled out the evidence indicates that it is musical training

that leads to changes in brain function and structure

Schlaug 2003

52Friday 18 November 11

Training in Western Edu Comm

Teacher Student

Material Context

Jones 2005Biggs 19992007

Light and Cox 2009

53Friday 18 November 11

What is Learning

What is Teaching

54Friday 18 November 11

Learning

1960s-1970s Learning as lsquoproductrsquo or lsquoprocessrsquo

Product learning is a change in behaviour

Process Learning is a continuous developmental pathwhich hierarchically reflects knowledge growth and

understanding of the reality

55Friday 18 November 11

Teaching

(a) Teaching is transmission of knowledge (kurtrsquos template)

(b) Teaching is a facilitation process towards knowledge

construction

XWorldPlugInBrainBucketVTS_05_1VOBlnk

7

Pervasive Metaphor in Our Culture forLearningTeaching Conduit ndash Knowledge Is Made of Objects That We Give to Each Other

Lakoff amp Johnson Metaphors We Live By These ModelsMetaphors Ground Our Mental Life

Teaching as Pumping Knowledge into Student

8

Key Neuromyth or Brain ScamBrain Download Fallacy

Incorrect Metaphor

Positive Conclusion from NeuroscienceKnowledge Grows from Active ExperienceBrains Cannot Be Directly Filled with WorldKnowledge

Remarkable Plasticityfrom Neuroscience amp Genetics

56Friday 18 November 11

Education

bull Dynamics in teaching and learning are not linear and clearly settled in any way Thus we have a great variation of final Educational Concepts

57Friday 18 November 11

Education

Teaching and Learning Theories

Educational Concepts

58Friday 18 November 11

Important TampL Theories

bull The behaviouristbull The humanistbull The socialbull The cognitivebull The neo-cognitive

(stimulus-response)

(the concern with self)

(communities of practise)

(active process of knowledge construction)

(all the above together)

59Friday 18 November 11

Models of Learning-Tools for Teaching

bull Generated by the lsquoLearning Theoriesrsquobull 4 categories

60Friday 18 November 11

Information Processing Models

Inducampve13 ThinkingDevelopment13 of13 classificaampon13 skills13 hypothesis13 building13 and13 tesampng13 and13 understanding13 of13 how13 to13 build13 conceptual13 understanding13 of13 content13 areas

Concept13 Aainment Learning13 concepts13 and13 studying13 strategies13 for13 aaining13 and13 applying13 them13 Building13 and13 tesampng13 hypothesis

13 Scienampfic13 Inquiry Learning13 the13 research13 system13 of13 the13 academic13 disciplines13 ndash13 how13 knowledge13 is13 produced13 and13 organized

Inquiry13 Training Casual13 reasoning13 and13 understanding13 of13 how13 to13 collect13 informaampon13 build13 concepts13 and13 build13 and13 test13 hypotheses

13 Cogniampve13 Growth Increase13 general13 intellectual13 development13 and13 adjust13 instrucampon13 to13 facilitate13 intellectual13 growth

Advance13 Organizers Designed13 to13 increase13 ability13 to13 absorb13 informaampon13 and13 organize13 it13 especially13 in13 learning13 from13 lectures13 and13 readings

MnemonicsIncrease13 ability13 to13 acquire13 informaampon13 concepts13 conceptual13 systems13 and13 metacogniampve13 control13 of13 informaampon13 processing13 capability

Picture13 ndash13 Word13 Inducampve Learning13 to13 read13 and13 write13 inquiry13 into13 language

61Friday 18 November 11

Social Family of Models

Group13 InvesampgaamponDevelopment13 of13 skills13 for13 parampcipaampon13 in13 democraampc13 process13 Simultaneously13 emphasises13 social13 development13 academic13 skills13 and13 personal13 understanding

Social13 Inquiry Social13 problem13 solving13 through13 collecampve13 academic13 study13 and13 logical13 reasoning

Jurisprudenampal13 InquiryAnalysis13 of13 policy13 issues13 through13 a13 jurisprudenampal13 framework13 Collecampon13 of13 data13 analysis13 of13 value13 quesampons13 and13 posiampons13 study13 of13 personal13 beliefs

Laboratory13 Method Understanding13 of13 group13 dynamics13 leadership13 understanding13 of13 personal13 styles

Role13 Playing Study13 of13 values13 and13 their13 role13 in13 social13 interacampon13 Personal13 understanding13 of13 values13 and13 behaviour

Posiampve13 Interdependence Development13 of13 interdependent13 strategies13 of13 social13 interacampon13 Understanding13 of13 self13 ndash13 other13 relaamponships13 and13 emoampons

Structured13 Social13 Inquiry Academic13 inquiry13 and13 social13 and13 personal13 development13 Cooperaampve13 strategies13 for13 approaching13 academic13 study

62Friday 18 November 11

Personal Family of Models

Nondirecampve13 Teaching Building13 capacity13 for13 personal13 development13 self13 ndash13 understanding13 autonomy13 and13 esteem13 of13 self

13 Awareness13 TrainingIncreasing13 self13 ndash13 understanding13 self13 ndash13 esteem13 and13 capacity13 for13 exploraampon13 Development13 of13 interpersonal13 sensiampvity13 and13 empathy

Classroom13 Meeampng Development13 of13 self13 ndash13 understanding13 and13 responsibility13 to13 self13 and13 others

Self13 ndash13 Actualisaampon Development13 of13 personal13 understanding13 and13 capacity13 for13 development

Conceptual13 Systems Increasing13 personal13 complexity13 and13 flexibility13 in13 processing13 informaampon13 and13 interacampng13 with13 others

63Friday 18 November 11

Behavioural systems Family of Models

Social13 Learning

Management13 of13 behaviour13 Learning13 new13 paerns13 of13 behaviour13

reducing13 phobic13 and13 other13 dysfuncamponal13 paerns13 learning13 self13 ndash13

control

Mastery13 Learning Mastery13 of13 academic13 skills13 and13 content13 of13 all13 types

Programmed13 Learning Mastery13 of13 skills13 concepts13 factual13 informaampon

SimulaamponMastery13 of13 complex13 skills13 and13 concepts13 in13 a13 wide13 range13 of13 areas13

of13 study

Direct13 TeachingMastery13 of13 academic13 content13 and13 skills13 in13 a13 wide13 range13 of13 areas13

of13 study

Anxiety13 Reducampon

Control13 over13 aversive13 reacampons13 Applicaampons13 in13 treatment13 and13

self13 ndash13 treatment13 of13 avoidance13 and13 dysfuncamponal13 paerns13 of13

response

64Friday 18 November 11

1st Musical Example

65Friday 18 November 11

2nd Musical Example

66Friday 18 November 11

Why is it important to Know

bull You can handle better your own education and practice (constructional approach vs behavioural approach)

bull Different professional exit points - but

bull Will need to employ variations of the above

bull Knowingpotential for greater achievement

67Friday 18 November 11

Psy and Music Education

Group Discussion

How would you approach a lesson if were a teacher

68Friday 18 November 11

69Friday 18 November 11

In Music Psychology

bull Compositionbull Improvisationbull Aestheticsbull Creativity

70Friday 18 November 11

The Psychology of Composition

In its discussionsldquoquestions fundamental assumptions

about the nature and role of musical activity and the

musical artefactrdquo

Impett 2009 p403

71Friday 18 November 11

The Psychology of Composition

It is not widely researched

ldquoLeast studied least understood of all musical artefactsrdquo

Sloboda 1985

ldquoLittle progress has been made in understanding composition per serdquo

Brown 2003

72Friday 18 November 11

The Psychology of Composition

What is Composition in terms of Psychology

73Friday 18 November 11

The Psychology of Composition

Composition (organisation of musical sound) could be seen as a process of self-reflection

from where self-expression derives

74Friday 18 November 11

The Psychology of Composition

ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated

expression the conscious embodiment of psychological

statesrdquo

Impett 2009

75Friday 18 November 11

Composition Psychology

76Friday 18 November 11

Composition Psychology

Creativity

77Friday 18 November 11

How could we perceive Composition

78Friday 18 November 11

Composition

it is a lsquoDiscussion of Mindsrsquo

Composer + Performer + Audience

79Friday 18 November 11

The Psychology of Composition

ldquoAlthough Composition to some degree is innateit is a product of a

situated processrdquo

Impett 2009

80Friday 18 November 11

Composition

a Process

whichby itself is in some sense creative

81Friday 18 November 11

Composition

In this ProcesshellipMetaphors and Imagination come into play

where personal aesthetics concepts and innovation (for example) shape the outcome

82Friday 18 November 11

The Psychology of Composition

based on the aforementionedSome fundamental principles exist

eg rhythm perception tonal perception

83Friday 18 November 11

The Psychology of Composition

Howevera precise nature for a personsrsquos psychology of

composition seems to be a highly individual question

84Friday 18 November 11

85Friday 18 November 11

Improvisation and Psychology

Studying Improvisation and its psychological aspect might provide

further insight into Composition

Why

86Friday 18 November 11

Improvisation and Psychology

ldquoUnlike musical composition which can be mostly construed as a more-or-

less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the

human bodyrdquo

Ashley 2009

87Friday 18 November 11

To Improvisehellipis

to produce music (composing) audibly

and in real time

88Friday 18 November 11

Improvisation and Psychology

bull Psychology of Musical Performance (eg motor behaviourhellip)

bull Pitch

bull Tone (perception)

bull and othersapproaching

deeper lsquocreativityrsquo

come altogether and in real time into play

89Friday 18 November 11

improvisation and Psychology

bull Learningbull Teachingbull Cognitionbull Society

lsquoCreativityrsquois further connected with

90Friday 18 November 11

Teaching and Learning

Perception

Instrumental Performance Composition-Improvisation

Psychology of Music

91Friday 18 November 11

end of part II92Friday 18 November 11

Music And Neuroscience

1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning

2) Knowledge acquisition is governed by factors that are not

fully under conscious control and can hardly be influenced

externally (Roth 2006)

93Friday 18 November 11

However we try to understand this lsquoknowledge acquisitionrsquo

frameworkand this is where Neuroscience comes into Music

(performance teaching learninghellip)

94Friday 18 November 11

What is Neuroscience

bull Neuroscience is this science which studies the Brain

bull This is where new experiences and knowledge are processed by interconnected Neurons which

become activated when a sensorial input is perceived

95Friday 18 November 11

How the Brain looks like

96Friday 18 November 11

97Friday 18 November 11

98Friday 18 November 11

lsquoBrain Voyagerrsquo Pictures

99Friday 18 November 11

bull The structure of the brain alters continuously

throughout our lives

bull This happens via experiences stimuli studies a walk in the parkby playing a musical

instrument

100Friday 18 November 11

The change of the brain structure we call it - Plasticity -

lsquoexperience-driven brain plasticityrsquo

101Friday 18 November 11

Why is it important to know about lsquoPlasticityrsquo

By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos

saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political

version of schooling

102Friday 18 November 11

A bit of History

ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt

almost 5000 years agohelliprdquo

Minagar Ragheb and Kelley 2003

103Friday 18 November 11

A Musical Fact

We know that evidence of music has been confirmed in every civilisation

throughout history

Chailley 1964

104Friday 18 November 11

Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology

(egGardner 1983)

Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful

musical experience

105Friday 18 November 11

History of Neuroscience in Music

One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)

106Friday 18 November 11

Supporting Areas

bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology

107Friday 18 November 11

Ways (Tools) of neuroscientific Rsc

bullMagnetic Resonance Imaging (MRI)

bullfunctional MRI

bullElectroencephalography (EEG)

bullEvent Related Potentials (ERPs)

bullTranscranial magnetic Stimulation (TMS)

bullMagnetoencephalography (MEG)

bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target

108Friday 18 November 11

Research Areas in Music

bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors

109Friday 18 November 11

Perception and Cognition -Musical Performance

Your Opinionhellip

Group Discussion

110Friday 18 November 11

Perception in Meuromusic

Perception (in music) is based on the sensory information that is

gathered by the brain regarding onersquos external and internal

environment

111Friday 18 November 11

Perception in Neuromusic

PitchRhythm

112Friday 18 November 11

We donrsquot know yet wether musical cognition and perception is

(a) specifically localised to distinct neural networks

(b) made up of shared neural networks that are associated with other brain processes

(c) a bit of both

113Friday 18 November 11

Musical Performance

Motor Learning and Instrumental Training

the act of making music is physically

intensivea pianist may bimanually

coordinate and lsquoscrutinisersquo up to 1800 notes per minute

114Friday 18 November 11

Musical Performance

3 parts of the brain are involved

bullthe sensorimotor cortex (interpretation of stimuli control of muscles)

bullthe basal ganglia (muscles in cooperative functions)

bullthe cerebellum (fine-tuning of motor movements stores motor patterns)

115Friday 18 November 11

Growth and Development proceed from general to specific

116Friday 18 November 11

Musicians appear to process new incoming stimuli more effectively

compared to non-musicians

117Friday 18 November 11

Meaning

if you practise more your brain learns to work more effectively

118Friday 18 November 11

lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop

brain cells and neurons

makes us even more effective

119Friday 18 November 11

It is evident that musicians have different brain structure than

non-musiciansAmunts et al 1997Schlaug et al 1995b

enhanced if training has started earlier in life

120Friday 18 November 11

For musical training there is this concept of lsquodeliberate practicersquo

motivation resources and attention determine the amount and quality of practice undertaken

121Friday 18 November 11

In Neuroscience scientists uncovered evidence showing a close association

between practice and expertisehellip

hours of deliberate practice

level of expertise

Lehmann and Gruber 2006

122Friday 18 November 11

implications to Musical performance and Training

1How to practise is best learned by practising

2Start early but not to early with playing an instrument

3Breaks and sleep is essential for motor learning and memory

4Use the human lsquomirror systemrsquo

123Friday 18 November 11

Examples of practisinghellip

124Friday 18 November 11

Neuroscience and Emotion in Music

Largely overlapping networks required for the processing of both

general and music-specific emotions

125Friday 18 November 11

Whether the neural basis of emotional appraisal of music is

innate or rather acquired through enculturation is subject

to ongoing discussion

Peretz and Sloboda 2005

126Friday 18 November 11

Nature vs NurtureProblem

127Friday 18 November 11

Howeverrecognition of emotions appears independent of musical

training

howhellipfamily environment possibly

128Friday 18 November 11

Recognising from Experiencing musical emotion is different

129Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

PracticeThe way experts practise

1Acquire an overview of the music (according to abilityinternal

aural representation)

2According to structure divide the piece into sections

3Subsectionssolving technical problems

4The more complex the music the smaller the chunks

5Units start to become larger as practice progress

6Hierarchical structure appears to develop

7Performance plans integrate to a coherent whole(guided

by musical considerations)

48Friday 18 November 11

49Friday 18 November 11

Psy And Music Education

bull Music is a universal trait of human kindbull Propensity for musical developmentbull This potential is universal as linguistic

ability

50Friday 18 November 11

The pianist example

Nature vs Nurture

51Friday 18 November 11

PSY and Music Education

While self-selection for musicianship by individuals with innate functional and structural

brain differences cannot be completely ruled out the evidence indicates that it is musical training

that leads to changes in brain function and structure

Schlaug 2003

52Friday 18 November 11

Training in Western Edu Comm

Teacher Student

Material Context

Jones 2005Biggs 19992007

Light and Cox 2009

53Friday 18 November 11

What is Learning

What is Teaching

54Friday 18 November 11

Learning

1960s-1970s Learning as lsquoproductrsquo or lsquoprocessrsquo

Product learning is a change in behaviour

Process Learning is a continuous developmental pathwhich hierarchically reflects knowledge growth and

understanding of the reality

55Friday 18 November 11

Teaching

(a) Teaching is transmission of knowledge (kurtrsquos template)

(b) Teaching is a facilitation process towards knowledge

construction

XWorldPlugInBrainBucketVTS_05_1VOBlnk

7

Pervasive Metaphor in Our Culture forLearningTeaching Conduit ndash Knowledge Is Made of Objects That We Give to Each Other

Lakoff amp Johnson Metaphors We Live By These ModelsMetaphors Ground Our Mental Life

Teaching as Pumping Knowledge into Student

8

Key Neuromyth or Brain ScamBrain Download Fallacy

Incorrect Metaphor

Positive Conclusion from NeuroscienceKnowledge Grows from Active ExperienceBrains Cannot Be Directly Filled with WorldKnowledge

Remarkable Plasticityfrom Neuroscience amp Genetics

56Friday 18 November 11

Education

bull Dynamics in teaching and learning are not linear and clearly settled in any way Thus we have a great variation of final Educational Concepts

57Friday 18 November 11

Education

Teaching and Learning Theories

Educational Concepts

58Friday 18 November 11

Important TampL Theories

bull The behaviouristbull The humanistbull The socialbull The cognitivebull The neo-cognitive

(stimulus-response)

(the concern with self)

(communities of practise)

(active process of knowledge construction)

(all the above together)

59Friday 18 November 11

Models of Learning-Tools for Teaching

bull Generated by the lsquoLearning Theoriesrsquobull 4 categories

60Friday 18 November 11

Information Processing Models

Inducampve13 ThinkingDevelopment13 of13 classificaampon13 skills13 hypothesis13 building13 and13 tesampng13 and13 understanding13 of13 how13 to13 build13 conceptual13 understanding13 of13 content13 areas

Concept13 Aainment Learning13 concepts13 and13 studying13 strategies13 for13 aaining13 and13 applying13 them13 Building13 and13 tesampng13 hypothesis

13 Scienampfic13 Inquiry Learning13 the13 research13 system13 of13 the13 academic13 disciplines13 ndash13 how13 knowledge13 is13 produced13 and13 organized

Inquiry13 Training Casual13 reasoning13 and13 understanding13 of13 how13 to13 collect13 informaampon13 build13 concepts13 and13 build13 and13 test13 hypotheses

13 Cogniampve13 Growth Increase13 general13 intellectual13 development13 and13 adjust13 instrucampon13 to13 facilitate13 intellectual13 growth

Advance13 Organizers Designed13 to13 increase13 ability13 to13 absorb13 informaampon13 and13 organize13 it13 especially13 in13 learning13 from13 lectures13 and13 readings

MnemonicsIncrease13 ability13 to13 acquire13 informaampon13 concepts13 conceptual13 systems13 and13 metacogniampve13 control13 of13 informaampon13 processing13 capability

Picture13 ndash13 Word13 Inducampve Learning13 to13 read13 and13 write13 inquiry13 into13 language

61Friday 18 November 11

Social Family of Models

Group13 InvesampgaamponDevelopment13 of13 skills13 for13 parampcipaampon13 in13 democraampc13 process13 Simultaneously13 emphasises13 social13 development13 academic13 skills13 and13 personal13 understanding

Social13 Inquiry Social13 problem13 solving13 through13 collecampve13 academic13 study13 and13 logical13 reasoning

Jurisprudenampal13 InquiryAnalysis13 of13 policy13 issues13 through13 a13 jurisprudenampal13 framework13 Collecampon13 of13 data13 analysis13 of13 value13 quesampons13 and13 posiampons13 study13 of13 personal13 beliefs

Laboratory13 Method Understanding13 of13 group13 dynamics13 leadership13 understanding13 of13 personal13 styles

Role13 Playing Study13 of13 values13 and13 their13 role13 in13 social13 interacampon13 Personal13 understanding13 of13 values13 and13 behaviour

Posiampve13 Interdependence Development13 of13 interdependent13 strategies13 of13 social13 interacampon13 Understanding13 of13 self13 ndash13 other13 relaamponships13 and13 emoampons

Structured13 Social13 Inquiry Academic13 inquiry13 and13 social13 and13 personal13 development13 Cooperaampve13 strategies13 for13 approaching13 academic13 study

62Friday 18 November 11

Personal Family of Models

Nondirecampve13 Teaching Building13 capacity13 for13 personal13 development13 self13 ndash13 understanding13 autonomy13 and13 esteem13 of13 self

13 Awareness13 TrainingIncreasing13 self13 ndash13 understanding13 self13 ndash13 esteem13 and13 capacity13 for13 exploraampon13 Development13 of13 interpersonal13 sensiampvity13 and13 empathy

Classroom13 Meeampng Development13 of13 self13 ndash13 understanding13 and13 responsibility13 to13 self13 and13 others

Self13 ndash13 Actualisaampon Development13 of13 personal13 understanding13 and13 capacity13 for13 development

Conceptual13 Systems Increasing13 personal13 complexity13 and13 flexibility13 in13 processing13 informaampon13 and13 interacampng13 with13 others

63Friday 18 November 11

Behavioural systems Family of Models

Social13 Learning

Management13 of13 behaviour13 Learning13 new13 paerns13 of13 behaviour13

reducing13 phobic13 and13 other13 dysfuncamponal13 paerns13 learning13 self13 ndash13

control

Mastery13 Learning Mastery13 of13 academic13 skills13 and13 content13 of13 all13 types

Programmed13 Learning Mastery13 of13 skills13 concepts13 factual13 informaampon

SimulaamponMastery13 of13 complex13 skills13 and13 concepts13 in13 a13 wide13 range13 of13 areas13

of13 study

Direct13 TeachingMastery13 of13 academic13 content13 and13 skills13 in13 a13 wide13 range13 of13 areas13

of13 study

Anxiety13 Reducampon

Control13 over13 aversive13 reacampons13 Applicaampons13 in13 treatment13 and13

self13 ndash13 treatment13 of13 avoidance13 and13 dysfuncamponal13 paerns13 of13

response

64Friday 18 November 11

1st Musical Example

65Friday 18 November 11

2nd Musical Example

66Friday 18 November 11

Why is it important to Know

bull You can handle better your own education and practice (constructional approach vs behavioural approach)

bull Different professional exit points - but

bull Will need to employ variations of the above

bull Knowingpotential for greater achievement

67Friday 18 November 11

Psy and Music Education

Group Discussion

How would you approach a lesson if were a teacher

68Friday 18 November 11

69Friday 18 November 11

In Music Psychology

bull Compositionbull Improvisationbull Aestheticsbull Creativity

70Friday 18 November 11

The Psychology of Composition

In its discussionsldquoquestions fundamental assumptions

about the nature and role of musical activity and the

musical artefactrdquo

Impett 2009 p403

71Friday 18 November 11

The Psychology of Composition

It is not widely researched

ldquoLeast studied least understood of all musical artefactsrdquo

Sloboda 1985

ldquoLittle progress has been made in understanding composition per serdquo

Brown 2003

72Friday 18 November 11

The Psychology of Composition

What is Composition in terms of Psychology

73Friday 18 November 11

The Psychology of Composition

Composition (organisation of musical sound) could be seen as a process of self-reflection

from where self-expression derives

74Friday 18 November 11

The Psychology of Composition

ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated

expression the conscious embodiment of psychological

statesrdquo

Impett 2009

75Friday 18 November 11

Composition Psychology

76Friday 18 November 11

Composition Psychology

Creativity

77Friday 18 November 11

How could we perceive Composition

78Friday 18 November 11

Composition

it is a lsquoDiscussion of Mindsrsquo

Composer + Performer + Audience

79Friday 18 November 11

The Psychology of Composition

ldquoAlthough Composition to some degree is innateit is a product of a

situated processrdquo

Impett 2009

80Friday 18 November 11

Composition

a Process

whichby itself is in some sense creative

81Friday 18 November 11

Composition

In this ProcesshellipMetaphors and Imagination come into play

where personal aesthetics concepts and innovation (for example) shape the outcome

82Friday 18 November 11

The Psychology of Composition

based on the aforementionedSome fundamental principles exist

eg rhythm perception tonal perception

83Friday 18 November 11

The Psychology of Composition

Howevera precise nature for a personsrsquos psychology of

composition seems to be a highly individual question

84Friday 18 November 11

85Friday 18 November 11

Improvisation and Psychology

Studying Improvisation and its psychological aspect might provide

further insight into Composition

Why

86Friday 18 November 11

Improvisation and Psychology

ldquoUnlike musical composition which can be mostly construed as a more-or-

less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the

human bodyrdquo

Ashley 2009

87Friday 18 November 11

To Improvisehellipis

to produce music (composing) audibly

and in real time

88Friday 18 November 11

Improvisation and Psychology

bull Psychology of Musical Performance (eg motor behaviourhellip)

bull Pitch

bull Tone (perception)

bull and othersapproaching

deeper lsquocreativityrsquo

come altogether and in real time into play

89Friday 18 November 11

improvisation and Psychology

bull Learningbull Teachingbull Cognitionbull Society

lsquoCreativityrsquois further connected with

90Friday 18 November 11

Teaching and Learning

Perception

Instrumental Performance Composition-Improvisation

Psychology of Music

91Friday 18 November 11

end of part II92Friday 18 November 11

Music And Neuroscience

1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning

2) Knowledge acquisition is governed by factors that are not

fully under conscious control and can hardly be influenced

externally (Roth 2006)

93Friday 18 November 11

However we try to understand this lsquoknowledge acquisitionrsquo

frameworkand this is where Neuroscience comes into Music

(performance teaching learninghellip)

94Friday 18 November 11

What is Neuroscience

bull Neuroscience is this science which studies the Brain

bull This is where new experiences and knowledge are processed by interconnected Neurons which

become activated when a sensorial input is perceived

95Friday 18 November 11

How the Brain looks like

96Friday 18 November 11

97Friday 18 November 11

98Friday 18 November 11

lsquoBrain Voyagerrsquo Pictures

99Friday 18 November 11

bull The structure of the brain alters continuously

throughout our lives

bull This happens via experiences stimuli studies a walk in the parkby playing a musical

instrument

100Friday 18 November 11

The change of the brain structure we call it - Plasticity -

lsquoexperience-driven brain plasticityrsquo

101Friday 18 November 11

Why is it important to know about lsquoPlasticityrsquo

By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos

saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political

version of schooling

102Friday 18 November 11

A bit of History

ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt

almost 5000 years agohelliprdquo

Minagar Ragheb and Kelley 2003

103Friday 18 November 11

A Musical Fact

We know that evidence of music has been confirmed in every civilisation

throughout history

Chailley 1964

104Friday 18 November 11

Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology

(egGardner 1983)

Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful

musical experience

105Friday 18 November 11

History of Neuroscience in Music

One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)

106Friday 18 November 11

Supporting Areas

bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology

107Friday 18 November 11

Ways (Tools) of neuroscientific Rsc

bullMagnetic Resonance Imaging (MRI)

bullfunctional MRI

bullElectroencephalography (EEG)

bullEvent Related Potentials (ERPs)

bullTranscranial magnetic Stimulation (TMS)

bullMagnetoencephalography (MEG)

bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target

108Friday 18 November 11

Research Areas in Music

bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors

109Friday 18 November 11

Perception and Cognition -Musical Performance

Your Opinionhellip

Group Discussion

110Friday 18 November 11

Perception in Meuromusic

Perception (in music) is based on the sensory information that is

gathered by the brain regarding onersquos external and internal

environment

111Friday 18 November 11

Perception in Neuromusic

PitchRhythm

112Friday 18 November 11

We donrsquot know yet wether musical cognition and perception is

(a) specifically localised to distinct neural networks

(b) made up of shared neural networks that are associated with other brain processes

(c) a bit of both

113Friday 18 November 11

Musical Performance

Motor Learning and Instrumental Training

the act of making music is physically

intensivea pianist may bimanually

coordinate and lsquoscrutinisersquo up to 1800 notes per minute

114Friday 18 November 11

Musical Performance

3 parts of the brain are involved

bullthe sensorimotor cortex (interpretation of stimuli control of muscles)

bullthe basal ganglia (muscles in cooperative functions)

bullthe cerebellum (fine-tuning of motor movements stores motor patterns)

115Friday 18 November 11

Growth and Development proceed from general to specific

116Friday 18 November 11

Musicians appear to process new incoming stimuli more effectively

compared to non-musicians

117Friday 18 November 11

Meaning

if you practise more your brain learns to work more effectively

118Friday 18 November 11

lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop

brain cells and neurons

makes us even more effective

119Friday 18 November 11

It is evident that musicians have different brain structure than

non-musiciansAmunts et al 1997Schlaug et al 1995b

enhanced if training has started earlier in life

120Friday 18 November 11

For musical training there is this concept of lsquodeliberate practicersquo

motivation resources and attention determine the amount and quality of practice undertaken

121Friday 18 November 11

In Neuroscience scientists uncovered evidence showing a close association

between practice and expertisehellip

hours of deliberate practice

level of expertise

Lehmann and Gruber 2006

122Friday 18 November 11

implications to Musical performance and Training

1How to practise is best learned by practising

2Start early but not to early with playing an instrument

3Breaks and sleep is essential for motor learning and memory

4Use the human lsquomirror systemrsquo

123Friday 18 November 11

Examples of practisinghellip

124Friday 18 November 11

Neuroscience and Emotion in Music

Largely overlapping networks required for the processing of both

general and music-specific emotions

125Friday 18 November 11

Whether the neural basis of emotional appraisal of music is

innate or rather acquired through enculturation is subject

to ongoing discussion

Peretz and Sloboda 2005

126Friday 18 November 11

Nature vs NurtureProblem

127Friday 18 November 11

Howeverrecognition of emotions appears independent of musical

training

howhellipfamily environment possibly

128Friday 18 November 11

Recognising from Experiencing musical emotion is different

129Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

49Friday 18 November 11

Psy And Music Education

bull Music is a universal trait of human kindbull Propensity for musical developmentbull This potential is universal as linguistic

ability

50Friday 18 November 11

The pianist example

Nature vs Nurture

51Friday 18 November 11

PSY and Music Education

While self-selection for musicianship by individuals with innate functional and structural

brain differences cannot be completely ruled out the evidence indicates that it is musical training

that leads to changes in brain function and structure

Schlaug 2003

52Friday 18 November 11

Training in Western Edu Comm

Teacher Student

Material Context

Jones 2005Biggs 19992007

Light and Cox 2009

53Friday 18 November 11

What is Learning

What is Teaching

54Friday 18 November 11

Learning

1960s-1970s Learning as lsquoproductrsquo or lsquoprocessrsquo

Product learning is a change in behaviour

Process Learning is a continuous developmental pathwhich hierarchically reflects knowledge growth and

understanding of the reality

55Friday 18 November 11

Teaching

(a) Teaching is transmission of knowledge (kurtrsquos template)

(b) Teaching is a facilitation process towards knowledge

construction

XWorldPlugInBrainBucketVTS_05_1VOBlnk

7

Pervasive Metaphor in Our Culture forLearningTeaching Conduit ndash Knowledge Is Made of Objects That We Give to Each Other

Lakoff amp Johnson Metaphors We Live By These ModelsMetaphors Ground Our Mental Life

Teaching as Pumping Knowledge into Student

8

Key Neuromyth or Brain ScamBrain Download Fallacy

Incorrect Metaphor

Positive Conclusion from NeuroscienceKnowledge Grows from Active ExperienceBrains Cannot Be Directly Filled with WorldKnowledge

Remarkable Plasticityfrom Neuroscience amp Genetics

56Friday 18 November 11

Education

bull Dynamics in teaching and learning are not linear and clearly settled in any way Thus we have a great variation of final Educational Concepts

57Friday 18 November 11

Education

Teaching and Learning Theories

Educational Concepts

58Friday 18 November 11

Important TampL Theories

bull The behaviouristbull The humanistbull The socialbull The cognitivebull The neo-cognitive

(stimulus-response)

(the concern with self)

(communities of practise)

(active process of knowledge construction)

(all the above together)

59Friday 18 November 11

Models of Learning-Tools for Teaching

bull Generated by the lsquoLearning Theoriesrsquobull 4 categories

60Friday 18 November 11

Information Processing Models

Inducampve13 ThinkingDevelopment13 of13 classificaampon13 skills13 hypothesis13 building13 and13 tesampng13 and13 understanding13 of13 how13 to13 build13 conceptual13 understanding13 of13 content13 areas

Concept13 Aainment Learning13 concepts13 and13 studying13 strategies13 for13 aaining13 and13 applying13 them13 Building13 and13 tesampng13 hypothesis

13 Scienampfic13 Inquiry Learning13 the13 research13 system13 of13 the13 academic13 disciplines13 ndash13 how13 knowledge13 is13 produced13 and13 organized

Inquiry13 Training Casual13 reasoning13 and13 understanding13 of13 how13 to13 collect13 informaampon13 build13 concepts13 and13 build13 and13 test13 hypotheses

13 Cogniampve13 Growth Increase13 general13 intellectual13 development13 and13 adjust13 instrucampon13 to13 facilitate13 intellectual13 growth

Advance13 Organizers Designed13 to13 increase13 ability13 to13 absorb13 informaampon13 and13 organize13 it13 especially13 in13 learning13 from13 lectures13 and13 readings

MnemonicsIncrease13 ability13 to13 acquire13 informaampon13 concepts13 conceptual13 systems13 and13 metacogniampve13 control13 of13 informaampon13 processing13 capability

Picture13 ndash13 Word13 Inducampve Learning13 to13 read13 and13 write13 inquiry13 into13 language

61Friday 18 November 11

Social Family of Models

Group13 InvesampgaamponDevelopment13 of13 skills13 for13 parampcipaampon13 in13 democraampc13 process13 Simultaneously13 emphasises13 social13 development13 academic13 skills13 and13 personal13 understanding

Social13 Inquiry Social13 problem13 solving13 through13 collecampve13 academic13 study13 and13 logical13 reasoning

Jurisprudenampal13 InquiryAnalysis13 of13 policy13 issues13 through13 a13 jurisprudenampal13 framework13 Collecampon13 of13 data13 analysis13 of13 value13 quesampons13 and13 posiampons13 study13 of13 personal13 beliefs

Laboratory13 Method Understanding13 of13 group13 dynamics13 leadership13 understanding13 of13 personal13 styles

Role13 Playing Study13 of13 values13 and13 their13 role13 in13 social13 interacampon13 Personal13 understanding13 of13 values13 and13 behaviour

Posiampve13 Interdependence Development13 of13 interdependent13 strategies13 of13 social13 interacampon13 Understanding13 of13 self13 ndash13 other13 relaamponships13 and13 emoampons

Structured13 Social13 Inquiry Academic13 inquiry13 and13 social13 and13 personal13 development13 Cooperaampve13 strategies13 for13 approaching13 academic13 study

62Friday 18 November 11

Personal Family of Models

Nondirecampve13 Teaching Building13 capacity13 for13 personal13 development13 self13 ndash13 understanding13 autonomy13 and13 esteem13 of13 self

13 Awareness13 TrainingIncreasing13 self13 ndash13 understanding13 self13 ndash13 esteem13 and13 capacity13 for13 exploraampon13 Development13 of13 interpersonal13 sensiampvity13 and13 empathy

Classroom13 Meeampng Development13 of13 self13 ndash13 understanding13 and13 responsibility13 to13 self13 and13 others

Self13 ndash13 Actualisaampon Development13 of13 personal13 understanding13 and13 capacity13 for13 development

Conceptual13 Systems Increasing13 personal13 complexity13 and13 flexibility13 in13 processing13 informaampon13 and13 interacampng13 with13 others

63Friday 18 November 11

Behavioural systems Family of Models

Social13 Learning

Management13 of13 behaviour13 Learning13 new13 paerns13 of13 behaviour13

reducing13 phobic13 and13 other13 dysfuncamponal13 paerns13 learning13 self13 ndash13

control

Mastery13 Learning Mastery13 of13 academic13 skills13 and13 content13 of13 all13 types

Programmed13 Learning Mastery13 of13 skills13 concepts13 factual13 informaampon

SimulaamponMastery13 of13 complex13 skills13 and13 concepts13 in13 a13 wide13 range13 of13 areas13

of13 study

Direct13 TeachingMastery13 of13 academic13 content13 and13 skills13 in13 a13 wide13 range13 of13 areas13

of13 study

Anxiety13 Reducampon

Control13 over13 aversive13 reacampons13 Applicaampons13 in13 treatment13 and13

self13 ndash13 treatment13 of13 avoidance13 and13 dysfuncamponal13 paerns13 of13

response

64Friday 18 November 11

1st Musical Example

65Friday 18 November 11

2nd Musical Example

66Friday 18 November 11

Why is it important to Know

bull You can handle better your own education and practice (constructional approach vs behavioural approach)

bull Different professional exit points - but

bull Will need to employ variations of the above

bull Knowingpotential for greater achievement

67Friday 18 November 11

Psy and Music Education

Group Discussion

How would you approach a lesson if were a teacher

68Friday 18 November 11

69Friday 18 November 11

In Music Psychology

bull Compositionbull Improvisationbull Aestheticsbull Creativity

70Friday 18 November 11

The Psychology of Composition

In its discussionsldquoquestions fundamental assumptions

about the nature and role of musical activity and the

musical artefactrdquo

Impett 2009 p403

71Friday 18 November 11

The Psychology of Composition

It is not widely researched

ldquoLeast studied least understood of all musical artefactsrdquo

Sloboda 1985

ldquoLittle progress has been made in understanding composition per serdquo

Brown 2003

72Friday 18 November 11

The Psychology of Composition

What is Composition in terms of Psychology

73Friday 18 November 11

The Psychology of Composition

Composition (organisation of musical sound) could be seen as a process of self-reflection

from where self-expression derives

74Friday 18 November 11

The Psychology of Composition

ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated

expression the conscious embodiment of psychological

statesrdquo

Impett 2009

75Friday 18 November 11

Composition Psychology

76Friday 18 November 11

Composition Psychology

Creativity

77Friday 18 November 11

How could we perceive Composition

78Friday 18 November 11

Composition

it is a lsquoDiscussion of Mindsrsquo

Composer + Performer + Audience

79Friday 18 November 11

The Psychology of Composition

ldquoAlthough Composition to some degree is innateit is a product of a

situated processrdquo

Impett 2009

80Friday 18 November 11

Composition

a Process

whichby itself is in some sense creative

81Friday 18 November 11

Composition

In this ProcesshellipMetaphors and Imagination come into play

where personal aesthetics concepts and innovation (for example) shape the outcome

82Friday 18 November 11

The Psychology of Composition

based on the aforementionedSome fundamental principles exist

eg rhythm perception tonal perception

83Friday 18 November 11

The Psychology of Composition

Howevera precise nature for a personsrsquos psychology of

composition seems to be a highly individual question

84Friday 18 November 11

85Friday 18 November 11

Improvisation and Psychology

Studying Improvisation and its psychological aspect might provide

further insight into Composition

Why

86Friday 18 November 11

Improvisation and Psychology

ldquoUnlike musical composition which can be mostly construed as a more-or-

less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the

human bodyrdquo

Ashley 2009

87Friday 18 November 11

To Improvisehellipis

to produce music (composing) audibly

and in real time

88Friday 18 November 11

Improvisation and Psychology

bull Psychology of Musical Performance (eg motor behaviourhellip)

bull Pitch

bull Tone (perception)

bull and othersapproaching

deeper lsquocreativityrsquo

come altogether and in real time into play

89Friday 18 November 11

improvisation and Psychology

bull Learningbull Teachingbull Cognitionbull Society

lsquoCreativityrsquois further connected with

90Friday 18 November 11

Teaching and Learning

Perception

Instrumental Performance Composition-Improvisation

Psychology of Music

91Friday 18 November 11

end of part II92Friday 18 November 11

Music And Neuroscience

1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning

2) Knowledge acquisition is governed by factors that are not

fully under conscious control and can hardly be influenced

externally (Roth 2006)

93Friday 18 November 11

However we try to understand this lsquoknowledge acquisitionrsquo

frameworkand this is where Neuroscience comes into Music

(performance teaching learninghellip)

94Friday 18 November 11

What is Neuroscience

bull Neuroscience is this science which studies the Brain

bull This is where new experiences and knowledge are processed by interconnected Neurons which

become activated when a sensorial input is perceived

95Friday 18 November 11

How the Brain looks like

96Friday 18 November 11

97Friday 18 November 11

98Friday 18 November 11

lsquoBrain Voyagerrsquo Pictures

99Friday 18 November 11

bull The structure of the brain alters continuously

throughout our lives

bull This happens via experiences stimuli studies a walk in the parkby playing a musical

instrument

100Friday 18 November 11

The change of the brain structure we call it - Plasticity -

lsquoexperience-driven brain plasticityrsquo

101Friday 18 November 11

Why is it important to know about lsquoPlasticityrsquo

By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos

saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political

version of schooling

102Friday 18 November 11

A bit of History

ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt

almost 5000 years agohelliprdquo

Minagar Ragheb and Kelley 2003

103Friday 18 November 11

A Musical Fact

We know that evidence of music has been confirmed in every civilisation

throughout history

Chailley 1964

104Friday 18 November 11

Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology

(egGardner 1983)

Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful

musical experience

105Friday 18 November 11

History of Neuroscience in Music

One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)

106Friday 18 November 11

Supporting Areas

bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology

107Friday 18 November 11

Ways (Tools) of neuroscientific Rsc

bullMagnetic Resonance Imaging (MRI)

bullfunctional MRI

bullElectroencephalography (EEG)

bullEvent Related Potentials (ERPs)

bullTranscranial magnetic Stimulation (TMS)

bullMagnetoencephalography (MEG)

bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target

108Friday 18 November 11

Research Areas in Music

bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors

109Friday 18 November 11

Perception and Cognition -Musical Performance

Your Opinionhellip

Group Discussion

110Friday 18 November 11

Perception in Meuromusic

Perception (in music) is based on the sensory information that is

gathered by the brain regarding onersquos external and internal

environment

111Friday 18 November 11

Perception in Neuromusic

PitchRhythm

112Friday 18 November 11

We donrsquot know yet wether musical cognition and perception is

(a) specifically localised to distinct neural networks

(b) made up of shared neural networks that are associated with other brain processes

(c) a bit of both

113Friday 18 November 11

Musical Performance

Motor Learning and Instrumental Training

the act of making music is physically

intensivea pianist may bimanually

coordinate and lsquoscrutinisersquo up to 1800 notes per minute

114Friday 18 November 11

Musical Performance

3 parts of the brain are involved

bullthe sensorimotor cortex (interpretation of stimuli control of muscles)

bullthe basal ganglia (muscles in cooperative functions)

bullthe cerebellum (fine-tuning of motor movements stores motor patterns)

115Friday 18 November 11

Growth and Development proceed from general to specific

116Friday 18 November 11

Musicians appear to process new incoming stimuli more effectively

compared to non-musicians

117Friday 18 November 11

Meaning

if you practise more your brain learns to work more effectively

118Friday 18 November 11

lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop

brain cells and neurons

makes us even more effective

119Friday 18 November 11

It is evident that musicians have different brain structure than

non-musiciansAmunts et al 1997Schlaug et al 1995b

enhanced if training has started earlier in life

120Friday 18 November 11

For musical training there is this concept of lsquodeliberate practicersquo

motivation resources and attention determine the amount and quality of practice undertaken

121Friday 18 November 11

In Neuroscience scientists uncovered evidence showing a close association

between practice and expertisehellip

hours of deliberate practice

level of expertise

Lehmann and Gruber 2006

122Friday 18 November 11

implications to Musical performance and Training

1How to practise is best learned by practising

2Start early but not to early with playing an instrument

3Breaks and sleep is essential for motor learning and memory

4Use the human lsquomirror systemrsquo

123Friday 18 November 11

Examples of practisinghellip

124Friday 18 November 11

Neuroscience and Emotion in Music

Largely overlapping networks required for the processing of both

general and music-specific emotions

125Friday 18 November 11

Whether the neural basis of emotional appraisal of music is

innate or rather acquired through enculturation is subject

to ongoing discussion

Peretz and Sloboda 2005

126Friday 18 November 11

Nature vs NurtureProblem

127Friday 18 November 11

Howeverrecognition of emotions appears independent of musical

training

howhellipfamily environment possibly

128Friday 18 November 11

Recognising from Experiencing musical emotion is different

129Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

Psy And Music Education

bull Music is a universal trait of human kindbull Propensity for musical developmentbull This potential is universal as linguistic

ability

50Friday 18 November 11

The pianist example

Nature vs Nurture

51Friday 18 November 11

PSY and Music Education

While self-selection for musicianship by individuals with innate functional and structural

brain differences cannot be completely ruled out the evidence indicates that it is musical training

that leads to changes in brain function and structure

Schlaug 2003

52Friday 18 November 11

Training in Western Edu Comm

Teacher Student

Material Context

Jones 2005Biggs 19992007

Light and Cox 2009

53Friday 18 November 11

What is Learning

What is Teaching

54Friday 18 November 11

Learning

1960s-1970s Learning as lsquoproductrsquo or lsquoprocessrsquo

Product learning is a change in behaviour

Process Learning is a continuous developmental pathwhich hierarchically reflects knowledge growth and

understanding of the reality

55Friday 18 November 11

Teaching

(a) Teaching is transmission of knowledge (kurtrsquos template)

(b) Teaching is a facilitation process towards knowledge

construction

XWorldPlugInBrainBucketVTS_05_1VOBlnk

7

Pervasive Metaphor in Our Culture forLearningTeaching Conduit ndash Knowledge Is Made of Objects That We Give to Each Other

Lakoff amp Johnson Metaphors We Live By These ModelsMetaphors Ground Our Mental Life

Teaching as Pumping Knowledge into Student

8

Key Neuromyth or Brain ScamBrain Download Fallacy

Incorrect Metaphor

Positive Conclusion from NeuroscienceKnowledge Grows from Active ExperienceBrains Cannot Be Directly Filled with WorldKnowledge

Remarkable Plasticityfrom Neuroscience amp Genetics

56Friday 18 November 11

Education

bull Dynamics in teaching and learning are not linear and clearly settled in any way Thus we have a great variation of final Educational Concepts

57Friday 18 November 11

Education

Teaching and Learning Theories

Educational Concepts

58Friday 18 November 11

Important TampL Theories

bull The behaviouristbull The humanistbull The socialbull The cognitivebull The neo-cognitive

(stimulus-response)

(the concern with self)

(communities of practise)

(active process of knowledge construction)

(all the above together)

59Friday 18 November 11

Models of Learning-Tools for Teaching

bull Generated by the lsquoLearning Theoriesrsquobull 4 categories

60Friday 18 November 11

Information Processing Models

Inducampve13 ThinkingDevelopment13 of13 classificaampon13 skills13 hypothesis13 building13 and13 tesampng13 and13 understanding13 of13 how13 to13 build13 conceptual13 understanding13 of13 content13 areas

Concept13 Aainment Learning13 concepts13 and13 studying13 strategies13 for13 aaining13 and13 applying13 them13 Building13 and13 tesampng13 hypothesis

13 Scienampfic13 Inquiry Learning13 the13 research13 system13 of13 the13 academic13 disciplines13 ndash13 how13 knowledge13 is13 produced13 and13 organized

Inquiry13 Training Casual13 reasoning13 and13 understanding13 of13 how13 to13 collect13 informaampon13 build13 concepts13 and13 build13 and13 test13 hypotheses

13 Cogniampve13 Growth Increase13 general13 intellectual13 development13 and13 adjust13 instrucampon13 to13 facilitate13 intellectual13 growth

Advance13 Organizers Designed13 to13 increase13 ability13 to13 absorb13 informaampon13 and13 organize13 it13 especially13 in13 learning13 from13 lectures13 and13 readings

MnemonicsIncrease13 ability13 to13 acquire13 informaampon13 concepts13 conceptual13 systems13 and13 metacogniampve13 control13 of13 informaampon13 processing13 capability

Picture13 ndash13 Word13 Inducampve Learning13 to13 read13 and13 write13 inquiry13 into13 language

61Friday 18 November 11

Social Family of Models

Group13 InvesampgaamponDevelopment13 of13 skills13 for13 parampcipaampon13 in13 democraampc13 process13 Simultaneously13 emphasises13 social13 development13 academic13 skills13 and13 personal13 understanding

Social13 Inquiry Social13 problem13 solving13 through13 collecampve13 academic13 study13 and13 logical13 reasoning

Jurisprudenampal13 InquiryAnalysis13 of13 policy13 issues13 through13 a13 jurisprudenampal13 framework13 Collecampon13 of13 data13 analysis13 of13 value13 quesampons13 and13 posiampons13 study13 of13 personal13 beliefs

Laboratory13 Method Understanding13 of13 group13 dynamics13 leadership13 understanding13 of13 personal13 styles

Role13 Playing Study13 of13 values13 and13 their13 role13 in13 social13 interacampon13 Personal13 understanding13 of13 values13 and13 behaviour

Posiampve13 Interdependence Development13 of13 interdependent13 strategies13 of13 social13 interacampon13 Understanding13 of13 self13 ndash13 other13 relaamponships13 and13 emoampons

Structured13 Social13 Inquiry Academic13 inquiry13 and13 social13 and13 personal13 development13 Cooperaampve13 strategies13 for13 approaching13 academic13 study

62Friday 18 November 11

Personal Family of Models

Nondirecampve13 Teaching Building13 capacity13 for13 personal13 development13 self13 ndash13 understanding13 autonomy13 and13 esteem13 of13 self

13 Awareness13 TrainingIncreasing13 self13 ndash13 understanding13 self13 ndash13 esteem13 and13 capacity13 for13 exploraampon13 Development13 of13 interpersonal13 sensiampvity13 and13 empathy

Classroom13 Meeampng Development13 of13 self13 ndash13 understanding13 and13 responsibility13 to13 self13 and13 others

Self13 ndash13 Actualisaampon Development13 of13 personal13 understanding13 and13 capacity13 for13 development

Conceptual13 Systems Increasing13 personal13 complexity13 and13 flexibility13 in13 processing13 informaampon13 and13 interacampng13 with13 others

63Friday 18 November 11

Behavioural systems Family of Models

Social13 Learning

Management13 of13 behaviour13 Learning13 new13 paerns13 of13 behaviour13

reducing13 phobic13 and13 other13 dysfuncamponal13 paerns13 learning13 self13 ndash13

control

Mastery13 Learning Mastery13 of13 academic13 skills13 and13 content13 of13 all13 types

Programmed13 Learning Mastery13 of13 skills13 concepts13 factual13 informaampon

SimulaamponMastery13 of13 complex13 skills13 and13 concepts13 in13 a13 wide13 range13 of13 areas13

of13 study

Direct13 TeachingMastery13 of13 academic13 content13 and13 skills13 in13 a13 wide13 range13 of13 areas13

of13 study

Anxiety13 Reducampon

Control13 over13 aversive13 reacampons13 Applicaampons13 in13 treatment13 and13

self13 ndash13 treatment13 of13 avoidance13 and13 dysfuncamponal13 paerns13 of13

response

64Friday 18 November 11

1st Musical Example

65Friday 18 November 11

2nd Musical Example

66Friday 18 November 11

Why is it important to Know

bull You can handle better your own education and practice (constructional approach vs behavioural approach)

bull Different professional exit points - but

bull Will need to employ variations of the above

bull Knowingpotential for greater achievement

67Friday 18 November 11

Psy and Music Education

Group Discussion

How would you approach a lesson if were a teacher

68Friday 18 November 11

69Friday 18 November 11

In Music Psychology

bull Compositionbull Improvisationbull Aestheticsbull Creativity

70Friday 18 November 11

The Psychology of Composition

In its discussionsldquoquestions fundamental assumptions

about the nature and role of musical activity and the

musical artefactrdquo

Impett 2009 p403

71Friday 18 November 11

The Psychology of Composition

It is not widely researched

ldquoLeast studied least understood of all musical artefactsrdquo

Sloboda 1985

ldquoLittle progress has been made in understanding composition per serdquo

Brown 2003

72Friday 18 November 11

The Psychology of Composition

What is Composition in terms of Psychology

73Friday 18 November 11

The Psychology of Composition

Composition (organisation of musical sound) could be seen as a process of self-reflection

from where self-expression derives

74Friday 18 November 11

The Psychology of Composition

ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated

expression the conscious embodiment of psychological

statesrdquo

Impett 2009

75Friday 18 November 11

Composition Psychology

76Friday 18 November 11

Composition Psychology

Creativity

77Friday 18 November 11

How could we perceive Composition

78Friday 18 November 11

Composition

it is a lsquoDiscussion of Mindsrsquo

Composer + Performer + Audience

79Friday 18 November 11

The Psychology of Composition

ldquoAlthough Composition to some degree is innateit is a product of a

situated processrdquo

Impett 2009

80Friday 18 November 11

Composition

a Process

whichby itself is in some sense creative

81Friday 18 November 11

Composition

In this ProcesshellipMetaphors and Imagination come into play

where personal aesthetics concepts and innovation (for example) shape the outcome

82Friday 18 November 11

The Psychology of Composition

based on the aforementionedSome fundamental principles exist

eg rhythm perception tonal perception

83Friday 18 November 11

The Psychology of Composition

Howevera precise nature for a personsrsquos psychology of

composition seems to be a highly individual question

84Friday 18 November 11

85Friday 18 November 11

Improvisation and Psychology

Studying Improvisation and its psychological aspect might provide

further insight into Composition

Why

86Friday 18 November 11

Improvisation and Psychology

ldquoUnlike musical composition which can be mostly construed as a more-or-

less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the

human bodyrdquo

Ashley 2009

87Friday 18 November 11

To Improvisehellipis

to produce music (composing) audibly

and in real time

88Friday 18 November 11

Improvisation and Psychology

bull Psychology of Musical Performance (eg motor behaviourhellip)

bull Pitch

bull Tone (perception)

bull and othersapproaching

deeper lsquocreativityrsquo

come altogether and in real time into play

89Friday 18 November 11

improvisation and Psychology

bull Learningbull Teachingbull Cognitionbull Society

lsquoCreativityrsquois further connected with

90Friday 18 November 11

Teaching and Learning

Perception

Instrumental Performance Composition-Improvisation

Psychology of Music

91Friday 18 November 11

end of part II92Friday 18 November 11

Music And Neuroscience

1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning

2) Knowledge acquisition is governed by factors that are not

fully under conscious control and can hardly be influenced

externally (Roth 2006)

93Friday 18 November 11

However we try to understand this lsquoknowledge acquisitionrsquo

frameworkand this is where Neuroscience comes into Music

(performance teaching learninghellip)

94Friday 18 November 11

What is Neuroscience

bull Neuroscience is this science which studies the Brain

bull This is where new experiences and knowledge are processed by interconnected Neurons which

become activated when a sensorial input is perceived

95Friday 18 November 11

How the Brain looks like

96Friday 18 November 11

97Friday 18 November 11

98Friday 18 November 11

lsquoBrain Voyagerrsquo Pictures

99Friday 18 November 11

bull The structure of the brain alters continuously

throughout our lives

bull This happens via experiences stimuli studies a walk in the parkby playing a musical

instrument

100Friday 18 November 11

The change of the brain structure we call it - Plasticity -

lsquoexperience-driven brain plasticityrsquo

101Friday 18 November 11

Why is it important to know about lsquoPlasticityrsquo

By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos

saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political

version of schooling

102Friday 18 November 11

A bit of History

ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt

almost 5000 years agohelliprdquo

Minagar Ragheb and Kelley 2003

103Friday 18 November 11

A Musical Fact

We know that evidence of music has been confirmed in every civilisation

throughout history

Chailley 1964

104Friday 18 November 11

Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology

(egGardner 1983)

Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful

musical experience

105Friday 18 November 11

History of Neuroscience in Music

One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)

106Friday 18 November 11

Supporting Areas

bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology

107Friday 18 November 11

Ways (Tools) of neuroscientific Rsc

bullMagnetic Resonance Imaging (MRI)

bullfunctional MRI

bullElectroencephalography (EEG)

bullEvent Related Potentials (ERPs)

bullTranscranial magnetic Stimulation (TMS)

bullMagnetoencephalography (MEG)

bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target

108Friday 18 November 11

Research Areas in Music

bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors

109Friday 18 November 11

Perception and Cognition -Musical Performance

Your Opinionhellip

Group Discussion

110Friday 18 November 11

Perception in Meuromusic

Perception (in music) is based on the sensory information that is

gathered by the brain regarding onersquos external and internal

environment

111Friday 18 November 11

Perception in Neuromusic

PitchRhythm

112Friday 18 November 11

We donrsquot know yet wether musical cognition and perception is

(a) specifically localised to distinct neural networks

(b) made up of shared neural networks that are associated with other brain processes

(c) a bit of both

113Friday 18 November 11

Musical Performance

Motor Learning and Instrumental Training

the act of making music is physically

intensivea pianist may bimanually

coordinate and lsquoscrutinisersquo up to 1800 notes per minute

114Friday 18 November 11

Musical Performance

3 parts of the brain are involved

bullthe sensorimotor cortex (interpretation of stimuli control of muscles)

bullthe basal ganglia (muscles in cooperative functions)

bullthe cerebellum (fine-tuning of motor movements stores motor patterns)

115Friday 18 November 11

Growth and Development proceed from general to specific

116Friday 18 November 11

Musicians appear to process new incoming stimuli more effectively

compared to non-musicians

117Friday 18 November 11

Meaning

if you practise more your brain learns to work more effectively

118Friday 18 November 11

lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop

brain cells and neurons

makes us even more effective

119Friday 18 November 11

It is evident that musicians have different brain structure than

non-musiciansAmunts et al 1997Schlaug et al 1995b

enhanced if training has started earlier in life

120Friday 18 November 11

For musical training there is this concept of lsquodeliberate practicersquo

motivation resources and attention determine the amount and quality of practice undertaken

121Friday 18 November 11

In Neuroscience scientists uncovered evidence showing a close association

between practice and expertisehellip

hours of deliberate practice

level of expertise

Lehmann and Gruber 2006

122Friday 18 November 11

implications to Musical performance and Training

1How to practise is best learned by practising

2Start early but not to early with playing an instrument

3Breaks and sleep is essential for motor learning and memory

4Use the human lsquomirror systemrsquo

123Friday 18 November 11

Examples of practisinghellip

124Friday 18 November 11

Neuroscience and Emotion in Music

Largely overlapping networks required for the processing of both

general and music-specific emotions

125Friday 18 November 11

Whether the neural basis of emotional appraisal of music is

innate or rather acquired through enculturation is subject

to ongoing discussion

Peretz and Sloboda 2005

126Friday 18 November 11

Nature vs NurtureProblem

127Friday 18 November 11

Howeverrecognition of emotions appears independent of musical

training

howhellipfamily environment possibly

128Friday 18 November 11

Recognising from Experiencing musical emotion is different

129Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

The pianist example

Nature vs Nurture

51Friday 18 November 11

PSY and Music Education

While self-selection for musicianship by individuals with innate functional and structural

brain differences cannot be completely ruled out the evidence indicates that it is musical training

that leads to changes in brain function and structure

Schlaug 2003

52Friday 18 November 11

Training in Western Edu Comm

Teacher Student

Material Context

Jones 2005Biggs 19992007

Light and Cox 2009

53Friday 18 November 11

What is Learning

What is Teaching

54Friday 18 November 11

Learning

1960s-1970s Learning as lsquoproductrsquo or lsquoprocessrsquo

Product learning is a change in behaviour

Process Learning is a continuous developmental pathwhich hierarchically reflects knowledge growth and

understanding of the reality

55Friday 18 November 11

Teaching

(a) Teaching is transmission of knowledge (kurtrsquos template)

(b) Teaching is a facilitation process towards knowledge

construction

XWorldPlugInBrainBucketVTS_05_1VOBlnk

7

Pervasive Metaphor in Our Culture forLearningTeaching Conduit ndash Knowledge Is Made of Objects That We Give to Each Other

Lakoff amp Johnson Metaphors We Live By These ModelsMetaphors Ground Our Mental Life

Teaching as Pumping Knowledge into Student

8

Key Neuromyth or Brain ScamBrain Download Fallacy

Incorrect Metaphor

Positive Conclusion from NeuroscienceKnowledge Grows from Active ExperienceBrains Cannot Be Directly Filled with WorldKnowledge

Remarkable Plasticityfrom Neuroscience amp Genetics

56Friday 18 November 11

Education

bull Dynamics in teaching and learning are not linear and clearly settled in any way Thus we have a great variation of final Educational Concepts

57Friday 18 November 11

Education

Teaching and Learning Theories

Educational Concepts

58Friday 18 November 11

Important TampL Theories

bull The behaviouristbull The humanistbull The socialbull The cognitivebull The neo-cognitive

(stimulus-response)

(the concern with self)

(communities of practise)

(active process of knowledge construction)

(all the above together)

59Friday 18 November 11

Models of Learning-Tools for Teaching

bull Generated by the lsquoLearning Theoriesrsquobull 4 categories

60Friday 18 November 11

Information Processing Models

Inducampve13 ThinkingDevelopment13 of13 classificaampon13 skills13 hypothesis13 building13 and13 tesampng13 and13 understanding13 of13 how13 to13 build13 conceptual13 understanding13 of13 content13 areas

Concept13 Aainment Learning13 concepts13 and13 studying13 strategies13 for13 aaining13 and13 applying13 them13 Building13 and13 tesampng13 hypothesis

13 Scienampfic13 Inquiry Learning13 the13 research13 system13 of13 the13 academic13 disciplines13 ndash13 how13 knowledge13 is13 produced13 and13 organized

Inquiry13 Training Casual13 reasoning13 and13 understanding13 of13 how13 to13 collect13 informaampon13 build13 concepts13 and13 build13 and13 test13 hypotheses

13 Cogniampve13 Growth Increase13 general13 intellectual13 development13 and13 adjust13 instrucampon13 to13 facilitate13 intellectual13 growth

Advance13 Organizers Designed13 to13 increase13 ability13 to13 absorb13 informaampon13 and13 organize13 it13 especially13 in13 learning13 from13 lectures13 and13 readings

MnemonicsIncrease13 ability13 to13 acquire13 informaampon13 concepts13 conceptual13 systems13 and13 metacogniampve13 control13 of13 informaampon13 processing13 capability

Picture13 ndash13 Word13 Inducampve Learning13 to13 read13 and13 write13 inquiry13 into13 language

61Friday 18 November 11

Social Family of Models

Group13 InvesampgaamponDevelopment13 of13 skills13 for13 parampcipaampon13 in13 democraampc13 process13 Simultaneously13 emphasises13 social13 development13 academic13 skills13 and13 personal13 understanding

Social13 Inquiry Social13 problem13 solving13 through13 collecampve13 academic13 study13 and13 logical13 reasoning

Jurisprudenampal13 InquiryAnalysis13 of13 policy13 issues13 through13 a13 jurisprudenampal13 framework13 Collecampon13 of13 data13 analysis13 of13 value13 quesampons13 and13 posiampons13 study13 of13 personal13 beliefs

Laboratory13 Method Understanding13 of13 group13 dynamics13 leadership13 understanding13 of13 personal13 styles

Role13 Playing Study13 of13 values13 and13 their13 role13 in13 social13 interacampon13 Personal13 understanding13 of13 values13 and13 behaviour

Posiampve13 Interdependence Development13 of13 interdependent13 strategies13 of13 social13 interacampon13 Understanding13 of13 self13 ndash13 other13 relaamponships13 and13 emoampons

Structured13 Social13 Inquiry Academic13 inquiry13 and13 social13 and13 personal13 development13 Cooperaampve13 strategies13 for13 approaching13 academic13 study

62Friday 18 November 11

Personal Family of Models

Nondirecampve13 Teaching Building13 capacity13 for13 personal13 development13 self13 ndash13 understanding13 autonomy13 and13 esteem13 of13 self

13 Awareness13 TrainingIncreasing13 self13 ndash13 understanding13 self13 ndash13 esteem13 and13 capacity13 for13 exploraampon13 Development13 of13 interpersonal13 sensiampvity13 and13 empathy

Classroom13 Meeampng Development13 of13 self13 ndash13 understanding13 and13 responsibility13 to13 self13 and13 others

Self13 ndash13 Actualisaampon Development13 of13 personal13 understanding13 and13 capacity13 for13 development

Conceptual13 Systems Increasing13 personal13 complexity13 and13 flexibility13 in13 processing13 informaampon13 and13 interacampng13 with13 others

63Friday 18 November 11

Behavioural systems Family of Models

Social13 Learning

Management13 of13 behaviour13 Learning13 new13 paerns13 of13 behaviour13

reducing13 phobic13 and13 other13 dysfuncamponal13 paerns13 learning13 self13 ndash13

control

Mastery13 Learning Mastery13 of13 academic13 skills13 and13 content13 of13 all13 types

Programmed13 Learning Mastery13 of13 skills13 concepts13 factual13 informaampon

SimulaamponMastery13 of13 complex13 skills13 and13 concepts13 in13 a13 wide13 range13 of13 areas13

of13 study

Direct13 TeachingMastery13 of13 academic13 content13 and13 skills13 in13 a13 wide13 range13 of13 areas13

of13 study

Anxiety13 Reducampon

Control13 over13 aversive13 reacampons13 Applicaampons13 in13 treatment13 and13

self13 ndash13 treatment13 of13 avoidance13 and13 dysfuncamponal13 paerns13 of13

response

64Friday 18 November 11

1st Musical Example

65Friday 18 November 11

2nd Musical Example

66Friday 18 November 11

Why is it important to Know

bull You can handle better your own education and practice (constructional approach vs behavioural approach)

bull Different professional exit points - but

bull Will need to employ variations of the above

bull Knowingpotential for greater achievement

67Friday 18 November 11

Psy and Music Education

Group Discussion

How would you approach a lesson if were a teacher

68Friday 18 November 11

69Friday 18 November 11

In Music Psychology

bull Compositionbull Improvisationbull Aestheticsbull Creativity

70Friday 18 November 11

The Psychology of Composition

In its discussionsldquoquestions fundamental assumptions

about the nature and role of musical activity and the

musical artefactrdquo

Impett 2009 p403

71Friday 18 November 11

The Psychology of Composition

It is not widely researched

ldquoLeast studied least understood of all musical artefactsrdquo

Sloboda 1985

ldquoLittle progress has been made in understanding composition per serdquo

Brown 2003

72Friday 18 November 11

The Psychology of Composition

What is Composition in terms of Psychology

73Friday 18 November 11

The Psychology of Composition

Composition (organisation of musical sound) could be seen as a process of self-reflection

from where self-expression derives

74Friday 18 November 11

The Psychology of Composition

ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated

expression the conscious embodiment of psychological

statesrdquo

Impett 2009

75Friday 18 November 11

Composition Psychology

76Friday 18 November 11

Composition Psychology

Creativity

77Friday 18 November 11

How could we perceive Composition

78Friday 18 November 11

Composition

it is a lsquoDiscussion of Mindsrsquo

Composer + Performer + Audience

79Friday 18 November 11

The Psychology of Composition

ldquoAlthough Composition to some degree is innateit is a product of a

situated processrdquo

Impett 2009

80Friday 18 November 11

Composition

a Process

whichby itself is in some sense creative

81Friday 18 November 11

Composition

In this ProcesshellipMetaphors and Imagination come into play

where personal aesthetics concepts and innovation (for example) shape the outcome

82Friday 18 November 11

The Psychology of Composition

based on the aforementionedSome fundamental principles exist

eg rhythm perception tonal perception

83Friday 18 November 11

The Psychology of Composition

Howevera precise nature for a personsrsquos psychology of

composition seems to be a highly individual question

84Friday 18 November 11

85Friday 18 November 11

Improvisation and Psychology

Studying Improvisation and its psychological aspect might provide

further insight into Composition

Why

86Friday 18 November 11

Improvisation and Psychology

ldquoUnlike musical composition which can be mostly construed as a more-or-

less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the

human bodyrdquo

Ashley 2009

87Friday 18 November 11

To Improvisehellipis

to produce music (composing) audibly

and in real time

88Friday 18 November 11

Improvisation and Psychology

bull Psychology of Musical Performance (eg motor behaviourhellip)

bull Pitch

bull Tone (perception)

bull and othersapproaching

deeper lsquocreativityrsquo

come altogether and in real time into play

89Friday 18 November 11

improvisation and Psychology

bull Learningbull Teachingbull Cognitionbull Society

lsquoCreativityrsquois further connected with

90Friday 18 November 11

Teaching and Learning

Perception

Instrumental Performance Composition-Improvisation

Psychology of Music

91Friday 18 November 11

end of part II92Friday 18 November 11

Music And Neuroscience

1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning

2) Knowledge acquisition is governed by factors that are not

fully under conscious control and can hardly be influenced

externally (Roth 2006)

93Friday 18 November 11

However we try to understand this lsquoknowledge acquisitionrsquo

frameworkand this is where Neuroscience comes into Music

(performance teaching learninghellip)

94Friday 18 November 11

What is Neuroscience

bull Neuroscience is this science which studies the Brain

bull This is where new experiences and knowledge are processed by interconnected Neurons which

become activated when a sensorial input is perceived

95Friday 18 November 11

How the Brain looks like

96Friday 18 November 11

97Friday 18 November 11

98Friday 18 November 11

lsquoBrain Voyagerrsquo Pictures

99Friday 18 November 11

bull The structure of the brain alters continuously

throughout our lives

bull This happens via experiences stimuli studies a walk in the parkby playing a musical

instrument

100Friday 18 November 11

The change of the brain structure we call it - Plasticity -

lsquoexperience-driven brain plasticityrsquo

101Friday 18 November 11

Why is it important to know about lsquoPlasticityrsquo

By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos

saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political

version of schooling

102Friday 18 November 11

A bit of History

ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt

almost 5000 years agohelliprdquo

Minagar Ragheb and Kelley 2003

103Friday 18 November 11

A Musical Fact

We know that evidence of music has been confirmed in every civilisation

throughout history

Chailley 1964

104Friday 18 November 11

Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology

(egGardner 1983)

Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful

musical experience

105Friday 18 November 11

History of Neuroscience in Music

One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)

106Friday 18 November 11

Supporting Areas

bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology

107Friday 18 November 11

Ways (Tools) of neuroscientific Rsc

bullMagnetic Resonance Imaging (MRI)

bullfunctional MRI

bullElectroencephalography (EEG)

bullEvent Related Potentials (ERPs)

bullTranscranial magnetic Stimulation (TMS)

bullMagnetoencephalography (MEG)

bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target

108Friday 18 November 11

Research Areas in Music

bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors

109Friday 18 November 11

Perception and Cognition -Musical Performance

Your Opinionhellip

Group Discussion

110Friday 18 November 11

Perception in Meuromusic

Perception (in music) is based on the sensory information that is

gathered by the brain regarding onersquos external and internal

environment

111Friday 18 November 11

Perception in Neuromusic

PitchRhythm

112Friday 18 November 11

We donrsquot know yet wether musical cognition and perception is

(a) specifically localised to distinct neural networks

(b) made up of shared neural networks that are associated with other brain processes

(c) a bit of both

113Friday 18 November 11

Musical Performance

Motor Learning and Instrumental Training

the act of making music is physically

intensivea pianist may bimanually

coordinate and lsquoscrutinisersquo up to 1800 notes per minute

114Friday 18 November 11

Musical Performance

3 parts of the brain are involved

bullthe sensorimotor cortex (interpretation of stimuli control of muscles)

bullthe basal ganglia (muscles in cooperative functions)

bullthe cerebellum (fine-tuning of motor movements stores motor patterns)

115Friday 18 November 11

Growth and Development proceed from general to specific

116Friday 18 November 11

Musicians appear to process new incoming stimuli more effectively

compared to non-musicians

117Friday 18 November 11

Meaning

if you practise more your brain learns to work more effectively

118Friday 18 November 11

lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop

brain cells and neurons

makes us even more effective

119Friday 18 November 11

It is evident that musicians have different brain structure than

non-musiciansAmunts et al 1997Schlaug et al 1995b

enhanced if training has started earlier in life

120Friday 18 November 11

For musical training there is this concept of lsquodeliberate practicersquo

motivation resources and attention determine the amount and quality of practice undertaken

121Friday 18 November 11

In Neuroscience scientists uncovered evidence showing a close association

between practice and expertisehellip

hours of deliberate practice

level of expertise

Lehmann and Gruber 2006

122Friday 18 November 11

implications to Musical performance and Training

1How to practise is best learned by practising

2Start early but not to early with playing an instrument

3Breaks and sleep is essential for motor learning and memory

4Use the human lsquomirror systemrsquo

123Friday 18 November 11

Examples of practisinghellip

124Friday 18 November 11

Neuroscience and Emotion in Music

Largely overlapping networks required for the processing of both

general and music-specific emotions

125Friday 18 November 11

Whether the neural basis of emotional appraisal of music is

innate or rather acquired through enculturation is subject

to ongoing discussion

Peretz and Sloboda 2005

126Friday 18 November 11

Nature vs NurtureProblem

127Friday 18 November 11

Howeverrecognition of emotions appears independent of musical

training

howhellipfamily environment possibly

128Friday 18 November 11

Recognising from Experiencing musical emotion is different

129Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

PSY and Music Education

While self-selection for musicianship by individuals with innate functional and structural

brain differences cannot be completely ruled out the evidence indicates that it is musical training

that leads to changes in brain function and structure

Schlaug 2003

52Friday 18 November 11

Training in Western Edu Comm

Teacher Student

Material Context

Jones 2005Biggs 19992007

Light and Cox 2009

53Friday 18 November 11

What is Learning

What is Teaching

54Friday 18 November 11

Learning

1960s-1970s Learning as lsquoproductrsquo or lsquoprocessrsquo

Product learning is a change in behaviour

Process Learning is a continuous developmental pathwhich hierarchically reflects knowledge growth and

understanding of the reality

55Friday 18 November 11

Teaching

(a) Teaching is transmission of knowledge (kurtrsquos template)

(b) Teaching is a facilitation process towards knowledge

construction

XWorldPlugInBrainBucketVTS_05_1VOBlnk

7

Pervasive Metaphor in Our Culture forLearningTeaching Conduit ndash Knowledge Is Made of Objects That We Give to Each Other

Lakoff amp Johnson Metaphors We Live By These ModelsMetaphors Ground Our Mental Life

Teaching as Pumping Knowledge into Student

8

Key Neuromyth or Brain ScamBrain Download Fallacy

Incorrect Metaphor

Positive Conclusion from NeuroscienceKnowledge Grows from Active ExperienceBrains Cannot Be Directly Filled with WorldKnowledge

Remarkable Plasticityfrom Neuroscience amp Genetics

56Friday 18 November 11

Education

bull Dynamics in teaching and learning are not linear and clearly settled in any way Thus we have a great variation of final Educational Concepts

57Friday 18 November 11

Education

Teaching and Learning Theories

Educational Concepts

58Friday 18 November 11

Important TampL Theories

bull The behaviouristbull The humanistbull The socialbull The cognitivebull The neo-cognitive

(stimulus-response)

(the concern with self)

(communities of practise)

(active process of knowledge construction)

(all the above together)

59Friday 18 November 11

Models of Learning-Tools for Teaching

bull Generated by the lsquoLearning Theoriesrsquobull 4 categories

60Friday 18 November 11

Information Processing Models

Inducampve13 ThinkingDevelopment13 of13 classificaampon13 skills13 hypothesis13 building13 and13 tesampng13 and13 understanding13 of13 how13 to13 build13 conceptual13 understanding13 of13 content13 areas

Concept13 Aainment Learning13 concepts13 and13 studying13 strategies13 for13 aaining13 and13 applying13 them13 Building13 and13 tesampng13 hypothesis

13 Scienampfic13 Inquiry Learning13 the13 research13 system13 of13 the13 academic13 disciplines13 ndash13 how13 knowledge13 is13 produced13 and13 organized

Inquiry13 Training Casual13 reasoning13 and13 understanding13 of13 how13 to13 collect13 informaampon13 build13 concepts13 and13 build13 and13 test13 hypotheses

13 Cogniampve13 Growth Increase13 general13 intellectual13 development13 and13 adjust13 instrucampon13 to13 facilitate13 intellectual13 growth

Advance13 Organizers Designed13 to13 increase13 ability13 to13 absorb13 informaampon13 and13 organize13 it13 especially13 in13 learning13 from13 lectures13 and13 readings

MnemonicsIncrease13 ability13 to13 acquire13 informaampon13 concepts13 conceptual13 systems13 and13 metacogniampve13 control13 of13 informaampon13 processing13 capability

Picture13 ndash13 Word13 Inducampve Learning13 to13 read13 and13 write13 inquiry13 into13 language

61Friday 18 November 11

Social Family of Models

Group13 InvesampgaamponDevelopment13 of13 skills13 for13 parampcipaampon13 in13 democraampc13 process13 Simultaneously13 emphasises13 social13 development13 academic13 skills13 and13 personal13 understanding

Social13 Inquiry Social13 problem13 solving13 through13 collecampve13 academic13 study13 and13 logical13 reasoning

Jurisprudenampal13 InquiryAnalysis13 of13 policy13 issues13 through13 a13 jurisprudenampal13 framework13 Collecampon13 of13 data13 analysis13 of13 value13 quesampons13 and13 posiampons13 study13 of13 personal13 beliefs

Laboratory13 Method Understanding13 of13 group13 dynamics13 leadership13 understanding13 of13 personal13 styles

Role13 Playing Study13 of13 values13 and13 their13 role13 in13 social13 interacampon13 Personal13 understanding13 of13 values13 and13 behaviour

Posiampve13 Interdependence Development13 of13 interdependent13 strategies13 of13 social13 interacampon13 Understanding13 of13 self13 ndash13 other13 relaamponships13 and13 emoampons

Structured13 Social13 Inquiry Academic13 inquiry13 and13 social13 and13 personal13 development13 Cooperaampve13 strategies13 for13 approaching13 academic13 study

62Friday 18 November 11

Personal Family of Models

Nondirecampve13 Teaching Building13 capacity13 for13 personal13 development13 self13 ndash13 understanding13 autonomy13 and13 esteem13 of13 self

13 Awareness13 TrainingIncreasing13 self13 ndash13 understanding13 self13 ndash13 esteem13 and13 capacity13 for13 exploraampon13 Development13 of13 interpersonal13 sensiampvity13 and13 empathy

Classroom13 Meeampng Development13 of13 self13 ndash13 understanding13 and13 responsibility13 to13 self13 and13 others

Self13 ndash13 Actualisaampon Development13 of13 personal13 understanding13 and13 capacity13 for13 development

Conceptual13 Systems Increasing13 personal13 complexity13 and13 flexibility13 in13 processing13 informaampon13 and13 interacampng13 with13 others

63Friday 18 November 11

Behavioural systems Family of Models

Social13 Learning

Management13 of13 behaviour13 Learning13 new13 paerns13 of13 behaviour13

reducing13 phobic13 and13 other13 dysfuncamponal13 paerns13 learning13 self13 ndash13

control

Mastery13 Learning Mastery13 of13 academic13 skills13 and13 content13 of13 all13 types

Programmed13 Learning Mastery13 of13 skills13 concepts13 factual13 informaampon

SimulaamponMastery13 of13 complex13 skills13 and13 concepts13 in13 a13 wide13 range13 of13 areas13

of13 study

Direct13 TeachingMastery13 of13 academic13 content13 and13 skills13 in13 a13 wide13 range13 of13 areas13

of13 study

Anxiety13 Reducampon

Control13 over13 aversive13 reacampons13 Applicaampons13 in13 treatment13 and13

self13 ndash13 treatment13 of13 avoidance13 and13 dysfuncamponal13 paerns13 of13

response

64Friday 18 November 11

1st Musical Example

65Friday 18 November 11

2nd Musical Example

66Friday 18 November 11

Why is it important to Know

bull You can handle better your own education and practice (constructional approach vs behavioural approach)

bull Different professional exit points - but

bull Will need to employ variations of the above

bull Knowingpotential for greater achievement

67Friday 18 November 11

Psy and Music Education

Group Discussion

How would you approach a lesson if were a teacher

68Friday 18 November 11

69Friday 18 November 11

In Music Psychology

bull Compositionbull Improvisationbull Aestheticsbull Creativity

70Friday 18 November 11

The Psychology of Composition

In its discussionsldquoquestions fundamental assumptions

about the nature and role of musical activity and the

musical artefactrdquo

Impett 2009 p403

71Friday 18 November 11

The Psychology of Composition

It is not widely researched

ldquoLeast studied least understood of all musical artefactsrdquo

Sloboda 1985

ldquoLittle progress has been made in understanding composition per serdquo

Brown 2003

72Friday 18 November 11

The Psychology of Composition

What is Composition in terms of Psychology

73Friday 18 November 11

The Psychology of Composition

Composition (organisation of musical sound) could be seen as a process of self-reflection

from where self-expression derives

74Friday 18 November 11

The Psychology of Composition

ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated

expression the conscious embodiment of psychological

statesrdquo

Impett 2009

75Friday 18 November 11

Composition Psychology

76Friday 18 November 11

Composition Psychology

Creativity

77Friday 18 November 11

How could we perceive Composition

78Friday 18 November 11

Composition

it is a lsquoDiscussion of Mindsrsquo

Composer + Performer + Audience

79Friday 18 November 11

The Psychology of Composition

ldquoAlthough Composition to some degree is innateit is a product of a

situated processrdquo

Impett 2009

80Friday 18 November 11

Composition

a Process

whichby itself is in some sense creative

81Friday 18 November 11

Composition

In this ProcesshellipMetaphors and Imagination come into play

where personal aesthetics concepts and innovation (for example) shape the outcome

82Friday 18 November 11

The Psychology of Composition

based on the aforementionedSome fundamental principles exist

eg rhythm perception tonal perception

83Friday 18 November 11

The Psychology of Composition

Howevera precise nature for a personsrsquos psychology of

composition seems to be a highly individual question

84Friday 18 November 11

85Friday 18 November 11

Improvisation and Psychology

Studying Improvisation and its psychological aspect might provide

further insight into Composition

Why

86Friday 18 November 11

Improvisation and Psychology

ldquoUnlike musical composition which can be mostly construed as a more-or-

less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the

human bodyrdquo

Ashley 2009

87Friday 18 November 11

To Improvisehellipis

to produce music (composing) audibly

and in real time

88Friday 18 November 11

Improvisation and Psychology

bull Psychology of Musical Performance (eg motor behaviourhellip)

bull Pitch

bull Tone (perception)

bull and othersapproaching

deeper lsquocreativityrsquo

come altogether and in real time into play

89Friday 18 November 11

improvisation and Psychology

bull Learningbull Teachingbull Cognitionbull Society

lsquoCreativityrsquois further connected with

90Friday 18 November 11

Teaching and Learning

Perception

Instrumental Performance Composition-Improvisation

Psychology of Music

91Friday 18 November 11

end of part II92Friday 18 November 11

Music And Neuroscience

1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning

2) Knowledge acquisition is governed by factors that are not

fully under conscious control and can hardly be influenced

externally (Roth 2006)

93Friday 18 November 11

However we try to understand this lsquoknowledge acquisitionrsquo

frameworkand this is where Neuroscience comes into Music

(performance teaching learninghellip)

94Friday 18 November 11

What is Neuroscience

bull Neuroscience is this science which studies the Brain

bull This is where new experiences and knowledge are processed by interconnected Neurons which

become activated when a sensorial input is perceived

95Friday 18 November 11

How the Brain looks like

96Friday 18 November 11

97Friday 18 November 11

98Friday 18 November 11

lsquoBrain Voyagerrsquo Pictures

99Friday 18 November 11

bull The structure of the brain alters continuously

throughout our lives

bull This happens via experiences stimuli studies a walk in the parkby playing a musical

instrument

100Friday 18 November 11

The change of the brain structure we call it - Plasticity -

lsquoexperience-driven brain plasticityrsquo

101Friday 18 November 11

Why is it important to know about lsquoPlasticityrsquo

By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos

saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political

version of schooling

102Friday 18 November 11

A bit of History

ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt

almost 5000 years agohelliprdquo

Minagar Ragheb and Kelley 2003

103Friday 18 November 11

A Musical Fact

We know that evidence of music has been confirmed in every civilisation

throughout history

Chailley 1964

104Friday 18 November 11

Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology

(egGardner 1983)

Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful

musical experience

105Friday 18 November 11

History of Neuroscience in Music

One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)

106Friday 18 November 11

Supporting Areas

bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology

107Friday 18 November 11

Ways (Tools) of neuroscientific Rsc

bullMagnetic Resonance Imaging (MRI)

bullfunctional MRI

bullElectroencephalography (EEG)

bullEvent Related Potentials (ERPs)

bullTranscranial magnetic Stimulation (TMS)

bullMagnetoencephalography (MEG)

bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target

108Friday 18 November 11

Research Areas in Music

bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors

109Friday 18 November 11

Perception and Cognition -Musical Performance

Your Opinionhellip

Group Discussion

110Friday 18 November 11

Perception in Meuromusic

Perception (in music) is based on the sensory information that is

gathered by the brain regarding onersquos external and internal

environment

111Friday 18 November 11

Perception in Neuromusic

PitchRhythm

112Friday 18 November 11

We donrsquot know yet wether musical cognition and perception is

(a) specifically localised to distinct neural networks

(b) made up of shared neural networks that are associated with other brain processes

(c) a bit of both

113Friday 18 November 11

Musical Performance

Motor Learning and Instrumental Training

the act of making music is physically

intensivea pianist may bimanually

coordinate and lsquoscrutinisersquo up to 1800 notes per minute

114Friday 18 November 11

Musical Performance

3 parts of the brain are involved

bullthe sensorimotor cortex (interpretation of stimuli control of muscles)

bullthe basal ganglia (muscles in cooperative functions)

bullthe cerebellum (fine-tuning of motor movements stores motor patterns)

115Friday 18 November 11

Growth and Development proceed from general to specific

116Friday 18 November 11

Musicians appear to process new incoming stimuli more effectively

compared to non-musicians

117Friday 18 November 11

Meaning

if you practise more your brain learns to work more effectively

118Friday 18 November 11

lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop

brain cells and neurons

makes us even more effective

119Friday 18 November 11

It is evident that musicians have different brain structure than

non-musiciansAmunts et al 1997Schlaug et al 1995b

enhanced if training has started earlier in life

120Friday 18 November 11

For musical training there is this concept of lsquodeliberate practicersquo

motivation resources and attention determine the amount and quality of practice undertaken

121Friday 18 November 11

In Neuroscience scientists uncovered evidence showing a close association

between practice and expertisehellip

hours of deliberate practice

level of expertise

Lehmann and Gruber 2006

122Friday 18 November 11

implications to Musical performance and Training

1How to practise is best learned by practising

2Start early but not to early with playing an instrument

3Breaks and sleep is essential for motor learning and memory

4Use the human lsquomirror systemrsquo

123Friday 18 November 11

Examples of practisinghellip

124Friday 18 November 11

Neuroscience and Emotion in Music

Largely overlapping networks required for the processing of both

general and music-specific emotions

125Friday 18 November 11

Whether the neural basis of emotional appraisal of music is

innate or rather acquired through enculturation is subject

to ongoing discussion

Peretz and Sloboda 2005

126Friday 18 November 11

Nature vs NurtureProblem

127Friday 18 November 11

Howeverrecognition of emotions appears independent of musical

training

howhellipfamily environment possibly

128Friday 18 November 11

Recognising from Experiencing musical emotion is different

129Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

Training in Western Edu Comm

Teacher Student

Material Context

Jones 2005Biggs 19992007

Light and Cox 2009

53Friday 18 November 11

What is Learning

What is Teaching

54Friday 18 November 11

Learning

1960s-1970s Learning as lsquoproductrsquo or lsquoprocessrsquo

Product learning is a change in behaviour

Process Learning is a continuous developmental pathwhich hierarchically reflects knowledge growth and

understanding of the reality

55Friday 18 November 11

Teaching

(a) Teaching is transmission of knowledge (kurtrsquos template)

(b) Teaching is a facilitation process towards knowledge

construction

XWorldPlugInBrainBucketVTS_05_1VOBlnk

7

Pervasive Metaphor in Our Culture forLearningTeaching Conduit ndash Knowledge Is Made of Objects That We Give to Each Other

Lakoff amp Johnson Metaphors We Live By These ModelsMetaphors Ground Our Mental Life

Teaching as Pumping Knowledge into Student

8

Key Neuromyth or Brain ScamBrain Download Fallacy

Incorrect Metaphor

Positive Conclusion from NeuroscienceKnowledge Grows from Active ExperienceBrains Cannot Be Directly Filled with WorldKnowledge

Remarkable Plasticityfrom Neuroscience amp Genetics

56Friday 18 November 11

Education

bull Dynamics in teaching and learning are not linear and clearly settled in any way Thus we have a great variation of final Educational Concepts

57Friday 18 November 11

Education

Teaching and Learning Theories

Educational Concepts

58Friday 18 November 11

Important TampL Theories

bull The behaviouristbull The humanistbull The socialbull The cognitivebull The neo-cognitive

(stimulus-response)

(the concern with self)

(communities of practise)

(active process of knowledge construction)

(all the above together)

59Friday 18 November 11

Models of Learning-Tools for Teaching

bull Generated by the lsquoLearning Theoriesrsquobull 4 categories

60Friday 18 November 11

Information Processing Models

Inducampve13 ThinkingDevelopment13 of13 classificaampon13 skills13 hypothesis13 building13 and13 tesampng13 and13 understanding13 of13 how13 to13 build13 conceptual13 understanding13 of13 content13 areas

Concept13 Aainment Learning13 concepts13 and13 studying13 strategies13 for13 aaining13 and13 applying13 them13 Building13 and13 tesampng13 hypothesis

13 Scienampfic13 Inquiry Learning13 the13 research13 system13 of13 the13 academic13 disciplines13 ndash13 how13 knowledge13 is13 produced13 and13 organized

Inquiry13 Training Casual13 reasoning13 and13 understanding13 of13 how13 to13 collect13 informaampon13 build13 concepts13 and13 build13 and13 test13 hypotheses

13 Cogniampve13 Growth Increase13 general13 intellectual13 development13 and13 adjust13 instrucampon13 to13 facilitate13 intellectual13 growth

Advance13 Organizers Designed13 to13 increase13 ability13 to13 absorb13 informaampon13 and13 organize13 it13 especially13 in13 learning13 from13 lectures13 and13 readings

MnemonicsIncrease13 ability13 to13 acquire13 informaampon13 concepts13 conceptual13 systems13 and13 metacogniampve13 control13 of13 informaampon13 processing13 capability

Picture13 ndash13 Word13 Inducampve Learning13 to13 read13 and13 write13 inquiry13 into13 language

61Friday 18 November 11

Social Family of Models

Group13 InvesampgaamponDevelopment13 of13 skills13 for13 parampcipaampon13 in13 democraampc13 process13 Simultaneously13 emphasises13 social13 development13 academic13 skills13 and13 personal13 understanding

Social13 Inquiry Social13 problem13 solving13 through13 collecampve13 academic13 study13 and13 logical13 reasoning

Jurisprudenampal13 InquiryAnalysis13 of13 policy13 issues13 through13 a13 jurisprudenampal13 framework13 Collecampon13 of13 data13 analysis13 of13 value13 quesampons13 and13 posiampons13 study13 of13 personal13 beliefs

Laboratory13 Method Understanding13 of13 group13 dynamics13 leadership13 understanding13 of13 personal13 styles

Role13 Playing Study13 of13 values13 and13 their13 role13 in13 social13 interacampon13 Personal13 understanding13 of13 values13 and13 behaviour

Posiampve13 Interdependence Development13 of13 interdependent13 strategies13 of13 social13 interacampon13 Understanding13 of13 self13 ndash13 other13 relaamponships13 and13 emoampons

Structured13 Social13 Inquiry Academic13 inquiry13 and13 social13 and13 personal13 development13 Cooperaampve13 strategies13 for13 approaching13 academic13 study

62Friday 18 November 11

Personal Family of Models

Nondirecampve13 Teaching Building13 capacity13 for13 personal13 development13 self13 ndash13 understanding13 autonomy13 and13 esteem13 of13 self

13 Awareness13 TrainingIncreasing13 self13 ndash13 understanding13 self13 ndash13 esteem13 and13 capacity13 for13 exploraampon13 Development13 of13 interpersonal13 sensiampvity13 and13 empathy

Classroom13 Meeampng Development13 of13 self13 ndash13 understanding13 and13 responsibility13 to13 self13 and13 others

Self13 ndash13 Actualisaampon Development13 of13 personal13 understanding13 and13 capacity13 for13 development

Conceptual13 Systems Increasing13 personal13 complexity13 and13 flexibility13 in13 processing13 informaampon13 and13 interacampng13 with13 others

63Friday 18 November 11

Behavioural systems Family of Models

Social13 Learning

Management13 of13 behaviour13 Learning13 new13 paerns13 of13 behaviour13

reducing13 phobic13 and13 other13 dysfuncamponal13 paerns13 learning13 self13 ndash13

control

Mastery13 Learning Mastery13 of13 academic13 skills13 and13 content13 of13 all13 types

Programmed13 Learning Mastery13 of13 skills13 concepts13 factual13 informaampon

SimulaamponMastery13 of13 complex13 skills13 and13 concepts13 in13 a13 wide13 range13 of13 areas13

of13 study

Direct13 TeachingMastery13 of13 academic13 content13 and13 skills13 in13 a13 wide13 range13 of13 areas13

of13 study

Anxiety13 Reducampon

Control13 over13 aversive13 reacampons13 Applicaampons13 in13 treatment13 and13

self13 ndash13 treatment13 of13 avoidance13 and13 dysfuncamponal13 paerns13 of13

response

64Friday 18 November 11

1st Musical Example

65Friday 18 November 11

2nd Musical Example

66Friday 18 November 11

Why is it important to Know

bull You can handle better your own education and practice (constructional approach vs behavioural approach)

bull Different professional exit points - but

bull Will need to employ variations of the above

bull Knowingpotential for greater achievement

67Friday 18 November 11

Psy and Music Education

Group Discussion

How would you approach a lesson if were a teacher

68Friday 18 November 11

69Friday 18 November 11

In Music Psychology

bull Compositionbull Improvisationbull Aestheticsbull Creativity

70Friday 18 November 11

The Psychology of Composition

In its discussionsldquoquestions fundamental assumptions

about the nature and role of musical activity and the

musical artefactrdquo

Impett 2009 p403

71Friday 18 November 11

The Psychology of Composition

It is not widely researched

ldquoLeast studied least understood of all musical artefactsrdquo

Sloboda 1985

ldquoLittle progress has been made in understanding composition per serdquo

Brown 2003

72Friday 18 November 11

The Psychology of Composition

What is Composition in terms of Psychology

73Friday 18 November 11

The Psychology of Composition

Composition (organisation of musical sound) could be seen as a process of self-reflection

from where self-expression derives

74Friday 18 November 11

The Psychology of Composition

ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated

expression the conscious embodiment of psychological

statesrdquo

Impett 2009

75Friday 18 November 11

Composition Psychology

76Friday 18 November 11

Composition Psychology

Creativity

77Friday 18 November 11

How could we perceive Composition

78Friday 18 November 11

Composition

it is a lsquoDiscussion of Mindsrsquo

Composer + Performer + Audience

79Friday 18 November 11

The Psychology of Composition

ldquoAlthough Composition to some degree is innateit is a product of a

situated processrdquo

Impett 2009

80Friday 18 November 11

Composition

a Process

whichby itself is in some sense creative

81Friday 18 November 11

Composition

In this ProcesshellipMetaphors and Imagination come into play

where personal aesthetics concepts and innovation (for example) shape the outcome

82Friday 18 November 11

The Psychology of Composition

based on the aforementionedSome fundamental principles exist

eg rhythm perception tonal perception

83Friday 18 November 11

The Psychology of Composition

Howevera precise nature for a personsrsquos psychology of

composition seems to be a highly individual question

84Friday 18 November 11

85Friday 18 November 11

Improvisation and Psychology

Studying Improvisation and its psychological aspect might provide

further insight into Composition

Why

86Friday 18 November 11

Improvisation and Psychology

ldquoUnlike musical composition which can be mostly construed as a more-or-

less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the

human bodyrdquo

Ashley 2009

87Friday 18 November 11

To Improvisehellipis

to produce music (composing) audibly

and in real time

88Friday 18 November 11

Improvisation and Psychology

bull Psychology of Musical Performance (eg motor behaviourhellip)

bull Pitch

bull Tone (perception)

bull and othersapproaching

deeper lsquocreativityrsquo

come altogether and in real time into play

89Friday 18 November 11

improvisation and Psychology

bull Learningbull Teachingbull Cognitionbull Society

lsquoCreativityrsquois further connected with

90Friday 18 November 11

Teaching and Learning

Perception

Instrumental Performance Composition-Improvisation

Psychology of Music

91Friday 18 November 11

end of part II92Friday 18 November 11

Music And Neuroscience

1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning

2) Knowledge acquisition is governed by factors that are not

fully under conscious control and can hardly be influenced

externally (Roth 2006)

93Friday 18 November 11

However we try to understand this lsquoknowledge acquisitionrsquo

frameworkand this is where Neuroscience comes into Music

(performance teaching learninghellip)

94Friday 18 November 11

What is Neuroscience

bull Neuroscience is this science which studies the Brain

bull This is where new experiences and knowledge are processed by interconnected Neurons which

become activated when a sensorial input is perceived

95Friday 18 November 11

How the Brain looks like

96Friday 18 November 11

97Friday 18 November 11

98Friday 18 November 11

lsquoBrain Voyagerrsquo Pictures

99Friday 18 November 11

bull The structure of the brain alters continuously

throughout our lives

bull This happens via experiences stimuli studies a walk in the parkby playing a musical

instrument

100Friday 18 November 11

The change of the brain structure we call it - Plasticity -

lsquoexperience-driven brain plasticityrsquo

101Friday 18 November 11

Why is it important to know about lsquoPlasticityrsquo

By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos

saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political

version of schooling

102Friday 18 November 11

A bit of History

ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt

almost 5000 years agohelliprdquo

Minagar Ragheb and Kelley 2003

103Friday 18 November 11

A Musical Fact

We know that evidence of music has been confirmed in every civilisation

throughout history

Chailley 1964

104Friday 18 November 11

Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology

(egGardner 1983)

Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful

musical experience

105Friday 18 November 11

History of Neuroscience in Music

One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)

106Friday 18 November 11

Supporting Areas

bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology

107Friday 18 November 11

Ways (Tools) of neuroscientific Rsc

bullMagnetic Resonance Imaging (MRI)

bullfunctional MRI

bullElectroencephalography (EEG)

bullEvent Related Potentials (ERPs)

bullTranscranial magnetic Stimulation (TMS)

bullMagnetoencephalography (MEG)

bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target

108Friday 18 November 11

Research Areas in Music

bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors

109Friday 18 November 11

Perception and Cognition -Musical Performance

Your Opinionhellip

Group Discussion

110Friday 18 November 11

Perception in Meuromusic

Perception (in music) is based on the sensory information that is

gathered by the brain regarding onersquos external and internal

environment

111Friday 18 November 11

Perception in Neuromusic

PitchRhythm

112Friday 18 November 11

We donrsquot know yet wether musical cognition and perception is

(a) specifically localised to distinct neural networks

(b) made up of shared neural networks that are associated with other brain processes

(c) a bit of both

113Friday 18 November 11

Musical Performance

Motor Learning and Instrumental Training

the act of making music is physically

intensivea pianist may bimanually

coordinate and lsquoscrutinisersquo up to 1800 notes per minute

114Friday 18 November 11

Musical Performance

3 parts of the brain are involved

bullthe sensorimotor cortex (interpretation of stimuli control of muscles)

bullthe basal ganglia (muscles in cooperative functions)

bullthe cerebellum (fine-tuning of motor movements stores motor patterns)

115Friday 18 November 11

Growth and Development proceed from general to specific

116Friday 18 November 11

Musicians appear to process new incoming stimuli more effectively

compared to non-musicians

117Friday 18 November 11

Meaning

if you practise more your brain learns to work more effectively

118Friday 18 November 11

lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop

brain cells and neurons

makes us even more effective

119Friday 18 November 11

It is evident that musicians have different brain structure than

non-musiciansAmunts et al 1997Schlaug et al 1995b

enhanced if training has started earlier in life

120Friday 18 November 11

For musical training there is this concept of lsquodeliberate practicersquo

motivation resources and attention determine the amount and quality of practice undertaken

121Friday 18 November 11

In Neuroscience scientists uncovered evidence showing a close association

between practice and expertisehellip

hours of deliberate practice

level of expertise

Lehmann and Gruber 2006

122Friday 18 November 11

implications to Musical performance and Training

1How to practise is best learned by practising

2Start early but not to early with playing an instrument

3Breaks and sleep is essential for motor learning and memory

4Use the human lsquomirror systemrsquo

123Friday 18 November 11

Examples of practisinghellip

124Friday 18 November 11

Neuroscience and Emotion in Music

Largely overlapping networks required for the processing of both

general and music-specific emotions

125Friday 18 November 11

Whether the neural basis of emotional appraisal of music is

innate or rather acquired through enculturation is subject

to ongoing discussion

Peretz and Sloboda 2005

126Friday 18 November 11

Nature vs NurtureProblem

127Friday 18 November 11

Howeverrecognition of emotions appears independent of musical

training

howhellipfamily environment possibly

128Friday 18 November 11

Recognising from Experiencing musical emotion is different

129Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

What is Learning

What is Teaching

54Friday 18 November 11

Learning

1960s-1970s Learning as lsquoproductrsquo or lsquoprocessrsquo

Product learning is a change in behaviour

Process Learning is a continuous developmental pathwhich hierarchically reflects knowledge growth and

understanding of the reality

55Friday 18 November 11

Teaching

(a) Teaching is transmission of knowledge (kurtrsquos template)

(b) Teaching is a facilitation process towards knowledge

construction

XWorldPlugInBrainBucketVTS_05_1VOBlnk

7

Pervasive Metaphor in Our Culture forLearningTeaching Conduit ndash Knowledge Is Made of Objects That We Give to Each Other

Lakoff amp Johnson Metaphors We Live By These ModelsMetaphors Ground Our Mental Life

Teaching as Pumping Knowledge into Student

8

Key Neuromyth or Brain ScamBrain Download Fallacy

Incorrect Metaphor

Positive Conclusion from NeuroscienceKnowledge Grows from Active ExperienceBrains Cannot Be Directly Filled with WorldKnowledge

Remarkable Plasticityfrom Neuroscience amp Genetics

56Friday 18 November 11

Education

bull Dynamics in teaching and learning are not linear and clearly settled in any way Thus we have a great variation of final Educational Concepts

57Friday 18 November 11

Education

Teaching and Learning Theories

Educational Concepts

58Friday 18 November 11

Important TampL Theories

bull The behaviouristbull The humanistbull The socialbull The cognitivebull The neo-cognitive

(stimulus-response)

(the concern with self)

(communities of practise)

(active process of knowledge construction)

(all the above together)

59Friday 18 November 11

Models of Learning-Tools for Teaching

bull Generated by the lsquoLearning Theoriesrsquobull 4 categories

60Friday 18 November 11

Information Processing Models

Inducampve13 ThinkingDevelopment13 of13 classificaampon13 skills13 hypothesis13 building13 and13 tesampng13 and13 understanding13 of13 how13 to13 build13 conceptual13 understanding13 of13 content13 areas

Concept13 Aainment Learning13 concepts13 and13 studying13 strategies13 for13 aaining13 and13 applying13 them13 Building13 and13 tesampng13 hypothesis

13 Scienampfic13 Inquiry Learning13 the13 research13 system13 of13 the13 academic13 disciplines13 ndash13 how13 knowledge13 is13 produced13 and13 organized

Inquiry13 Training Casual13 reasoning13 and13 understanding13 of13 how13 to13 collect13 informaampon13 build13 concepts13 and13 build13 and13 test13 hypotheses

13 Cogniampve13 Growth Increase13 general13 intellectual13 development13 and13 adjust13 instrucampon13 to13 facilitate13 intellectual13 growth

Advance13 Organizers Designed13 to13 increase13 ability13 to13 absorb13 informaampon13 and13 organize13 it13 especially13 in13 learning13 from13 lectures13 and13 readings

MnemonicsIncrease13 ability13 to13 acquire13 informaampon13 concepts13 conceptual13 systems13 and13 metacogniampve13 control13 of13 informaampon13 processing13 capability

Picture13 ndash13 Word13 Inducampve Learning13 to13 read13 and13 write13 inquiry13 into13 language

61Friday 18 November 11

Social Family of Models

Group13 InvesampgaamponDevelopment13 of13 skills13 for13 parampcipaampon13 in13 democraampc13 process13 Simultaneously13 emphasises13 social13 development13 academic13 skills13 and13 personal13 understanding

Social13 Inquiry Social13 problem13 solving13 through13 collecampve13 academic13 study13 and13 logical13 reasoning

Jurisprudenampal13 InquiryAnalysis13 of13 policy13 issues13 through13 a13 jurisprudenampal13 framework13 Collecampon13 of13 data13 analysis13 of13 value13 quesampons13 and13 posiampons13 study13 of13 personal13 beliefs

Laboratory13 Method Understanding13 of13 group13 dynamics13 leadership13 understanding13 of13 personal13 styles

Role13 Playing Study13 of13 values13 and13 their13 role13 in13 social13 interacampon13 Personal13 understanding13 of13 values13 and13 behaviour

Posiampve13 Interdependence Development13 of13 interdependent13 strategies13 of13 social13 interacampon13 Understanding13 of13 self13 ndash13 other13 relaamponships13 and13 emoampons

Structured13 Social13 Inquiry Academic13 inquiry13 and13 social13 and13 personal13 development13 Cooperaampve13 strategies13 for13 approaching13 academic13 study

62Friday 18 November 11

Personal Family of Models

Nondirecampve13 Teaching Building13 capacity13 for13 personal13 development13 self13 ndash13 understanding13 autonomy13 and13 esteem13 of13 self

13 Awareness13 TrainingIncreasing13 self13 ndash13 understanding13 self13 ndash13 esteem13 and13 capacity13 for13 exploraampon13 Development13 of13 interpersonal13 sensiampvity13 and13 empathy

Classroom13 Meeampng Development13 of13 self13 ndash13 understanding13 and13 responsibility13 to13 self13 and13 others

Self13 ndash13 Actualisaampon Development13 of13 personal13 understanding13 and13 capacity13 for13 development

Conceptual13 Systems Increasing13 personal13 complexity13 and13 flexibility13 in13 processing13 informaampon13 and13 interacampng13 with13 others

63Friday 18 November 11

Behavioural systems Family of Models

Social13 Learning

Management13 of13 behaviour13 Learning13 new13 paerns13 of13 behaviour13

reducing13 phobic13 and13 other13 dysfuncamponal13 paerns13 learning13 self13 ndash13

control

Mastery13 Learning Mastery13 of13 academic13 skills13 and13 content13 of13 all13 types

Programmed13 Learning Mastery13 of13 skills13 concepts13 factual13 informaampon

SimulaamponMastery13 of13 complex13 skills13 and13 concepts13 in13 a13 wide13 range13 of13 areas13

of13 study

Direct13 TeachingMastery13 of13 academic13 content13 and13 skills13 in13 a13 wide13 range13 of13 areas13

of13 study

Anxiety13 Reducampon

Control13 over13 aversive13 reacampons13 Applicaampons13 in13 treatment13 and13

self13 ndash13 treatment13 of13 avoidance13 and13 dysfuncamponal13 paerns13 of13

response

64Friday 18 November 11

1st Musical Example

65Friday 18 November 11

2nd Musical Example

66Friday 18 November 11

Why is it important to Know

bull You can handle better your own education and practice (constructional approach vs behavioural approach)

bull Different professional exit points - but

bull Will need to employ variations of the above

bull Knowingpotential for greater achievement

67Friday 18 November 11

Psy and Music Education

Group Discussion

How would you approach a lesson if were a teacher

68Friday 18 November 11

69Friday 18 November 11

In Music Psychology

bull Compositionbull Improvisationbull Aestheticsbull Creativity

70Friday 18 November 11

The Psychology of Composition

In its discussionsldquoquestions fundamental assumptions

about the nature and role of musical activity and the

musical artefactrdquo

Impett 2009 p403

71Friday 18 November 11

The Psychology of Composition

It is not widely researched

ldquoLeast studied least understood of all musical artefactsrdquo

Sloboda 1985

ldquoLittle progress has been made in understanding composition per serdquo

Brown 2003

72Friday 18 November 11

The Psychology of Composition

What is Composition in terms of Psychology

73Friday 18 November 11

The Psychology of Composition

Composition (organisation of musical sound) could be seen as a process of self-reflection

from where self-expression derives

74Friday 18 November 11

The Psychology of Composition

ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated

expression the conscious embodiment of psychological

statesrdquo

Impett 2009

75Friday 18 November 11

Composition Psychology

76Friday 18 November 11

Composition Psychology

Creativity

77Friday 18 November 11

How could we perceive Composition

78Friday 18 November 11

Composition

it is a lsquoDiscussion of Mindsrsquo

Composer + Performer + Audience

79Friday 18 November 11

The Psychology of Composition

ldquoAlthough Composition to some degree is innateit is a product of a

situated processrdquo

Impett 2009

80Friday 18 November 11

Composition

a Process

whichby itself is in some sense creative

81Friday 18 November 11

Composition

In this ProcesshellipMetaphors and Imagination come into play

where personal aesthetics concepts and innovation (for example) shape the outcome

82Friday 18 November 11

The Psychology of Composition

based on the aforementionedSome fundamental principles exist

eg rhythm perception tonal perception

83Friday 18 November 11

The Psychology of Composition

Howevera precise nature for a personsrsquos psychology of

composition seems to be a highly individual question

84Friday 18 November 11

85Friday 18 November 11

Improvisation and Psychology

Studying Improvisation and its psychological aspect might provide

further insight into Composition

Why

86Friday 18 November 11

Improvisation and Psychology

ldquoUnlike musical composition which can be mostly construed as a more-or-

less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the

human bodyrdquo

Ashley 2009

87Friday 18 November 11

To Improvisehellipis

to produce music (composing) audibly

and in real time

88Friday 18 November 11

Improvisation and Psychology

bull Psychology of Musical Performance (eg motor behaviourhellip)

bull Pitch

bull Tone (perception)

bull and othersapproaching

deeper lsquocreativityrsquo

come altogether and in real time into play

89Friday 18 November 11

improvisation and Psychology

bull Learningbull Teachingbull Cognitionbull Society

lsquoCreativityrsquois further connected with

90Friday 18 November 11

Teaching and Learning

Perception

Instrumental Performance Composition-Improvisation

Psychology of Music

91Friday 18 November 11

end of part II92Friday 18 November 11

Music And Neuroscience

1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning

2) Knowledge acquisition is governed by factors that are not

fully under conscious control and can hardly be influenced

externally (Roth 2006)

93Friday 18 November 11

However we try to understand this lsquoknowledge acquisitionrsquo

frameworkand this is where Neuroscience comes into Music

(performance teaching learninghellip)

94Friday 18 November 11

What is Neuroscience

bull Neuroscience is this science which studies the Brain

bull This is where new experiences and knowledge are processed by interconnected Neurons which

become activated when a sensorial input is perceived

95Friday 18 November 11

How the Brain looks like

96Friday 18 November 11

97Friday 18 November 11

98Friday 18 November 11

lsquoBrain Voyagerrsquo Pictures

99Friday 18 November 11

bull The structure of the brain alters continuously

throughout our lives

bull This happens via experiences stimuli studies a walk in the parkby playing a musical

instrument

100Friday 18 November 11

The change of the brain structure we call it - Plasticity -

lsquoexperience-driven brain plasticityrsquo

101Friday 18 November 11

Why is it important to know about lsquoPlasticityrsquo

By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos

saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political

version of schooling

102Friday 18 November 11

A bit of History

ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt

almost 5000 years agohelliprdquo

Minagar Ragheb and Kelley 2003

103Friday 18 November 11

A Musical Fact

We know that evidence of music has been confirmed in every civilisation

throughout history

Chailley 1964

104Friday 18 November 11

Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology

(egGardner 1983)

Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful

musical experience

105Friday 18 November 11

History of Neuroscience in Music

One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)

106Friday 18 November 11

Supporting Areas

bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology

107Friday 18 November 11

Ways (Tools) of neuroscientific Rsc

bullMagnetic Resonance Imaging (MRI)

bullfunctional MRI

bullElectroencephalography (EEG)

bullEvent Related Potentials (ERPs)

bullTranscranial magnetic Stimulation (TMS)

bullMagnetoencephalography (MEG)

bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target

108Friday 18 November 11

Research Areas in Music

bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors

109Friday 18 November 11

Perception and Cognition -Musical Performance

Your Opinionhellip

Group Discussion

110Friday 18 November 11

Perception in Meuromusic

Perception (in music) is based on the sensory information that is

gathered by the brain regarding onersquos external and internal

environment

111Friday 18 November 11

Perception in Neuromusic

PitchRhythm

112Friday 18 November 11

We donrsquot know yet wether musical cognition and perception is

(a) specifically localised to distinct neural networks

(b) made up of shared neural networks that are associated with other brain processes

(c) a bit of both

113Friday 18 November 11

Musical Performance

Motor Learning and Instrumental Training

the act of making music is physically

intensivea pianist may bimanually

coordinate and lsquoscrutinisersquo up to 1800 notes per minute

114Friday 18 November 11

Musical Performance

3 parts of the brain are involved

bullthe sensorimotor cortex (interpretation of stimuli control of muscles)

bullthe basal ganglia (muscles in cooperative functions)

bullthe cerebellum (fine-tuning of motor movements stores motor patterns)

115Friday 18 November 11

Growth and Development proceed from general to specific

116Friday 18 November 11

Musicians appear to process new incoming stimuli more effectively

compared to non-musicians

117Friday 18 November 11

Meaning

if you practise more your brain learns to work more effectively

118Friday 18 November 11

lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop

brain cells and neurons

makes us even more effective

119Friday 18 November 11

It is evident that musicians have different brain structure than

non-musiciansAmunts et al 1997Schlaug et al 1995b

enhanced if training has started earlier in life

120Friday 18 November 11

For musical training there is this concept of lsquodeliberate practicersquo

motivation resources and attention determine the amount and quality of practice undertaken

121Friday 18 November 11

In Neuroscience scientists uncovered evidence showing a close association

between practice and expertisehellip

hours of deliberate practice

level of expertise

Lehmann and Gruber 2006

122Friday 18 November 11

implications to Musical performance and Training

1How to practise is best learned by practising

2Start early but not to early with playing an instrument

3Breaks and sleep is essential for motor learning and memory

4Use the human lsquomirror systemrsquo

123Friday 18 November 11

Examples of practisinghellip

124Friday 18 November 11

Neuroscience and Emotion in Music

Largely overlapping networks required for the processing of both

general and music-specific emotions

125Friday 18 November 11

Whether the neural basis of emotional appraisal of music is

innate or rather acquired through enculturation is subject

to ongoing discussion

Peretz and Sloboda 2005

126Friday 18 November 11

Nature vs NurtureProblem

127Friday 18 November 11

Howeverrecognition of emotions appears independent of musical

training

howhellipfamily environment possibly

128Friday 18 November 11

Recognising from Experiencing musical emotion is different

129Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

Learning

1960s-1970s Learning as lsquoproductrsquo or lsquoprocessrsquo

Product learning is a change in behaviour

Process Learning is a continuous developmental pathwhich hierarchically reflects knowledge growth and

understanding of the reality

55Friday 18 November 11

Teaching

(a) Teaching is transmission of knowledge (kurtrsquos template)

(b) Teaching is a facilitation process towards knowledge

construction

XWorldPlugInBrainBucketVTS_05_1VOBlnk

7

Pervasive Metaphor in Our Culture forLearningTeaching Conduit ndash Knowledge Is Made of Objects That We Give to Each Other

Lakoff amp Johnson Metaphors We Live By These ModelsMetaphors Ground Our Mental Life

Teaching as Pumping Knowledge into Student

8

Key Neuromyth or Brain ScamBrain Download Fallacy

Incorrect Metaphor

Positive Conclusion from NeuroscienceKnowledge Grows from Active ExperienceBrains Cannot Be Directly Filled with WorldKnowledge

Remarkable Plasticityfrom Neuroscience amp Genetics

56Friday 18 November 11

Education

bull Dynamics in teaching and learning are not linear and clearly settled in any way Thus we have a great variation of final Educational Concepts

57Friday 18 November 11

Education

Teaching and Learning Theories

Educational Concepts

58Friday 18 November 11

Important TampL Theories

bull The behaviouristbull The humanistbull The socialbull The cognitivebull The neo-cognitive

(stimulus-response)

(the concern with self)

(communities of practise)

(active process of knowledge construction)

(all the above together)

59Friday 18 November 11

Models of Learning-Tools for Teaching

bull Generated by the lsquoLearning Theoriesrsquobull 4 categories

60Friday 18 November 11

Information Processing Models

Inducampve13 ThinkingDevelopment13 of13 classificaampon13 skills13 hypothesis13 building13 and13 tesampng13 and13 understanding13 of13 how13 to13 build13 conceptual13 understanding13 of13 content13 areas

Concept13 Aainment Learning13 concepts13 and13 studying13 strategies13 for13 aaining13 and13 applying13 them13 Building13 and13 tesampng13 hypothesis

13 Scienampfic13 Inquiry Learning13 the13 research13 system13 of13 the13 academic13 disciplines13 ndash13 how13 knowledge13 is13 produced13 and13 organized

Inquiry13 Training Casual13 reasoning13 and13 understanding13 of13 how13 to13 collect13 informaampon13 build13 concepts13 and13 build13 and13 test13 hypotheses

13 Cogniampve13 Growth Increase13 general13 intellectual13 development13 and13 adjust13 instrucampon13 to13 facilitate13 intellectual13 growth

Advance13 Organizers Designed13 to13 increase13 ability13 to13 absorb13 informaampon13 and13 organize13 it13 especially13 in13 learning13 from13 lectures13 and13 readings

MnemonicsIncrease13 ability13 to13 acquire13 informaampon13 concepts13 conceptual13 systems13 and13 metacogniampve13 control13 of13 informaampon13 processing13 capability

Picture13 ndash13 Word13 Inducampve Learning13 to13 read13 and13 write13 inquiry13 into13 language

61Friday 18 November 11

Social Family of Models

Group13 InvesampgaamponDevelopment13 of13 skills13 for13 parampcipaampon13 in13 democraampc13 process13 Simultaneously13 emphasises13 social13 development13 academic13 skills13 and13 personal13 understanding

Social13 Inquiry Social13 problem13 solving13 through13 collecampve13 academic13 study13 and13 logical13 reasoning

Jurisprudenampal13 InquiryAnalysis13 of13 policy13 issues13 through13 a13 jurisprudenampal13 framework13 Collecampon13 of13 data13 analysis13 of13 value13 quesampons13 and13 posiampons13 study13 of13 personal13 beliefs

Laboratory13 Method Understanding13 of13 group13 dynamics13 leadership13 understanding13 of13 personal13 styles

Role13 Playing Study13 of13 values13 and13 their13 role13 in13 social13 interacampon13 Personal13 understanding13 of13 values13 and13 behaviour

Posiampve13 Interdependence Development13 of13 interdependent13 strategies13 of13 social13 interacampon13 Understanding13 of13 self13 ndash13 other13 relaamponships13 and13 emoampons

Structured13 Social13 Inquiry Academic13 inquiry13 and13 social13 and13 personal13 development13 Cooperaampve13 strategies13 for13 approaching13 academic13 study

62Friday 18 November 11

Personal Family of Models

Nondirecampve13 Teaching Building13 capacity13 for13 personal13 development13 self13 ndash13 understanding13 autonomy13 and13 esteem13 of13 self

13 Awareness13 TrainingIncreasing13 self13 ndash13 understanding13 self13 ndash13 esteem13 and13 capacity13 for13 exploraampon13 Development13 of13 interpersonal13 sensiampvity13 and13 empathy

Classroom13 Meeampng Development13 of13 self13 ndash13 understanding13 and13 responsibility13 to13 self13 and13 others

Self13 ndash13 Actualisaampon Development13 of13 personal13 understanding13 and13 capacity13 for13 development

Conceptual13 Systems Increasing13 personal13 complexity13 and13 flexibility13 in13 processing13 informaampon13 and13 interacampng13 with13 others

63Friday 18 November 11

Behavioural systems Family of Models

Social13 Learning

Management13 of13 behaviour13 Learning13 new13 paerns13 of13 behaviour13

reducing13 phobic13 and13 other13 dysfuncamponal13 paerns13 learning13 self13 ndash13

control

Mastery13 Learning Mastery13 of13 academic13 skills13 and13 content13 of13 all13 types

Programmed13 Learning Mastery13 of13 skills13 concepts13 factual13 informaampon

SimulaamponMastery13 of13 complex13 skills13 and13 concepts13 in13 a13 wide13 range13 of13 areas13

of13 study

Direct13 TeachingMastery13 of13 academic13 content13 and13 skills13 in13 a13 wide13 range13 of13 areas13

of13 study

Anxiety13 Reducampon

Control13 over13 aversive13 reacampons13 Applicaampons13 in13 treatment13 and13

self13 ndash13 treatment13 of13 avoidance13 and13 dysfuncamponal13 paerns13 of13

response

64Friday 18 November 11

1st Musical Example

65Friday 18 November 11

2nd Musical Example

66Friday 18 November 11

Why is it important to Know

bull You can handle better your own education and practice (constructional approach vs behavioural approach)

bull Different professional exit points - but

bull Will need to employ variations of the above

bull Knowingpotential for greater achievement

67Friday 18 November 11

Psy and Music Education

Group Discussion

How would you approach a lesson if were a teacher

68Friday 18 November 11

69Friday 18 November 11

In Music Psychology

bull Compositionbull Improvisationbull Aestheticsbull Creativity

70Friday 18 November 11

The Psychology of Composition

In its discussionsldquoquestions fundamental assumptions

about the nature and role of musical activity and the

musical artefactrdquo

Impett 2009 p403

71Friday 18 November 11

The Psychology of Composition

It is not widely researched

ldquoLeast studied least understood of all musical artefactsrdquo

Sloboda 1985

ldquoLittle progress has been made in understanding composition per serdquo

Brown 2003

72Friday 18 November 11

The Psychology of Composition

What is Composition in terms of Psychology

73Friday 18 November 11

The Psychology of Composition

Composition (organisation of musical sound) could be seen as a process of self-reflection

from where self-expression derives

74Friday 18 November 11

The Psychology of Composition

ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated

expression the conscious embodiment of psychological

statesrdquo

Impett 2009

75Friday 18 November 11

Composition Psychology

76Friday 18 November 11

Composition Psychology

Creativity

77Friday 18 November 11

How could we perceive Composition

78Friday 18 November 11

Composition

it is a lsquoDiscussion of Mindsrsquo

Composer + Performer + Audience

79Friday 18 November 11

The Psychology of Composition

ldquoAlthough Composition to some degree is innateit is a product of a

situated processrdquo

Impett 2009

80Friday 18 November 11

Composition

a Process

whichby itself is in some sense creative

81Friday 18 November 11

Composition

In this ProcesshellipMetaphors and Imagination come into play

where personal aesthetics concepts and innovation (for example) shape the outcome

82Friday 18 November 11

The Psychology of Composition

based on the aforementionedSome fundamental principles exist

eg rhythm perception tonal perception

83Friday 18 November 11

The Psychology of Composition

Howevera precise nature for a personsrsquos psychology of

composition seems to be a highly individual question

84Friday 18 November 11

85Friday 18 November 11

Improvisation and Psychology

Studying Improvisation and its psychological aspect might provide

further insight into Composition

Why

86Friday 18 November 11

Improvisation and Psychology

ldquoUnlike musical composition which can be mostly construed as a more-or-

less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the

human bodyrdquo

Ashley 2009

87Friday 18 November 11

To Improvisehellipis

to produce music (composing) audibly

and in real time

88Friday 18 November 11

Improvisation and Psychology

bull Psychology of Musical Performance (eg motor behaviourhellip)

bull Pitch

bull Tone (perception)

bull and othersapproaching

deeper lsquocreativityrsquo

come altogether and in real time into play

89Friday 18 November 11

improvisation and Psychology

bull Learningbull Teachingbull Cognitionbull Society

lsquoCreativityrsquois further connected with

90Friday 18 November 11

Teaching and Learning

Perception

Instrumental Performance Composition-Improvisation

Psychology of Music

91Friday 18 November 11

end of part II92Friday 18 November 11

Music And Neuroscience

1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning

2) Knowledge acquisition is governed by factors that are not

fully under conscious control and can hardly be influenced

externally (Roth 2006)

93Friday 18 November 11

However we try to understand this lsquoknowledge acquisitionrsquo

frameworkand this is where Neuroscience comes into Music

(performance teaching learninghellip)

94Friday 18 November 11

What is Neuroscience

bull Neuroscience is this science which studies the Brain

bull This is where new experiences and knowledge are processed by interconnected Neurons which

become activated when a sensorial input is perceived

95Friday 18 November 11

How the Brain looks like

96Friday 18 November 11

97Friday 18 November 11

98Friday 18 November 11

lsquoBrain Voyagerrsquo Pictures

99Friday 18 November 11

bull The structure of the brain alters continuously

throughout our lives

bull This happens via experiences stimuli studies a walk in the parkby playing a musical

instrument

100Friday 18 November 11

The change of the brain structure we call it - Plasticity -

lsquoexperience-driven brain plasticityrsquo

101Friday 18 November 11

Why is it important to know about lsquoPlasticityrsquo

By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos

saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political

version of schooling

102Friday 18 November 11

A bit of History

ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt

almost 5000 years agohelliprdquo

Minagar Ragheb and Kelley 2003

103Friday 18 November 11

A Musical Fact

We know that evidence of music has been confirmed in every civilisation

throughout history

Chailley 1964

104Friday 18 November 11

Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology

(egGardner 1983)

Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful

musical experience

105Friday 18 November 11

History of Neuroscience in Music

One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)

106Friday 18 November 11

Supporting Areas

bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology

107Friday 18 November 11

Ways (Tools) of neuroscientific Rsc

bullMagnetic Resonance Imaging (MRI)

bullfunctional MRI

bullElectroencephalography (EEG)

bullEvent Related Potentials (ERPs)

bullTranscranial magnetic Stimulation (TMS)

bullMagnetoencephalography (MEG)

bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target

108Friday 18 November 11

Research Areas in Music

bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors

109Friday 18 November 11

Perception and Cognition -Musical Performance

Your Opinionhellip

Group Discussion

110Friday 18 November 11

Perception in Meuromusic

Perception (in music) is based on the sensory information that is

gathered by the brain regarding onersquos external and internal

environment

111Friday 18 November 11

Perception in Neuromusic

PitchRhythm

112Friday 18 November 11

We donrsquot know yet wether musical cognition and perception is

(a) specifically localised to distinct neural networks

(b) made up of shared neural networks that are associated with other brain processes

(c) a bit of both

113Friday 18 November 11

Musical Performance

Motor Learning and Instrumental Training

the act of making music is physically

intensivea pianist may bimanually

coordinate and lsquoscrutinisersquo up to 1800 notes per minute

114Friday 18 November 11

Musical Performance

3 parts of the brain are involved

bullthe sensorimotor cortex (interpretation of stimuli control of muscles)

bullthe basal ganglia (muscles in cooperative functions)

bullthe cerebellum (fine-tuning of motor movements stores motor patterns)

115Friday 18 November 11

Growth and Development proceed from general to specific

116Friday 18 November 11

Musicians appear to process new incoming stimuli more effectively

compared to non-musicians

117Friday 18 November 11

Meaning

if you practise more your brain learns to work more effectively

118Friday 18 November 11

lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop

brain cells and neurons

makes us even more effective

119Friday 18 November 11

It is evident that musicians have different brain structure than

non-musiciansAmunts et al 1997Schlaug et al 1995b

enhanced if training has started earlier in life

120Friday 18 November 11

For musical training there is this concept of lsquodeliberate practicersquo

motivation resources and attention determine the amount and quality of practice undertaken

121Friday 18 November 11

In Neuroscience scientists uncovered evidence showing a close association

between practice and expertisehellip

hours of deliberate practice

level of expertise

Lehmann and Gruber 2006

122Friday 18 November 11

implications to Musical performance and Training

1How to practise is best learned by practising

2Start early but not to early with playing an instrument

3Breaks and sleep is essential for motor learning and memory

4Use the human lsquomirror systemrsquo

123Friday 18 November 11

Examples of practisinghellip

124Friday 18 November 11

Neuroscience and Emotion in Music

Largely overlapping networks required for the processing of both

general and music-specific emotions

125Friday 18 November 11

Whether the neural basis of emotional appraisal of music is

innate or rather acquired through enculturation is subject

to ongoing discussion

Peretz and Sloboda 2005

126Friday 18 November 11

Nature vs NurtureProblem

127Friday 18 November 11

Howeverrecognition of emotions appears independent of musical

training

howhellipfamily environment possibly

128Friday 18 November 11

Recognising from Experiencing musical emotion is different

129Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

Teaching

(a) Teaching is transmission of knowledge (kurtrsquos template)

(b) Teaching is a facilitation process towards knowledge

construction

XWorldPlugInBrainBucketVTS_05_1VOBlnk

7

Pervasive Metaphor in Our Culture forLearningTeaching Conduit ndash Knowledge Is Made of Objects That We Give to Each Other

Lakoff amp Johnson Metaphors We Live By These ModelsMetaphors Ground Our Mental Life

Teaching as Pumping Knowledge into Student

8

Key Neuromyth or Brain ScamBrain Download Fallacy

Incorrect Metaphor

Positive Conclusion from NeuroscienceKnowledge Grows from Active ExperienceBrains Cannot Be Directly Filled with WorldKnowledge

Remarkable Plasticityfrom Neuroscience amp Genetics

56Friday 18 November 11

Education

bull Dynamics in teaching and learning are not linear and clearly settled in any way Thus we have a great variation of final Educational Concepts

57Friday 18 November 11

Education

Teaching and Learning Theories

Educational Concepts

58Friday 18 November 11

Important TampL Theories

bull The behaviouristbull The humanistbull The socialbull The cognitivebull The neo-cognitive

(stimulus-response)

(the concern with self)

(communities of practise)

(active process of knowledge construction)

(all the above together)

59Friday 18 November 11

Models of Learning-Tools for Teaching

bull Generated by the lsquoLearning Theoriesrsquobull 4 categories

60Friday 18 November 11

Information Processing Models

Inducampve13 ThinkingDevelopment13 of13 classificaampon13 skills13 hypothesis13 building13 and13 tesampng13 and13 understanding13 of13 how13 to13 build13 conceptual13 understanding13 of13 content13 areas

Concept13 Aainment Learning13 concepts13 and13 studying13 strategies13 for13 aaining13 and13 applying13 them13 Building13 and13 tesampng13 hypothesis

13 Scienampfic13 Inquiry Learning13 the13 research13 system13 of13 the13 academic13 disciplines13 ndash13 how13 knowledge13 is13 produced13 and13 organized

Inquiry13 Training Casual13 reasoning13 and13 understanding13 of13 how13 to13 collect13 informaampon13 build13 concepts13 and13 build13 and13 test13 hypotheses

13 Cogniampve13 Growth Increase13 general13 intellectual13 development13 and13 adjust13 instrucampon13 to13 facilitate13 intellectual13 growth

Advance13 Organizers Designed13 to13 increase13 ability13 to13 absorb13 informaampon13 and13 organize13 it13 especially13 in13 learning13 from13 lectures13 and13 readings

MnemonicsIncrease13 ability13 to13 acquire13 informaampon13 concepts13 conceptual13 systems13 and13 metacogniampve13 control13 of13 informaampon13 processing13 capability

Picture13 ndash13 Word13 Inducampve Learning13 to13 read13 and13 write13 inquiry13 into13 language

61Friday 18 November 11

Social Family of Models

Group13 InvesampgaamponDevelopment13 of13 skills13 for13 parampcipaampon13 in13 democraampc13 process13 Simultaneously13 emphasises13 social13 development13 academic13 skills13 and13 personal13 understanding

Social13 Inquiry Social13 problem13 solving13 through13 collecampve13 academic13 study13 and13 logical13 reasoning

Jurisprudenampal13 InquiryAnalysis13 of13 policy13 issues13 through13 a13 jurisprudenampal13 framework13 Collecampon13 of13 data13 analysis13 of13 value13 quesampons13 and13 posiampons13 study13 of13 personal13 beliefs

Laboratory13 Method Understanding13 of13 group13 dynamics13 leadership13 understanding13 of13 personal13 styles

Role13 Playing Study13 of13 values13 and13 their13 role13 in13 social13 interacampon13 Personal13 understanding13 of13 values13 and13 behaviour

Posiampve13 Interdependence Development13 of13 interdependent13 strategies13 of13 social13 interacampon13 Understanding13 of13 self13 ndash13 other13 relaamponships13 and13 emoampons

Structured13 Social13 Inquiry Academic13 inquiry13 and13 social13 and13 personal13 development13 Cooperaampve13 strategies13 for13 approaching13 academic13 study

62Friday 18 November 11

Personal Family of Models

Nondirecampve13 Teaching Building13 capacity13 for13 personal13 development13 self13 ndash13 understanding13 autonomy13 and13 esteem13 of13 self

13 Awareness13 TrainingIncreasing13 self13 ndash13 understanding13 self13 ndash13 esteem13 and13 capacity13 for13 exploraampon13 Development13 of13 interpersonal13 sensiampvity13 and13 empathy

Classroom13 Meeampng Development13 of13 self13 ndash13 understanding13 and13 responsibility13 to13 self13 and13 others

Self13 ndash13 Actualisaampon Development13 of13 personal13 understanding13 and13 capacity13 for13 development

Conceptual13 Systems Increasing13 personal13 complexity13 and13 flexibility13 in13 processing13 informaampon13 and13 interacampng13 with13 others

63Friday 18 November 11

Behavioural systems Family of Models

Social13 Learning

Management13 of13 behaviour13 Learning13 new13 paerns13 of13 behaviour13

reducing13 phobic13 and13 other13 dysfuncamponal13 paerns13 learning13 self13 ndash13

control

Mastery13 Learning Mastery13 of13 academic13 skills13 and13 content13 of13 all13 types

Programmed13 Learning Mastery13 of13 skills13 concepts13 factual13 informaampon

SimulaamponMastery13 of13 complex13 skills13 and13 concepts13 in13 a13 wide13 range13 of13 areas13

of13 study

Direct13 TeachingMastery13 of13 academic13 content13 and13 skills13 in13 a13 wide13 range13 of13 areas13

of13 study

Anxiety13 Reducampon

Control13 over13 aversive13 reacampons13 Applicaampons13 in13 treatment13 and13

self13 ndash13 treatment13 of13 avoidance13 and13 dysfuncamponal13 paerns13 of13

response

64Friday 18 November 11

1st Musical Example

65Friday 18 November 11

2nd Musical Example

66Friday 18 November 11

Why is it important to Know

bull You can handle better your own education and practice (constructional approach vs behavioural approach)

bull Different professional exit points - but

bull Will need to employ variations of the above

bull Knowingpotential for greater achievement

67Friday 18 November 11

Psy and Music Education

Group Discussion

How would you approach a lesson if were a teacher

68Friday 18 November 11

69Friday 18 November 11

In Music Psychology

bull Compositionbull Improvisationbull Aestheticsbull Creativity

70Friday 18 November 11

The Psychology of Composition

In its discussionsldquoquestions fundamental assumptions

about the nature and role of musical activity and the

musical artefactrdquo

Impett 2009 p403

71Friday 18 November 11

The Psychology of Composition

It is not widely researched

ldquoLeast studied least understood of all musical artefactsrdquo

Sloboda 1985

ldquoLittle progress has been made in understanding composition per serdquo

Brown 2003

72Friday 18 November 11

The Psychology of Composition

What is Composition in terms of Psychology

73Friday 18 November 11

The Psychology of Composition

Composition (organisation of musical sound) could be seen as a process of self-reflection

from where self-expression derives

74Friday 18 November 11

The Psychology of Composition

ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated

expression the conscious embodiment of psychological

statesrdquo

Impett 2009

75Friday 18 November 11

Composition Psychology

76Friday 18 November 11

Composition Psychology

Creativity

77Friday 18 November 11

How could we perceive Composition

78Friday 18 November 11

Composition

it is a lsquoDiscussion of Mindsrsquo

Composer + Performer + Audience

79Friday 18 November 11

The Psychology of Composition

ldquoAlthough Composition to some degree is innateit is a product of a

situated processrdquo

Impett 2009

80Friday 18 November 11

Composition

a Process

whichby itself is in some sense creative

81Friday 18 November 11

Composition

In this ProcesshellipMetaphors and Imagination come into play

where personal aesthetics concepts and innovation (for example) shape the outcome

82Friday 18 November 11

The Psychology of Composition

based on the aforementionedSome fundamental principles exist

eg rhythm perception tonal perception

83Friday 18 November 11

The Psychology of Composition

Howevera precise nature for a personsrsquos psychology of

composition seems to be a highly individual question

84Friday 18 November 11

85Friday 18 November 11

Improvisation and Psychology

Studying Improvisation and its psychological aspect might provide

further insight into Composition

Why

86Friday 18 November 11

Improvisation and Psychology

ldquoUnlike musical composition which can be mostly construed as a more-or-

less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the

human bodyrdquo

Ashley 2009

87Friday 18 November 11

To Improvisehellipis

to produce music (composing) audibly

and in real time

88Friday 18 November 11

Improvisation and Psychology

bull Psychology of Musical Performance (eg motor behaviourhellip)

bull Pitch

bull Tone (perception)

bull and othersapproaching

deeper lsquocreativityrsquo

come altogether and in real time into play

89Friday 18 November 11

improvisation and Psychology

bull Learningbull Teachingbull Cognitionbull Society

lsquoCreativityrsquois further connected with

90Friday 18 November 11

Teaching and Learning

Perception

Instrumental Performance Composition-Improvisation

Psychology of Music

91Friday 18 November 11

end of part II92Friday 18 November 11

Music And Neuroscience

1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning

2) Knowledge acquisition is governed by factors that are not

fully under conscious control and can hardly be influenced

externally (Roth 2006)

93Friday 18 November 11

However we try to understand this lsquoknowledge acquisitionrsquo

frameworkand this is where Neuroscience comes into Music

(performance teaching learninghellip)

94Friday 18 November 11

What is Neuroscience

bull Neuroscience is this science which studies the Brain

bull This is where new experiences and knowledge are processed by interconnected Neurons which

become activated when a sensorial input is perceived

95Friday 18 November 11

How the Brain looks like

96Friday 18 November 11

97Friday 18 November 11

98Friday 18 November 11

lsquoBrain Voyagerrsquo Pictures

99Friday 18 November 11

bull The structure of the brain alters continuously

throughout our lives

bull This happens via experiences stimuli studies a walk in the parkby playing a musical

instrument

100Friday 18 November 11

The change of the brain structure we call it - Plasticity -

lsquoexperience-driven brain plasticityrsquo

101Friday 18 November 11

Why is it important to know about lsquoPlasticityrsquo

By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos

saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political

version of schooling

102Friday 18 November 11

A bit of History

ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt

almost 5000 years agohelliprdquo

Minagar Ragheb and Kelley 2003

103Friday 18 November 11

A Musical Fact

We know that evidence of music has been confirmed in every civilisation

throughout history

Chailley 1964

104Friday 18 November 11

Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology

(egGardner 1983)

Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful

musical experience

105Friday 18 November 11

History of Neuroscience in Music

One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)

106Friday 18 November 11

Supporting Areas

bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology

107Friday 18 November 11

Ways (Tools) of neuroscientific Rsc

bullMagnetic Resonance Imaging (MRI)

bullfunctional MRI

bullElectroencephalography (EEG)

bullEvent Related Potentials (ERPs)

bullTranscranial magnetic Stimulation (TMS)

bullMagnetoencephalography (MEG)

bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target

108Friday 18 November 11

Research Areas in Music

bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors

109Friday 18 November 11

Perception and Cognition -Musical Performance

Your Opinionhellip

Group Discussion

110Friday 18 November 11

Perception in Meuromusic

Perception (in music) is based on the sensory information that is

gathered by the brain regarding onersquos external and internal

environment

111Friday 18 November 11

Perception in Neuromusic

PitchRhythm

112Friday 18 November 11

We donrsquot know yet wether musical cognition and perception is

(a) specifically localised to distinct neural networks

(b) made up of shared neural networks that are associated with other brain processes

(c) a bit of both

113Friday 18 November 11

Musical Performance

Motor Learning and Instrumental Training

the act of making music is physically

intensivea pianist may bimanually

coordinate and lsquoscrutinisersquo up to 1800 notes per minute

114Friday 18 November 11

Musical Performance

3 parts of the brain are involved

bullthe sensorimotor cortex (interpretation of stimuli control of muscles)

bullthe basal ganglia (muscles in cooperative functions)

bullthe cerebellum (fine-tuning of motor movements stores motor patterns)

115Friday 18 November 11

Growth and Development proceed from general to specific

116Friday 18 November 11

Musicians appear to process new incoming stimuli more effectively

compared to non-musicians

117Friday 18 November 11

Meaning

if you practise more your brain learns to work more effectively

118Friday 18 November 11

lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop

brain cells and neurons

makes us even more effective

119Friday 18 November 11

It is evident that musicians have different brain structure than

non-musiciansAmunts et al 1997Schlaug et al 1995b

enhanced if training has started earlier in life

120Friday 18 November 11

For musical training there is this concept of lsquodeliberate practicersquo

motivation resources and attention determine the amount and quality of practice undertaken

121Friday 18 November 11

In Neuroscience scientists uncovered evidence showing a close association

between practice and expertisehellip

hours of deliberate practice

level of expertise

Lehmann and Gruber 2006

122Friday 18 November 11

implications to Musical performance and Training

1How to practise is best learned by practising

2Start early but not to early with playing an instrument

3Breaks and sleep is essential for motor learning and memory

4Use the human lsquomirror systemrsquo

123Friday 18 November 11

Examples of practisinghellip

124Friday 18 November 11

Neuroscience and Emotion in Music

Largely overlapping networks required for the processing of both

general and music-specific emotions

125Friday 18 November 11

Whether the neural basis of emotional appraisal of music is

innate or rather acquired through enculturation is subject

to ongoing discussion

Peretz and Sloboda 2005

126Friday 18 November 11

Nature vs NurtureProblem

127Friday 18 November 11

Howeverrecognition of emotions appears independent of musical

training

howhellipfamily environment possibly

128Friday 18 November 11

Recognising from Experiencing musical emotion is different

129Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

Education

bull Dynamics in teaching and learning are not linear and clearly settled in any way Thus we have a great variation of final Educational Concepts

57Friday 18 November 11

Education

Teaching and Learning Theories

Educational Concepts

58Friday 18 November 11

Important TampL Theories

bull The behaviouristbull The humanistbull The socialbull The cognitivebull The neo-cognitive

(stimulus-response)

(the concern with self)

(communities of practise)

(active process of knowledge construction)

(all the above together)

59Friday 18 November 11

Models of Learning-Tools for Teaching

bull Generated by the lsquoLearning Theoriesrsquobull 4 categories

60Friday 18 November 11

Information Processing Models

Inducampve13 ThinkingDevelopment13 of13 classificaampon13 skills13 hypothesis13 building13 and13 tesampng13 and13 understanding13 of13 how13 to13 build13 conceptual13 understanding13 of13 content13 areas

Concept13 Aainment Learning13 concepts13 and13 studying13 strategies13 for13 aaining13 and13 applying13 them13 Building13 and13 tesampng13 hypothesis

13 Scienampfic13 Inquiry Learning13 the13 research13 system13 of13 the13 academic13 disciplines13 ndash13 how13 knowledge13 is13 produced13 and13 organized

Inquiry13 Training Casual13 reasoning13 and13 understanding13 of13 how13 to13 collect13 informaampon13 build13 concepts13 and13 build13 and13 test13 hypotheses

13 Cogniampve13 Growth Increase13 general13 intellectual13 development13 and13 adjust13 instrucampon13 to13 facilitate13 intellectual13 growth

Advance13 Organizers Designed13 to13 increase13 ability13 to13 absorb13 informaampon13 and13 organize13 it13 especially13 in13 learning13 from13 lectures13 and13 readings

MnemonicsIncrease13 ability13 to13 acquire13 informaampon13 concepts13 conceptual13 systems13 and13 metacogniampve13 control13 of13 informaampon13 processing13 capability

Picture13 ndash13 Word13 Inducampve Learning13 to13 read13 and13 write13 inquiry13 into13 language

61Friday 18 November 11

Social Family of Models

Group13 InvesampgaamponDevelopment13 of13 skills13 for13 parampcipaampon13 in13 democraampc13 process13 Simultaneously13 emphasises13 social13 development13 academic13 skills13 and13 personal13 understanding

Social13 Inquiry Social13 problem13 solving13 through13 collecampve13 academic13 study13 and13 logical13 reasoning

Jurisprudenampal13 InquiryAnalysis13 of13 policy13 issues13 through13 a13 jurisprudenampal13 framework13 Collecampon13 of13 data13 analysis13 of13 value13 quesampons13 and13 posiampons13 study13 of13 personal13 beliefs

Laboratory13 Method Understanding13 of13 group13 dynamics13 leadership13 understanding13 of13 personal13 styles

Role13 Playing Study13 of13 values13 and13 their13 role13 in13 social13 interacampon13 Personal13 understanding13 of13 values13 and13 behaviour

Posiampve13 Interdependence Development13 of13 interdependent13 strategies13 of13 social13 interacampon13 Understanding13 of13 self13 ndash13 other13 relaamponships13 and13 emoampons

Structured13 Social13 Inquiry Academic13 inquiry13 and13 social13 and13 personal13 development13 Cooperaampve13 strategies13 for13 approaching13 academic13 study

62Friday 18 November 11

Personal Family of Models

Nondirecampve13 Teaching Building13 capacity13 for13 personal13 development13 self13 ndash13 understanding13 autonomy13 and13 esteem13 of13 self

13 Awareness13 TrainingIncreasing13 self13 ndash13 understanding13 self13 ndash13 esteem13 and13 capacity13 for13 exploraampon13 Development13 of13 interpersonal13 sensiampvity13 and13 empathy

Classroom13 Meeampng Development13 of13 self13 ndash13 understanding13 and13 responsibility13 to13 self13 and13 others

Self13 ndash13 Actualisaampon Development13 of13 personal13 understanding13 and13 capacity13 for13 development

Conceptual13 Systems Increasing13 personal13 complexity13 and13 flexibility13 in13 processing13 informaampon13 and13 interacampng13 with13 others

63Friday 18 November 11

Behavioural systems Family of Models

Social13 Learning

Management13 of13 behaviour13 Learning13 new13 paerns13 of13 behaviour13

reducing13 phobic13 and13 other13 dysfuncamponal13 paerns13 learning13 self13 ndash13

control

Mastery13 Learning Mastery13 of13 academic13 skills13 and13 content13 of13 all13 types

Programmed13 Learning Mastery13 of13 skills13 concepts13 factual13 informaampon

SimulaamponMastery13 of13 complex13 skills13 and13 concepts13 in13 a13 wide13 range13 of13 areas13

of13 study

Direct13 TeachingMastery13 of13 academic13 content13 and13 skills13 in13 a13 wide13 range13 of13 areas13

of13 study

Anxiety13 Reducampon

Control13 over13 aversive13 reacampons13 Applicaampons13 in13 treatment13 and13

self13 ndash13 treatment13 of13 avoidance13 and13 dysfuncamponal13 paerns13 of13

response

64Friday 18 November 11

1st Musical Example

65Friday 18 November 11

2nd Musical Example

66Friday 18 November 11

Why is it important to Know

bull You can handle better your own education and practice (constructional approach vs behavioural approach)

bull Different professional exit points - but

bull Will need to employ variations of the above

bull Knowingpotential for greater achievement

67Friday 18 November 11

Psy and Music Education

Group Discussion

How would you approach a lesson if were a teacher

68Friday 18 November 11

69Friday 18 November 11

In Music Psychology

bull Compositionbull Improvisationbull Aestheticsbull Creativity

70Friday 18 November 11

The Psychology of Composition

In its discussionsldquoquestions fundamental assumptions

about the nature and role of musical activity and the

musical artefactrdquo

Impett 2009 p403

71Friday 18 November 11

The Psychology of Composition

It is not widely researched

ldquoLeast studied least understood of all musical artefactsrdquo

Sloboda 1985

ldquoLittle progress has been made in understanding composition per serdquo

Brown 2003

72Friday 18 November 11

The Psychology of Composition

What is Composition in terms of Psychology

73Friday 18 November 11

The Psychology of Composition

Composition (organisation of musical sound) could be seen as a process of self-reflection

from where self-expression derives

74Friday 18 November 11

The Psychology of Composition

ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated

expression the conscious embodiment of psychological

statesrdquo

Impett 2009

75Friday 18 November 11

Composition Psychology

76Friday 18 November 11

Composition Psychology

Creativity

77Friday 18 November 11

How could we perceive Composition

78Friday 18 November 11

Composition

it is a lsquoDiscussion of Mindsrsquo

Composer + Performer + Audience

79Friday 18 November 11

The Psychology of Composition

ldquoAlthough Composition to some degree is innateit is a product of a

situated processrdquo

Impett 2009

80Friday 18 November 11

Composition

a Process

whichby itself is in some sense creative

81Friday 18 November 11

Composition

In this ProcesshellipMetaphors and Imagination come into play

where personal aesthetics concepts and innovation (for example) shape the outcome

82Friday 18 November 11

The Psychology of Composition

based on the aforementionedSome fundamental principles exist

eg rhythm perception tonal perception

83Friday 18 November 11

The Psychology of Composition

Howevera precise nature for a personsrsquos psychology of

composition seems to be a highly individual question

84Friday 18 November 11

85Friday 18 November 11

Improvisation and Psychology

Studying Improvisation and its psychological aspect might provide

further insight into Composition

Why

86Friday 18 November 11

Improvisation and Psychology

ldquoUnlike musical composition which can be mostly construed as a more-or-

less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the

human bodyrdquo

Ashley 2009

87Friday 18 November 11

To Improvisehellipis

to produce music (composing) audibly

and in real time

88Friday 18 November 11

Improvisation and Psychology

bull Psychology of Musical Performance (eg motor behaviourhellip)

bull Pitch

bull Tone (perception)

bull and othersapproaching

deeper lsquocreativityrsquo

come altogether and in real time into play

89Friday 18 November 11

improvisation and Psychology

bull Learningbull Teachingbull Cognitionbull Society

lsquoCreativityrsquois further connected with

90Friday 18 November 11

Teaching and Learning

Perception

Instrumental Performance Composition-Improvisation

Psychology of Music

91Friday 18 November 11

end of part II92Friday 18 November 11

Music And Neuroscience

1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning

2) Knowledge acquisition is governed by factors that are not

fully under conscious control and can hardly be influenced

externally (Roth 2006)

93Friday 18 November 11

However we try to understand this lsquoknowledge acquisitionrsquo

frameworkand this is where Neuroscience comes into Music

(performance teaching learninghellip)

94Friday 18 November 11

What is Neuroscience

bull Neuroscience is this science which studies the Brain

bull This is where new experiences and knowledge are processed by interconnected Neurons which

become activated when a sensorial input is perceived

95Friday 18 November 11

How the Brain looks like

96Friday 18 November 11

97Friday 18 November 11

98Friday 18 November 11

lsquoBrain Voyagerrsquo Pictures

99Friday 18 November 11

bull The structure of the brain alters continuously

throughout our lives

bull This happens via experiences stimuli studies a walk in the parkby playing a musical

instrument

100Friday 18 November 11

The change of the brain structure we call it - Plasticity -

lsquoexperience-driven brain plasticityrsquo

101Friday 18 November 11

Why is it important to know about lsquoPlasticityrsquo

By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos

saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political

version of schooling

102Friday 18 November 11

A bit of History

ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt

almost 5000 years agohelliprdquo

Minagar Ragheb and Kelley 2003

103Friday 18 November 11

A Musical Fact

We know that evidence of music has been confirmed in every civilisation

throughout history

Chailley 1964

104Friday 18 November 11

Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology

(egGardner 1983)

Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful

musical experience

105Friday 18 November 11

History of Neuroscience in Music

One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)

106Friday 18 November 11

Supporting Areas

bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology

107Friday 18 November 11

Ways (Tools) of neuroscientific Rsc

bullMagnetic Resonance Imaging (MRI)

bullfunctional MRI

bullElectroencephalography (EEG)

bullEvent Related Potentials (ERPs)

bullTranscranial magnetic Stimulation (TMS)

bullMagnetoencephalography (MEG)

bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target

108Friday 18 November 11

Research Areas in Music

bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors

109Friday 18 November 11

Perception and Cognition -Musical Performance

Your Opinionhellip

Group Discussion

110Friday 18 November 11

Perception in Meuromusic

Perception (in music) is based on the sensory information that is

gathered by the brain regarding onersquos external and internal

environment

111Friday 18 November 11

Perception in Neuromusic

PitchRhythm

112Friday 18 November 11

We donrsquot know yet wether musical cognition and perception is

(a) specifically localised to distinct neural networks

(b) made up of shared neural networks that are associated with other brain processes

(c) a bit of both

113Friday 18 November 11

Musical Performance

Motor Learning and Instrumental Training

the act of making music is physically

intensivea pianist may bimanually

coordinate and lsquoscrutinisersquo up to 1800 notes per minute

114Friday 18 November 11

Musical Performance

3 parts of the brain are involved

bullthe sensorimotor cortex (interpretation of stimuli control of muscles)

bullthe basal ganglia (muscles in cooperative functions)

bullthe cerebellum (fine-tuning of motor movements stores motor patterns)

115Friday 18 November 11

Growth and Development proceed from general to specific

116Friday 18 November 11

Musicians appear to process new incoming stimuli more effectively

compared to non-musicians

117Friday 18 November 11

Meaning

if you practise more your brain learns to work more effectively

118Friday 18 November 11

lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop

brain cells and neurons

makes us even more effective

119Friday 18 November 11

It is evident that musicians have different brain structure than

non-musiciansAmunts et al 1997Schlaug et al 1995b

enhanced if training has started earlier in life

120Friday 18 November 11

For musical training there is this concept of lsquodeliberate practicersquo

motivation resources and attention determine the amount and quality of practice undertaken

121Friday 18 November 11

In Neuroscience scientists uncovered evidence showing a close association

between practice and expertisehellip

hours of deliberate practice

level of expertise

Lehmann and Gruber 2006

122Friday 18 November 11

implications to Musical performance and Training

1How to practise is best learned by practising

2Start early but not to early with playing an instrument

3Breaks and sleep is essential for motor learning and memory

4Use the human lsquomirror systemrsquo

123Friday 18 November 11

Examples of practisinghellip

124Friday 18 November 11

Neuroscience and Emotion in Music

Largely overlapping networks required for the processing of both

general and music-specific emotions

125Friday 18 November 11

Whether the neural basis of emotional appraisal of music is

innate or rather acquired through enculturation is subject

to ongoing discussion

Peretz and Sloboda 2005

126Friday 18 November 11

Nature vs NurtureProblem

127Friday 18 November 11

Howeverrecognition of emotions appears independent of musical

training

howhellipfamily environment possibly

128Friday 18 November 11

Recognising from Experiencing musical emotion is different

129Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

Education

Teaching and Learning Theories

Educational Concepts

58Friday 18 November 11

Important TampL Theories

bull The behaviouristbull The humanistbull The socialbull The cognitivebull The neo-cognitive

(stimulus-response)

(the concern with self)

(communities of practise)

(active process of knowledge construction)

(all the above together)

59Friday 18 November 11

Models of Learning-Tools for Teaching

bull Generated by the lsquoLearning Theoriesrsquobull 4 categories

60Friday 18 November 11

Information Processing Models

Inducampve13 ThinkingDevelopment13 of13 classificaampon13 skills13 hypothesis13 building13 and13 tesampng13 and13 understanding13 of13 how13 to13 build13 conceptual13 understanding13 of13 content13 areas

Concept13 Aainment Learning13 concepts13 and13 studying13 strategies13 for13 aaining13 and13 applying13 them13 Building13 and13 tesampng13 hypothesis

13 Scienampfic13 Inquiry Learning13 the13 research13 system13 of13 the13 academic13 disciplines13 ndash13 how13 knowledge13 is13 produced13 and13 organized

Inquiry13 Training Casual13 reasoning13 and13 understanding13 of13 how13 to13 collect13 informaampon13 build13 concepts13 and13 build13 and13 test13 hypotheses

13 Cogniampve13 Growth Increase13 general13 intellectual13 development13 and13 adjust13 instrucampon13 to13 facilitate13 intellectual13 growth

Advance13 Organizers Designed13 to13 increase13 ability13 to13 absorb13 informaampon13 and13 organize13 it13 especially13 in13 learning13 from13 lectures13 and13 readings

MnemonicsIncrease13 ability13 to13 acquire13 informaampon13 concepts13 conceptual13 systems13 and13 metacogniampve13 control13 of13 informaampon13 processing13 capability

Picture13 ndash13 Word13 Inducampve Learning13 to13 read13 and13 write13 inquiry13 into13 language

61Friday 18 November 11

Social Family of Models

Group13 InvesampgaamponDevelopment13 of13 skills13 for13 parampcipaampon13 in13 democraampc13 process13 Simultaneously13 emphasises13 social13 development13 academic13 skills13 and13 personal13 understanding

Social13 Inquiry Social13 problem13 solving13 through13 collecampve13 academic13 study13 and13 logical13 reasoning

Jurisprudenampal13 InquiryAnalysis13 of13 policy13 issues13 through13 a13 jurisprudenampal13 framework13 Collecampon13 of13 data13 analysis13 of13 value13 quesampons13 and13 posiampons13 study13 of13 personal13 beliefs

Laboratory13 Method Understanding13 of13 group13 dynamics13 leadership13 understanding13 of13 personal13 styles

Role13 Playing Study13 of13 values13 and13 their13 role13 in13 social13 interacampon13 Personal13 understanding13 of13 values13 and13 behaviour

Posiampve13 Interdependence Development13 of13 interdependent13 strategies13 of13 social13 interacampon13 Understanding13 of13 self13 ndash13 other13 relaamponships13 and13 emoampons

Structured13 Social13 Inquiry Academic13 inquiry13 and13 social13 and13 personal13 development13 Cooperaampve13 strategies13 for13 approaching13 academic13 study

62Friday 18 November 11

Personal Family of Models

Nondirecampve13 Teaching Building13 capacity13 for13 personal13 development13 self13 ndash13 understanding13 autonomy13 and13 esteem13 of13 self

13 Awareness13 TrainingIncreasing13 self13 ndash13 understanding13 self13 ndash13 esteem13 and13 capacity13 for13 exploraampon13 Development13 of13 interpersonal13 sensiampvity13 and13 empathy

Classroom13 Meeampng Development13 of13 self13 ndash13 understanding13 and13 responsibility13 to13 self13 and13 others

Self13 ndash13 Actualisaampon Development13 of13 personal13 understanding13 and13 capacity13 for13 development

Conceptual13 Systems Increasing13 personal13 complexity13 and13 flexibility13 in13 processing13 informaampon13 and13 interacampng13 with13 others

63Friday 18 November 11

Behavioural systems Family of Models

Social13 Learning

Management13 of13 behaviour13 Learning13 new13 paerns13 of13 behaviour13

reducing13 phobic13 and13 other13 dysfuncamponal13 paerns13 learning13 self13 ndash13

control

Mastery13 Learning Mastery13 of13 academic13 skills13 and13 content13 of13 all13 types

Programmed13 Learning Mastery13 of13 skills13 concepts13 factual13 informaampon

SimulaamponMastery13 of13 complex13 skills13 and13 concepts13 in13 a13 wide13 range13 of13 areas13

of13 study

Direct13 TeachingMastery13 of13 academic13 content13 and13 skills13 in13 a13 wide13 range13 of13 areas13

of13 study

Anxiety13 Reducampon

Control13 over13 aversive13 reacampons13 Applicaampons13 in13 treatment13 and13

self13 ndash13 treatment13 of13 avoidance13 and13 dysfuncamponal13 paerns13 of13

response

64Friday 18 November 11

1st Musical Example

65Friday 18 November 11

2nd Musical Example

66Friday 18 November 11

Why is it important to Know

bull You can handle better your own education and practice (constructional approach vs behavioural approach)

bull Different professional exit points - but

bull Will need to employ variations of the above

bull Knowingpotential for greater achievement

67Friday 18 November 11

Psy and Music Education

Group Discussion

How would you approach a lesson if were a teacher

68Friday 18 November 11

69Friday 18 November 11

In Music Psychology

bull Compositionbull Improvisationbull Aestheticsbull Creativity

70Friday 18 November 11

The Psychology of Composition

In its discussionsldquoquestions fundamental assumptions

about the nature and role of musical activity and the

musical artefactrdquo

Impett 2009 p403

71Friday 18 November 11

The Psychology of Composition

It is not widely researched

ldquoLeast studied least understood of all musical artefactsrdquo

Sloboda 1985

ldquoLittle progress has been made in understanding composition per serdquo

Brown 2003

72Friday 18 November 11

The Psychology of Composition

What is Composition in terms of Psychology

73Friday 18 November 11

The Psychology of Composition

Composition (organisation of musical sound) could be seen as a process of self-reflection

from where self-expression derives

74Friday 18 November 11

The Psychology of Composition

ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated

expression the conscious embodiment of psychological

statesrdquo

Impett 2009

75Friday 18 November 11

Composition Psychology

76Friday 18 November 11

Composition Psychology

Creativity

77Friday 18 November 11

How could we perceive Composition

78Friday 18 November 11

Composition

it is a lsquoDiscussion of Mindsrsquo

Composer + Performer + Audience

79Friday 18 November 11

The Psychology of Composition

ldquoAlthough Composition to some degree is innateit is a product of a

situated processrdquo

Impett 2009

80Friday 18 November 11

Composition

a Process

whichby itself is in some sense creative

81Friday 18 November 11

Composition

In this ProcesshellipMetaphors and Imagination come into play

where personal aesthetics concepts and innovation (for example) shape the outcome

82Friday 18 November 11

The Psychology of Composition

based on the aforementionedSome fundamental principles exist

eg rhythm perception tonal perception

83Friday 18 November 11

The Psychology of Composition

Howevera precise nature for a personsrsquos psychology of

composition seems to be a highly individual question

84Friday 18 November 11

85Friday 18 November 11

Improvisation and Psychology

Studying Improvisation and its psychological aspect might provide

further insight into Composition

Why

86Friday 18 November 11

Improvisation and Psychology

ldquoUnlike musical composition which can be mostly construed as a more-or-

less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the

human bodyrdquo

Ashley 2009

87Friday 18 November 11

To Improvisehellipis

to produce music (composing) audibly

and in real time

88Friday 18 November 11

Improvisation and Psychology

bull Psychology of Musical Performance (eg motor behaviourhellip)

bull Pitch

bull Tone (perception)

bull and othersapproaching

deeper lsquocreativityrsquo

come altogether and in real time into play

89Friday 18 November 11

improvisation and Psychology

bull Learningbull Teachingbull Cognitionbull Society

lsquoCreativityrsquois further connected with

90Friday 18 November 11

Teaching and Learning

Perception

Instrumental Performance Composition-Improvisation

Psychology of Music

91Friday 18 November 11

end of part II92Friday 18 November 11

Music And Neuroscience

1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning

2) Knowledge acquisition is governed by factors that are not

fully under conscious control and can hardly be influenced

externally (Roth 2006)

93Friday 18 November 11

However we try to understand this lsquoknowledge acquisitionrsquo

frameworkand this is where Neuroscience comes into Music

(performance teaching learninghellip)

94Friday 18 November 11

What is Neuroscience

bull Neuroscience is this science which studies the Brain

bull This is where new experiences and knowledge are processed by interconnected Neurons which

become activated when a sensorial input is perceived

95Friday 18 November 11

How the Brain looks like

96Friday 18 November 11

97Friday 18 November 11

98Friday 18 November 11

lsquoBrain Voyagerrsquo Pictures

99Friday 18 November 11

bull The structure of the brain alters continuously

throughout our lives

bull This happens via experiences stimuli studies a walk in the parkby playing a musical

instrument

100Friday 18 November 11

The change of the brain structure we call it - Plasticity -

lsquoexperience-driven brain plasticityrsquo

101Friday 18 November 11

Why is it important to know about lsquoPlasticityrsquo

By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos

saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political

version of schooling

102Friday 18 November 11

A bit of History

ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt

almost 5000 years agohelliprdquo

Minagar Ragheb and Kelley 2003

103Friday 18 November 11

A Musical Fact

We know that evidence of music has been confirmed in every civilisation

throughout history

Chailley 1964

104Friday 18 November 11

Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology

(egGardner 1983)

Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful

musical experience

105Friday 18 November 11

History of Neuroscience in Music

One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)

106Friday 18 November 11

Supporting Areas

bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology

107Friday 18 November 11

Ways (Tools) of neuroscientific Rsc

bullMagnetic Resonance Imaging (MRI)

bullfunctional MRI

bullElectroencephalography (EEG)

bullEvent Related Potentials (ERPs)

bullTranscranial magnetic Stimulation (TMS)

bullMagnetoencephalography (MEG)

bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target

108Friday 18 November 11

Research Areas in Music

bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors

109Friday 18 November 11

Perception and Cognition -Musical Performance

Your Opinionhellip

Group Discussion

110Friday 18 November 11

Perception in Meuromusic

Perception (in music) is based on the sensory information that is

gathered by the brain regarding onersquos external and internal

environment

111Friday 18 November 11

Perception in Neuromusic

PitchRhythm

112Friday 18 November 11

We donrsquot know yet wether musical cognition and perception is

(a) specifically localised to distinct neural networks

(b) made up of shared neural networks that are associated with other brain processes

(c) a bit of both

113Friday 18 November 11

Musical Performance

Motor Learning and Instrumental Training

the act of making music is physically

intensivea pianist may bimanually

coordinate and lsquoscrutinisersquo up to 1800 notes per minute

114Friday 18 November 11

Musical Performance

3 parts of the brain are involved

bullthe sensorimotor cortex (interpretation of stimuli control of muscles)

bullthe basal ganglia (muscles in cooperative functions)

bullthe cerebellum (fine-tuning of motor movements stores motor patterns)

115Friday 18 November 11

Growth and Development proceed from general to specific

116Friday 18 November 11

Musicians appear to process new incoming stimuli more effectively

compared to non-musicians

117Friday 18 November 11

Meaning

if you practise more your brain learns to work more effectively

118Friday 18 November 11

lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop

brain cells and neurons

makes us even more effective

119Friday 18 November 11

It is evident that musicians have different brain structure than

non-musiciansAmunts et al 1997Schlaug et al 1995b

enhanced if training has started earlier in life

120Friday 18 November 11

For musical training there is this concept of lsquodeliberate practicersquo

motivation resources and attention determine the amount and quality of practice undertaken

121Friday 18 November 11

In Neuroscience scientists uncovered evidence showing a close association

between practice and expertisehellip

hours of deliberate practice

level of expertise

Lehmann and Gruber 2006

122Friday 18 November 11

implications to Musical performance and Training

1How to practise is best learned by practising

2Start early but not to early with playing an instrument

3Breaks and sleep is essential for motor learning and memory

4Use the human lsquomirror systemrsquo

123Friday 18 November 11

Examples of practisinghellip

124Friday 18 November 11

Neuroscience and Emotion in Music

Largely overlapping networks required for the processing of both

general and music-specific emotions

125Friday 18 November 11

Whether the neural basis of emotional appraisal of music is

innate or rather acquired through enculturation is subject

to ongoing discussion

Peretz and Sloboda 2005

126Friday 18 November 11

Nature vs NurtureProblem

127Friday 18 November 11

Howeverrecognition of emotions appears independent of musical

training

howhellipfamily environment possibly

128Friday 18 November 11

Recognising from Experiencing musical emotion is different

129Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

Important TampL Theories

bull The behaviouristbull The humanistbull The socialbull The cognitivebull The neo-cognitive

(stimulus-response)

(the concern with self)

(communities of practise)

(active process of knowledge construction)

(all the above together)

59Friday 18 November 11

Models of Learning-Tools for Teaching

bull Generated by the lsquoLearning Theoriesrsquobull 4 categories

60Friday 18 November 11

Information Processing Models

Inducampve13 ThinkingDevelopment13 of13 classificaampon13 skills13 hypothesis13 building13 and13 tesampng13 and13 understanding13 of13 how13 to13 build13 conceptual13 understanding13 of13 content13 areas

Concept13 Aainment Learning13 concepts13 and13 studying13 strategies13 for13 aaining13 and13 applying13 them13 Building13 and13 tesampng13 hypothesis

13 Scienampfic13 Inquiry Learning13 the13 research13 system13 of13 the13 academic13 disciplines13 ndash13 how13 knowledge13 is13 produced13 and13 organized

Inquiry13 Training Casual13 reasoning13 and13 understanding13 of13 how13 to13 collect13 informaampon13 build13 concepts13 and13 build13 and13 test13 hypotheses

13 Cogniampve13 Growth Increase13 general13 intellectual13 development13 and13 adjust13 instrucampon13 to13 facilitate13 intellectual13 growth

Advance13 Organizers Designed13 to13 increase13 ability13 to13 absorb13 informaampon13 and13 organize13 it13 especially13 in13 learning13 from13 lectures13 and13 readings

MnemonicsIncrease13 ability13 to13 acquire13 informaampon13 concepts13 conceptual13 systems13 and13 metacogniampve13 control13 of13 informaampon13 processing13 capability

Picture13 ndash13 Word13 Inducampve Learning13 to13 read13 and13 write13 inquiry13 into13 language

61Friday 18 November 11

Social Family of Models

Group13 InvesampgaamponDevelopment13 of13 skills13 for13 parampcipaampon13 in13 democraampc13 process13 Simultaneously13 emphasises13 social13 development13 academic13 skills13 and13 personal13 understanding

Social13 Inquiry Social13 problem13 solving13 through13 collecampve13 academic13 study13 and13 logical13 reasoning

Jurisprudenampal13 InquiryAnalysis13 of13 policy13 issues13 through13 a13 jurisprudenampal13 framework13 Collecampon13 of13 data13 analysis13 of13 value13 quesampons13 and13 posiampons13 study13 of13 personal13 beliefs

Laboratory13 Method Understanding13 of13 group13 dynamics13 leadership13 understanding13 of13 personal13 styles

Role13 Playing Study13 of13 values13 and13 their13 role13 in13 social13 interacampon13 Personal13 understanding13 of13 values13 and13 behaviour

Posiampve13 Interdependence Development13 of13 interdependent13 strategies13 of13 social13 interacampon13 Understanding13 of13 self13 ndash13 other13 relaamponships13 and13 emoampons

Structured13 Social13 Inquiry Academic13 inquiry13 and13 social13 and13 personal13 development13 Cooperaampve13 strategies13 for13 approaching13 academic13 study

62Friday 18 November 11

Personal Family of Models

Nondirecampve13 Teaching Building13 capacity13 for13 personal13 development13 self13 ndash13 understanding13 autonomy13 and13 esteem13 of13 self

13 Awareness13 TrainingIncreasing13 self13 ndash13 understanding13 self13 ndash13 esteem13 and13 capacity13 for13 exploraampon13 Development13 of13 interpersonal13 sensiampvity13 and13 empathy

Classroom13 Meeampng Development13 of13 self13 ndash13 understanding13 and13 responsibility13 to13 self13 and13 others

Self13 ndash13 Actualisaampon Development13 of13 personal13 understanding13 and13 capacity13 for13 development

Conceptual13 Systems Increasing13 personal13 complexity13 and13 flexibility13 in13 processing13 informaampon13 and13 interacampng13 with13 others

63Friday 18 November 11

Behavioural systems Family of Models

Social13 Learning

Management13 of13 behaviour13 Learning13 new13 paerns13 of13 behaviour13

reducing13 phobic13 and13 other13 dysfuncamponal13 paerns13 learning13 self13 ndash13

control

Mastery13 Learning Mastery13 of13 academic13 skills13 and13 content13 of13 all13 types

Programmed13 Learning Mastery13 of13 skills13 concepts13 factual13 informaampon

SimulaamponMastery13 of13 complex13 skills13 and13 concepts13 in13 a13 wide13 range13 of13 areas13

of13 study

Direct13 TeachingMastery13 of13 academic13 content13 and13 skills13 in13 a13 wide13 range13 of13 areas13

of13 study

Anxiety13 Reducampon

Control13 over13 aversive13 reacampons13 Applicaampons13 in13 treatment13 and13

self13 ndash13 treatment13 of13 avoidance13 and13 dysfuncamponal13 paerns13 of13

response

64Friday 18 November 11

1st Musical Example

65Friday 18 November 11

2nd Musical Example

66Friday 18 November 11

Why is it important to Know

bull You can handle better your own education and practice (constructional approach vs behavioural approach)

bull Different professional exit points - but

bull Will need to employ variations of the above

bull Knowingpotential for greater achievement

67Friday 18 November 11

Psy and Music Education

Group Discussion

How would you approach a lesson if were a teacher

68Friday 18 November 11

69Friday 18 November 11

In Music Psychology

bull Compositionbull Improvisationbull Aestheticsbull Creativity

70Friday 18 November 11

The Psychology of Composition

In its discussionsldquoquestions fundamental assumptions

about the nature and role of musical activity and the

musical artefactrdquo

Impett 2009 p403

71Friday 18 November 11

The Psychology of Composition

It is not widely researched

ldquoLeast studied least understood of all musical artefactsrdquo

Sloboda 1985

ldquoLittle progress has been made in understanding composition per serdquo

Brown 2003

72Friday 18 November 11

The Psychology of Composition

What is Composition in terms of Psychology

73Friday 18 November 11

The Psychology of Composition

Composition (organisation of musical sound) could be seen as a process of self-reflection

from where self-expression derives

74Friday 18 November 11

The Psychology of Composition

ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated

expression the conscious embodiment of psychological

statesrdquo

Impett 2009

75Friday 18 November 11

Composition Psychology

76Friday 18 November 11

Composition Psychology

Creativity

77Friday 18 November 11

How could we perceive Composition

78Friday 18 November 11

Composition

it is a lsquoDiscussion of Mindsrsquo

Composer + Performer + Audience

79Friday 18 November 11

The Psychology of Composition

ldquoAlthough Composition to some degree is innateit is a product of a

situated processrdquo

Impett 2009

80Friday 18 November 11

Composition

a Process

whichby itself is in some sense creative

81Friday 18 November 11

Composition

In this ProcesshellipMetaphors and Imagination come into play

where personal aesthetics concepts and innovation (for example) shape the outcome

82Friday 18 November 11

The Psychology of Composition

based on the aforementionedSome fundamental principles exist

eg rhythm perception tonal perception

83Friday 18 November 11

The Psychology of Composition

Howevera precise nature for a personsrsquos psychology of

composition seems to be a highly individual question

84Friday 18 November 11

85Friday 18 November 11

Improvisation and Psychology

Studying Improvisation and its psychological aspect might provide

further insight into Composition

Why

86Friday 18 November 11

Improvisation and Psychology

ldquoUnlike musical composition which can be mostly construed as a more-or-

less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the

human bodyrdquo

Ashley 2009

87Friday 18 November 11

To Improvisehellipis

to produce music (composing) audibly

and in real time

88Friday 18 November 11

Improvisation and Psychology

bull Psychology of Musical Performance (eg motor behaviourhellip)

bull Pitch

bull Tone (perception)

bull and othersapproaching

deeper lsquocreativityrsquo

come altogether and in real time into play

89Friday 18 November 11

improvisation and Psychology

bull Learningbull Teachingbull Cognitionbull Society

lsquoCreativityrsquois further connected with

90Friday 18 November 11

Teaching and Learning

Perception

Instrumental Performance Composition-Improvisation

Psychology of Music

91Friday 18 November 11

end of part II92Friday 18 November 11

Music And Neuroscience

1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning

2) Knowledge acquisition is governed by factors that are not

fully under conscious control and can hardly be influenced

externally (Roth 2006)

93Friday 18 November 11

However we try to understand this lsquoknowledge acquisitionrsquo

frameworkand this is where Neuroscience comes into Music

(performance teaching learninghellip)

94Friday 18 November 11

What is Neuroscience

bull Neuroscience is this science which studies the Brain

bull This is where new experiences and knowledge are processed by interconnected Neurons which

become activated when a sensorial input is perceived

95Friday 18 November 11

How the Brain looks like

96Friday 18 November 11

97Friday 18 November 11

98Friday 18 November 11

lsquoBrain Voyagerrsquo Pictures

99Friday 18 November 11

bull The structure of the brain alters continuously

throughout our lives

bull This happens via experiences stimuli studies a walk in the parkby playing a musical

instrument

100Friday 18 November 11

The change of the brain structure we call it - Plasticity -

lsquoexperience-driven brain plasticityrsquo

101Friday 18 November 11

Why is it important to know about lsquoPlasticityrsquo

By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos

saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political

version of schooling

102Friday 18 November 11

A bit of History

ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt

almost 5000 years agohelliprdquo

Minagar Ragheb and Kelley 2003

103Friday 18 November 11

A Musical Fact

We know that evidence of music has been confirmed in every civilisation

throughout history

Chailley 1964

104Friday 18 November 11

Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology

(egGardner 1983)

Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful

musical experience

105Friday 18 November 11

History of Neuroscience in Music

One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)

106Friday 18 November 11

Supporting Areas

bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology

107Friday 18 November 11

Ways (Tools) of neuroscientific Rsc

bullMagnetic Resonance Imaging (MRI)

bullfunctional MRI

bullElectroencephalography (EEG)

bullEvent Related Potentials (ERPs)

bullTranscranial magnetic Stimulation (TMS)

bullMagnetoencephalography (MEG)

bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target

108Friday 18 November 11

Research Areas in Music

bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors

109Friday 18 November 11

Perception and Cognition -Musical Performance

Your Opinionhellip

Group Discussion

110Friday 18 November 11

Perception in Meuromusic

Perception (in music) is based on the sensory information that is

gathered by the brain regarding onersquos external and internal

environment

111Friday 18 November 11

Perception in Neuromusic

PitchRhythm

112Friday 18 November 11

We donrsquot know yet wether musical cognition and perception is

(a) specifically localised to distinct neural networks

(b) made up of shared neural networks that are associated with other brain processes

(c) a bit of both

113Friday 18 November 11

Musical Performance

Motor Learning and Instrumental Training

the act of making music is physically

intensivea pianist may bimanually

coordinate and lsquoscrutinisersquo up to 1800 notes per minute

114Friday 18 November 11

Musical Performance

3 parts of the brain are involved

bullthe sensorimotor cortex (interpretation of stimuli control of muscles)

bullthe basal ganglia (muscles in cooperative functions)

bullthe cerebellum (fine-tuning of motor movements stores motor patterns)

115Friday 18 November 11

Growth and Development proceed from general to specific

116Friday 18 November 11

Musicians appear to process new incoming stimuli more effectively

compared to non-musicians

117Friday 18 November 11

Meaning

if you practise more your brain learns to work more effectively

118Friday 18 November 11

lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop

brain cells and neurons

makes us even more effective

119Friday 18 November 11

It is evident that musicians have different brain structure than

non-musiciansAmunts et al 1997Schlaug et al 1995b

enhanced if training has started earlier in life

120Friday 18 November 11

For musical training there is this concept of lsquodeliberate practicersquo

motivation resources and attention determine the amount and quality of practice undertaken

121Friday 18 November 11

In Neuroscience scientists uncovered evidence showing a close association

between practice and expertisehellip

hours of deliberate practice

level of expertise

Lehmann and Gruber 2006

122Friday 18 November 11

implications to Musical performance and Training

1How to practise is best learned by practising

2Start early but not to early with playing an instrument

3Breaks and sleep is essential for motor learning and memory

4Use the human lsquomirror systemrsquo

123Friday 18 November 11

Examples of practisinghellip

124Friday 18 November 11

Neuroscience and Emotion in Music

Largely overlapping networks required for the processing of both

general and music-specific emotions

125Friday 18 November 11

Whether the neural basis of emotional appraisal of music is

innate or rather acquired through enculturation is subject

to ongoing discussion

Peretz and Sloboda 2005

126Friday 18 November 11

Nature vs NurtureProblem

127Friday 18 November 11

Howeverrecognition of emotions appears independent of musical

training

howhellipfamily environment possibly

128Friday 18 November 11

Recognising from Experiencing musical emotion is different

129Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

Models of Learning-Tools for Teaching

bull Generated by the lsquoLearning Theoriesrsquobull 4 categories

60Friday 18 November 11

Information Processing Models

Inducampve13 ThinkingDevelopment13 of13 classificaampon13 skills13 hypothesis13 building13 and13 tesampng13 and13 understanding13 of13 how13 to13 build13 conceptual13 understanding13 of13 content13 areas

Concept13 Aainment Learning13 concepts13 and13 studying13 strategies13 for13 aaining13 and13 applying13 them13 Building13 and13 tesampng13 hypothesis

13 Scienampfic13 Inquiry Learning13 the13 research13 system13 of13 the13 academic13 disciplines13 ndash13 how13 knowledge13 is13 produced13 and13 organized

Inquiry13 Training Casual13 reasoning13 and13 understanding13 of13 how13 to13 collect13 informaampon13 build13 concepts13 and13 build13 and13 test13 hypotheses

13 Cogniampve13 Growth Increase13 general13 intellectual13 development13 and13 adjust13 instrucampon13 to13 facilitate13 intellectual13 growth

Advance13 Organizers Designed13 to13 increase13 ability13 to13 absorb13 informaampon13 and13 organize13 it13 especially13 in13 learning13 from13 lectures13 and13 readings

MnemonicsIncrease13 ability13 to13 acquire13 informaampon13 concepts13 conceptual13 systems13 and13 metacogniampve13 control13 of13 informaampon13 processing13 capability

Picture13 ndash13 Word13 Inducampve Learning13 to13 read13 and13 write13 inquiry13 into13 language

61Friday 18 November 11

Social Family of Models

Group13 InvesampgaamponDevelopment13 of13 skills13 for13 parampcipaampon13 in13 democraampc13 process13 Simultaneously13 emphasises13 social13 development13 academic13 skills13 and13 personal13 understanding

Social13 Inquiry Social13 problem13 solving13 through13 collecampve13 academic13 study13 and13 logical13 reasoning

Jurisprudenampal13 InquiryAnalysis13 of13 policy13 issues13 through13 a13 jurisprudenampal13 framework13 Collecampon13 of13 data13 analysis13 of13 value13 quesampons13 and13 posiampons13 study13 of13 personal13 beliefs

Laboratory13 Method Understanding13 of13 group13 dynamics13 leadership13 understanding13 of13 personal13 styles

Role13 Playing Study13 of13 values13 and13 their13 role13 in13 social13 interacampon13 Personal13 understanding13 of13 values13 and13 behaviour

Posiampve13 Interdependence Development13 of13 interdependent13 strategies13 of13 social13 interacampon13 Understanding13 of13 self13 ndash13 other13 relaamponships13 and13 emoampons

Structured13 Social13 Inquiry Academic13 inquiry13 and13 social13 and13 personal13 development13 Cooperaampve13 strategies13 for13 approaching13 academic13 study

62Friday 18 November 11

Personal Family of Models

Nondirecampve13 Teaching Building13 capacity13 for13 personal13 development13 self13 ndash13 understanding13 autonomy13 and13 esteem13 of13 self

13 Awareness13 TrainingIncreasing13 self13 ndash13 understanding13 self13 ndash13 esteem13 and13 capacity13 for13 exploraampon13 Development13 of13 interpersonal13 sensiampvity13 and13 empathy

Classroom13 Meeampng Development13 of13 self13 ndash13 understanding13 and13 responsibility13 to13 self13 and13 others

Self13 ndash13 Actualisaampon Development13 of13 personal13 understanding13 and13 capacity13 for13 development

Conceptual13 Systems Increasing13 personal13 complexity13 and13 flexibility13 in13 processing13 informaampon13 and13 interacampng13 with13 others

63Friday 18 November 11

Behavioural systems Family of Models

Social13 Learning

Management13 of13 behaviour13 Learning13 new13 paerns13 of13 behaviour13

reducing13 phobic13 and13 other13 dysfuncamponal13 paerns13 learning13 self13 ndash13

control

Mastery13 Learning Mastery13 of13 academic13 skills13 and13 content13 of13 all13 types

Programmed13 Learning Mastery13 of13 skills13 concepts13 factual13 informaampon

SimulaamponMastery13 of13 complex13 skills13 and13 concepts13 in13 a13 wide13 range13 of13 areas13

of13 study

Direct13 TeachingMastery13 of13 academic13 content13 and13 skills13 in13 a13 wide13 range13 of13 areas13

of13 study

Anxiety13 Reducampon

Control13 over13 aversive13 reacampons13 Applicaampons13 in13 treatment13 and13

self13 ndash13 treatment13 of13 avoidance13 and13 dysfuncamponal13 paerns13 of13

response

64Friday 18 November 11

1st Musical Example

65Friday 18 November 11

2nd Musical Example

66Friday 18 November 11

Why is it important to Know

bull You can handle better your own education and practice (constructional approach vs behavioural approach)

bull Different professional exit points - but

bull Will need to employ variations of the above

bull Knowingpotential for greater achievement

67Friday 18 November 11

Psy and Music Education

Group Discussion

How would you approach a lesson if were a teacher

68Friday 18 November 11

69Friday 18 November 11

In Music Psychology

bull Compositionbull Improvisationbull Aestheticsbull Creativity

70Friday 18 November 11

The Psychology of Composition

In its discussionsldquoquestions fundamental assumptions

about the nature and role of musical activity and the

musical artefactrdquo

Impett 2009 p403

71Friday 18 November 11

The Psychology of Composition

It is not widely researched

ldquoLeast studied least understood of all musical artefactsrdquo

Sloboda 1985

ldquoLittle progress has been made in understanding composition per serdquo

Brown 2003

72Friday 18 November 11

The Psychology of Composition

What is Composition in terms of Psychology

73Friday 18 November 11

The Psychology of Composition

Composition (organisation of musical sound) could be seen as a process of self-reflection

from where self-expression derives

74Friday 18 November 11

The Psychology of Composition

ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated

expression the conscious embodiment of psychological

statesrdquo

Impett 2009

75Friday 18 November 11

Composition Psychology

76Friday 18 November 11

Composition Psychology

Creativity

77Friday 18 November 11

How could we perceive Composition

78Friday 18 November 11

Composition

it is a lsquoDiscussion of Mindsrsquo

Composer + Performer + Audience

79Friday 18 November 11

The Psychology of Composition

ldquoAlthough Composition to some degree is innateit is a product of a

situated processrdquo

Impett 2009

80Friday 18 November 11

Composition

a Process

whichby itself is in some sense creative

81Friday 18 November 11

Composition

In this ProcesshellipMetaphors and Imagination come into play

where personal aesthetics concepts and innovation (for example) shape the outcome

82Friday 18 November 11

The Psychology of Composition

based on the aforementionedSome fundamental principles exist

eg rhythm perception tonal perception

83Friday 18 November 11

The Psychology of Composition

Howevera precise nature for a personsrsquos psychology of

composition seems to be a highly individual question

84Friday 18 November 11

85Friday 18 November 11

Improvisation and Psychology

Studying Improvisation and its psychological aspect might provide

further insight into Composition

Why

86Friday 18 November 11

Improvisation and Psychology

ldquoUnlike musical composition which can be mostly construed as a more-or-

less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the

human bodyrdquo

Ashley 2009

87Friday 18 November 11

To Improvisehellipis

to produce music (composing) audibly

and in real time

88Friday 18 November 11

Improvisation and Psychology

bull Psychology of Musical Performance (eg motor behaviourhellip)

bull Pitch

bull Tone (perception)

bull and othersapproaching

deeper lsquocreativityrsquo

come altogether and in real time into play

89Friday 18 November 11

improvisation and Psychology

bull Learningbull Teachingbull Cognitionbull Society

lsquoCreativityrsquois further connected with

90Friday 18 November 11

Teaching and Learning

Perception

Instrumental Performance Composition-Improvisation

Psychology of Music

91Friday 18 November 11

end of part II92Friday 18 November 11

Music And Neuroscience

1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning

2) Knowledge acquisition is governed by factors that are not

fully under conscious control and can hardly be influenced

externally (Roth 2006)

93Friday 18 November 11

However we try to understand this lsquoknowledge acquisitionrsquo

frameworkand this is where Neuroscience comes into Music

(performance teaching learninghellip)

94Friday 18 November 11

What is Neuroscience

bull Neuroscience is this science which studies the Brain

bull This is where new experiences and knowledge are processed by interconnected Neurons which

become activated when a sensorial input is perceived

95Friday 18 November 11

How the Brain looks like

96Friday 18 November 11

97Friday 18 November 11

98Friday 18 November 11

lsquoBrain Voyagerrsquo Pictures

99Friday 18 November 11

bull The structure of the brain alters continuously

throughout our lives

bull This happens via experiences stimuli studies a walk in the parkby playing a musical

instrument

100Friday 18 November 11

The change of the brain structure we call it - Plasticity -

lsquoexperience-driven brain plasticityrsquo

101Friday 18 November 11

Why is it important to know about lsquoPlasticityrsquo

By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos

saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political

version of schooling

102Friday 18 November 11

A bit of History

ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt

almost 5000 years agohelliprdquo

Minagar Ragheb and Kelley 2003

103Friday 18 November 11

A Musical Fact

We know that evidence of music has been confirmed in every civilisation

throughout history

Chailley 1964

104Friday 18 November 11

Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology

(egGardner 1983)

Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful

musical experience

105Friday 18 November 11

History of Neuroscience in Music

One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)

106Friday 18 November 11

Supporting Areas

bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology

107Friday 18 November 11

Ways (Tools) of neuroscientific Rsc

bullMagnetic Resonance Imaging (MRI)

bullfunctional MRI

bullElectroencephalography (EEG)

bullEvent Related Potentials (ERPs)

bullTranscranial magnetic Stimulation (TMS)

bullMagnetoencephalography (MEG)

bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target

108Friday 18 November 11

Research Areas in Music

bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors

109Friday 18 November 11

Perception and Cognition -Musical Performance

Your Opinionhellip

Group Discussion

110Friday 18 November 11

Perception in Meuromusic

Perception (in music) is based on the sensory information that is

gathered by the brain regarding onersquos external and internal

environment

111Friday 18 November 11

Perception in Neuromusic

PitchRhythm

112Friday 18 November 11

We donrsquot know yet wether musical cognition and perception is

(a) specifically localised to distinct neural networks

(b) made up of shared neural networks that are associated with other brain processes

(c) a bit of both

113Friday 18 November 11

Musical Performance

Motor Learning and Instrumental Training

the act of making music is physically

intensivea pianist may bimanually

coordinate and lsquoscrutinisersquo up to 1800 notes per minute

114Friday 18 November 11

Musical Performance

3 parts of the brain are involved

bullthe sensorimotor cortex (interpretation of stimuli control of muscles)

bullthe basal ganglia (muscles in cooperative functions)

bullthe cerebellum (fine-tuning of motor movements stores motor patterns)

115Friday 18 November 11

Growth and Development proceed from general to specific

116Friday 18 November 11

Musicians appear to process new incoming stimuli more effectively

compared to non-musicians

117Friday 18 November 11

Meaning

if you practise more your brain learns to work more effectively

118Friday 18 November 11

lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop

brain cells and neurons

makes us even more effective

119Friday 18 November 11

It is evident that musicians have different brain structure than

non-musiciansAmunts et al 1997Schlaug et al 1995b

enhanced if training has started earlier in life

120Friday 18 November 11

For musical training there is this concept of lsquodeliberate practicersquo

motivation resources and attention determine the amount and quality of practice undertaken

121Friday 18 November 11

In Neuroscience scientists uncovered evidence showing a close association

between practice and expertisehellip

hours of deliberate practice

level of expertise

Lehmann and Gruber 2006

122Friday 18 November 11

implications to Musical performance and Training

1How to practise is best learned by practising

2Start early but not to early with playing an instrument

3Breaks and sleep is essential for motor learning and memory

4Use the human lsquomirror systemrsquo

123Friday 18 November 11

Examples of practisinghellip

124Friday 18 November 11

Neuroscience and Emotion in Music

Largely overlapping networks required for the processing of both

general and music-specific emotions

125Friday 18 November 11

Whether the neural basis of emotional appraisal of music is

innate or rather acquired through enculturation is subject

to ongoing discussion

Peretz and Sloboda 2005

126Friday 18 November 11

Nature vs NurtureProblem

127Friday 18 November 11

Howeverrecognition of emotions appears independent of musical

training

howhellipfamily environment possibly

128Friday 18 November 11

Recognising from Experiencing musical emotion is different

129Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

Information Processing Models

Inducampve13 ThinkingDevelopment13 of13 classificaampon13 skills13 hypothesis13 building13 and13 tesampng13 and13 understanding13 of13 how13 to13 build13 conceptual13 understanding13 of13 content13 areas

Concept13 Aainment Learning13 concepts13 and13 studying13 strategies13 for13 aaining13 and13 applying13 them13 Building13 and13 tesampng13 hypothesis

13 Scienampfic13 Inquiry Learning13 the13 research13 system13 of13 the13 academic13 disciplines13 ndash13 how13 knowledge13 is13 produced13 and13 organized

Inquiry13 Training Casual13 reasoning13 and13 understanding13 of13 how13 to13 collect13 informaampon13 build13 concepts13 and13 build13 and13 test13 hypotheses

13 Cogniampve13 Growth Increase13 general13 intellectual13 development13 and13 adjust13 instrucampon13 to13 facilitate13 intellectual13 growth

Advance13 Organizers Designed13 to13 increase13 ability13 to13 absorb13 informaampon13 and13 organize13 it13 especially13 in13 learning13 from13 lectures13 and13 readings

MnemonicsIncrease13 ability13 to13 acquire13 informaampon13 concepts13 conceptual13 systems13 and13 metacogniampve13 control13 of13 informaampon13 processing13 capability

Picture13 ndash13 Word13 Inducampve Learning13 to13 read13 and13 write13 inquiry13 into13 language

61Friday 18 November 11

Social Family of Models

Group13 InvesampgaamponDevelopment13 of13 skills13 for13 parampcipaampon13 in13 democraampc13 process13 Simultaneously13 emphasises13 social13 development13 academic13 skills13 and13 personal13 understanding

Social13 Inquiry Social13 problem13 solving13 through13 collecampve13 academic13 study13 and13 logical13 reasoning

Jurisprudenampal13 InquiryAnalysis13 of13 policy13 issues13 through13 a13 jurisprudenampal13 framework13 Collecampon13 of13 data13 analysis13 of13 value13 quesampons13 and13 posiampons13 study13 of13 personal13 beliefs

Laboratory13 Method Understanding13 of13 group13 dynamics13 leadership13 understanding13 of13 personal13 styles

Role13 Playing Study13 of13 values13 and13 their13 role13 in13 social13 interacampon13 Personal13 understanding13 of13 values13 and13 behaviour

Posiampve13 Interdependence Development13 of13 interdependent13 strategies13 of13 social13 interacampon13 Understanding13 of13 self13 ndash13 other13 relaamponships13 and13 emoampons

Structured13 Social13 Inquiry Academic13 inquiry13 and13 social13 and13 personal13 development13 Cooperaampve13 strategies13 for13 approaching13 academic13 study

62Friday 18 November 11

Personal Family of Models

Nondirecampve13 Teaching Building13 capacity13 for13 personal13 development13 self13 ndash13 understanding13 autonomy13 and13 esteem13 of13 self

13 Awareness13 TrainingIncreasing13 self13 ndash13 understanding13 self13 ndash13 esteem13 and13 capacity13 for13 exploraampon13 Development13 of13 interpersonal13 sensiampvity13 and13 empathy

Classroom13 Meeampng Development13 of13 self13 ndash13 understanding13 and13 responsibility13 to13 self13 and13 others

Self13 ndash13 Actualisaampon Development13 of13 personal13 understanding13 and13 capacity13 for13 development

Conceptual13 Systems Increasing13 personal13 complexity13 and13 flexibility13 in13 processing13 informaampon13 and13 interacampng13 with13 others

63Friday 18 November 11

Behavioural systems Family of Models

Social13 Learning

Management13 of13 behaviour13 Learning13 new13 paerns13 of13 behaviour13

reducing13 phobic13 and13 other13 dysfuncamponal13 paerns13 learning13 self13 ndash13

control

Mastery13 Learning Mastery13 of13 academic13 skills13 and13 content13 of13 all13 types

Programmed13 Learning Mastery13 of13 skills13 concepts13 factual13 informaampon

SimulaamponMastery13 of13 complex13 skills13 and13 concepts13 in13 a13 wide13 range13 of13 areas13

of13 study

Direct13 TeachingMastery13 of13 academic13 content13 and13 skills13 in13 a13 wide13 range13 of13 areas13

of13 study

Anxiety13 Reducampon

Control13 over13 aversive13 reacampons13 Applicaampons13 in13 treatment13 and13

self13 ndash13 treatment13 of13 avoidance13 and13 dysfuncamponal13 paerns13 of13

response

64Friday 18 November 11

1st Musical Example

65Friday 18 November 11

2nd Musical Example

66Friday 18 November 11

Why is it important to Know

bull You can handle better your own education and practice (constructional approach vs behavioural approach)

bull Different professional exit points - but

bull Will need to employ variations of the above

bull Knowingpotential for greater achievement

67Friday 18 November 11

Psy and Music Education

Group Discussion

How would you approach a lesson if were a teacher

68Friday 18 November 11

69Friday 18 November 11

In Music Psychology

bull Compositionbull Improvisationbull Aestheticsbull Creativity

70Friday 18 November 11

The Psychology of Composition

In its discussionsldquoquestions fundamental assumptions

about the nature and role of musical activity and the

musical artefactrdquo

Impett 2009 p403

71Friday 18 November 11

The Psychology of Composition

It is not widely researched

ldquoLeast studied least understood of all musical artefactsrdquo

Sloboda 1985

ldquoLittle progress has been made in understanding composition per serdquo

Brown 2003

72Friday 18 November 11

The Psychology of Composition

What is Composition in terms of Psychology

73Friday 18 November 11

The Psychology of Composition

Composition (organisation of musical sound) could be seen as a process of self-reflection

from where self-expression derives

74Friday 18 November 11

The Psychology of Composition

ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated

expression the conscious embodiment of psychological

statesrdquo

Impett 2009

75Friday 18 November 11

Composition Psychology

76Friday 18 November 11

Composition Psychology

Creativity

77Friday 18 November 11

How could we perceive Composition

78Friday 18 November 11

Composition

it is a lsquoDiscussion of Mindsrsquo

Composer + Performer + Audience

79Friday 18 November 11

The Psychology of Composition

ldquoAlthough Composition to some degree is innateit is a product of a

situated processrdquo

Impett 2009

80Friday 18 November 11

Composition

a Process

whichby itself is in some sense creative

81Friday 18 November 11

Composition

In this ProcesshellipMetaphors and Imagination come into play

where personal aesthetics concepts and innovation (for example) shape the outcome

82Friday 18 November 11

The Psychology of Composition

based on the aforementionedSome fundamental principles exist

eg rhythm perception tonal perception

83Friday 18 November 11

The Psychology of Composition

Howevera precise nature for a personsrsquos psychology of

composition seems to be a highly individual question

84Friday 18 November 11

85Friday 18 November 11

Improvisation and Psychology

Studying Improvisation and its psychological aspect might provide

further insight into Composition

Why

86Friday 18 November 11

Improvisation and Psychology

ldquoUnlike musical composition which can be mostly construed as a more-or-

less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the

human bodyrdquo

Ashley 2009

87Friday 18 November 11

To Improvisehellipis

to produce music (composing) audibly

and in real time

88Friday 18 November 11

Improvisation and Psychology

bull Psychology of Musical Performance (eg motor behaviourhellip)

bull Pitch

bull Tone (perception)

bull and othersapproaching

deeper lsquocreativityrsquo

come altogether and in real time into play

89Friday 18 November 11

improvisation and Psychology

bull Learningbull Teachingbull Cognitionbull Society

lsquoCreativityrsquois further connected with

90Friday 18 November 11

Teaching and Learning

Perception

Instrumental Performance Composition-Improvisation

Psychology of Music

91Friday 18 November 11

end of part II92Friday 18 November 11

Music And Neuroscience

1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning

2) Knowledge acquisition is governed by factors that are not

fully under conscious control and can hardly be influenced

externally (Roth 2006)

93Friday 18 November 11

However we try to understand this lsquoknowledge acquisitionrsquo

frameworkand this is where Neuroscience comes into Music

(performance teaching learninghellip)

94Friday 18 November 11

What is Neuroscience

bull Neuroscience is this science which studies the Brain

bull This is where new experiences and knowledge are processed by interconnected Neurons which

become activated when a sensorial input is perceived

95Friday 18 November 11

How the Brain looks like

96Friday 18 November 11

97Friday 18 November 11

98Friday 18 November 11

lsquoBrain Voyagerrsquo Pictures

99Friday 18 November 11

bull The structure of the brain alters continuously

throughout our lives

bull This happens via experiences stimuli studies a walk in the parkby playing a musical

instrument

100Friday 18 November 11

The change of the brain structure we call it - Plasticity -

lsquoexperience-driven brain plasticityrsquo

101Friday 18 November 11

Why is it important to know about lsquoPlasticityrsquo

By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos

saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political

version of schooling

102Friday 18 November 11

A bit of History

ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt

almost 5000 years agohelliprdquo

Minagar Ragheb and Kelley 2003

103Friday 18 November 11

A Musical Fact

We know that evidence of music has been confirmed in every civilisation

throughout history

Chailley 1964

104Friday 18 November 11

Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology

(egGardner 1983)

Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful

musical experience

105Friday 18 November 11

History of Neuroscience in Music

One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)

106Friday 18 November 11

Supporting Areas

bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology

107Friday 18 November 11

Ways (Tools) of neuroscientific Rsc

bullMagnetic Resonance Imaging (MRI)

bullfunctional MRI

bullElectroencephalography (EEG)

bullEvent Related Potentials (ERPs)

bullTranscranial magnetic Stimulation (TMS)

bullMagnetoencephalography (MEG)

bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target

108Friday 18 November 11

Research Areas in Music

bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors

109Friday 18 November 11

Perception and Cognition -Musical Performance

Your Opinionhellip

Group Discussion

110Friday 18 November 11

Perception in Meuromusic

Perception (in music) is based on the sensory information that is

gathered by the brain regarding onersquos external and internal

environment

111Friday 18 November 11

Perception in Neuromusic

PitchRhythm

112Friday 18 November 11

We donrsquot know yet wether musical cognition and perception is

(a) specifically localised to distinct neural networks

(b) made up of shared neural networks that are associated with other brain processes

(c) a bit of both

113Friday 18 November 11

Musical Performance

Motor Learning and Instrumental Training

the act of making music is physically

intensivea pianist may bimanually

coordinate and lsquoscrutinisersquo up to 1800 notes per minute

114Friday 18 November 11

Musical Performance

3 parts of the brain are involved

bullthe sensorimotor cortex (interpretation of stimuli control of muscles)

bullthe basal ganglia (muscles in cooperative functions)

bullthe cerebellum (fine-tuning of motor movements stores motor patterns)

115Friday 18 November 11

Growth and Development proceed from general to specific

116Friday 18 November 11

Musicians appear to process new incoming stimuli more effectively

compared to non-musicians

117Friday 18 November 11

Meaning

if you practise more your brain learns to work more effectively

118Friday 18 November 11

lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop

brain cells and neurons

makes us even more effective

119Friday 18 November 11

It is evident that musicians have different brain structure than

non-musiciansAmunts et al 1997Schlaug et al 1995b

enhanced if training has started earlier in life

120Friday 18 November 11

For musical training there is this concept of lsquodeliberate practicersquo

motivation resources and attention determine the amount and quality of practice undertaken

121Friday 18 November 11

In Neuroscience scientists uncovered evidence showing a close association

between practice and expertisehellip

hours of deliberate practice

level of expertise

Lehmann and Gruber 2006

122Friday 18 November 11

implications to Musical performance and Training

1How to practise is best learned by practising

2Start early but not to early with playing an instrument

3Breaks and sleep is essential for motor learning and memory

4Use the human lsquomirror systemrsquo

123Friday 18 November 11

Examples of practisinghellip

124Friday 18 November 11

Neuroscience and Emotion in Music

Largely overlapping networks required for the processing of both

general and music-specific emotions

125Friday 18 November 11

Whether the neural basis of emotional appraisal of music is

innate or rather acquired through enculturation is subject

to ongoing discussion

Peretz and Sloboda 2005

126Friday 18 November 11

Nature vs NurtureProblem

127Friday 18 November 11

Howeverrecognition of emotions appears independent of musical

training

howhellipfamily environment possibly

128Friday 18 November 11

Recognising from Experiencing musical emotion is different

129Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

Social Family of Models

Group13 InvesampgaamponDevelopment13 of13 skills13 for13 parampcipaampon13 in13 democraampc13 process13 Simultaneously13 emphasises13 social13 development13 academic13 skills13 and13 personal13 understanding

Social13 Inquiry Social13 problem13 solving13 through13 collecampve13 academic13 study13 and13 logical13 reasoning

Jurisprudenampal13 InquiryAnalysis13 of13 policy13 issues13 through13 a13 jurisprudenampal13 framework13 Collecampon13 of13 data13 analysis13 of13 value13 quesampons13 and13 posiampons13 study13 of13 personal13 beliefs

Laboratory13 Method Understanding13 of13 group13 dynamics13 leadership13 understanding13 of13 personal13 styles

Role13 Playing Study13 of13 values13 and13 their13 role13 in13 social13 interacampon13 Personal13 understanding13 of13 values13 and13 behaviour

Posiampve13 Interdependence Development13 of13 interdependent13 strategies13 of13 social13 interacampon13 Understanding13 of13 self13 ndash13 other13 relaamponships13 and13 emoampons

Structured13 Social13 Inquiry Academic13 inquiry13 and13 social13 and13 personal13 development13 Cooperaampve13 strategies13 for13 approaching13 academic13 study

62Friday 18 November 11

Personal Family of Models

Nondirecampve13 Teaching Building13 capacity13 for13 personal13 development13 self13 ndash13 understanding13 autonomy13 and13 esteem13 of13 self

13 Awareness13 TrainingIncreasing13 self13 ndash13 understanding13 self13 ndash13 esteem13 and13 capacity13 for13 exploraampon13 Development13 of13 interpersonal13 sensiampvity13 and13 empathy

Classroom13 Meeampng Development13 of13 self13 ndash13 understanding13 and13 responsibility13 to13 self13 and13 others

Self13 ndash13 Actualisaampon Development13 of13 personal13 understanding13 and13 capacity13 for13 development

Conceptual13 Systems Increasing13 personal13 complexity13 and13 flexibility13 in13 processing13 informaampon13 and13 interacampng13 with13 others

63Friday 18 November 11

Behavioural systems Family of Models

Social13 Learning

Management13 of13 behaviour13 Learning13 new13 paerns13 of13 behaviour13

reducing13 phobic13 and13 other13 dysfuncamponal13 paerns13 learning13 self13 ndash13

control

Mastery13 Learning Mastery13 of13 academic13 skills13 and13 content13 of13 all13 types

Programmed13 Learning Mastery13 of13 skills13 concepts13 factual13 informaampon

SimulaamponMastery13 of13 complex13 skills13 and13 concepts13 in13 a13 wide13 range13 of13 areas13

of13 study

Direct13 TeachingMastery13 of13 academic13 content13 and13 skills13 in13 a13 wide13 range13 of13 areas13

of13 study

Anxiety13 Reducampon

Control13 over13 aversive13 reacampons13 Applicaampons13 in13 treatment13 and13

self13 ndash13 treatment13 of13 avoidance13 and13 dysfuncamponal13 paerns13 of13

response

64Friday 18 November 11

1st Musical Example

65Friday 18 November 11

2nd Musical Example

66Friday 18 November 11

Why is it important to Know

bull You can handle better your own education and practice (constructional approach vs behavioural approach)

bull Different professional exit points - but

bull Will need to employ variations of the above

bull Knowingpotential for greater achievement

67Friday 18 November 11

Psy and Music Education

Group Discussion

How would you approach a lesson if were a teacher

68Friday 18 November 11

69Friday 18 November 11

In Music Psychology

bull Compositionbull Improvisationbull Aestheticsbull Creativity

70Friday 18 November 11

The Psychology of Composition

In its discussionsldquoquestions fundamental assumptions

about the nature and role of musical activity and the

musical artefactrdquo

Impett 2009 p403

71Friday 18 November 11

The Psychology of Composition

It is not widely researched

ldquoLeast studied least understood of all musical artefactsrdquo

Sloboda 1985

ldquoLittle progress has been made in understanding composition per serdquo

Brown 2003

72Friday 18 November 11

The Psychology of Composition

What is Composition in terms of Psychology

73Friday 18 November 11

The Psychology of Composition

Composition (organisation of musical sound) could be seen as a process of self-reflection

from where self-expression derives

74Friday 18 November 11

The Psychology of Composition

ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated

expression the conscious embodiment of psychological

statesrdquo

Impett 2009

75Friday 18 November 11

Composition Psychology

76Friday 18 November 11

Composition Psychology

Creativity

77Friday 18 November 11

How could we perceive Composition

78Friday 18 November 11

Composition

it is a lsquoDiscussion of Mindsrsquo

Composer + Performer + Audience

79Friday 18 November 11

The Psychology of Composition

ldquoAlthough Composition to some degree is innateit is a product of a

situated processrdquo

Impett 2009

80Friday 18 November 11

Composition

a Process

whichby itself is in some sense creative

81Friday 18 November 11

Composition

In this ProcesshellipMetaphors and Imagination come into play

where personal aesthetics concepts and innovation (for example) shape the outcome

82Friday 18 November 11

The Psychology of Composition

based on the aforementionedSome fundamental principles exist

eg rhythm perception tonal perception

83Friday 18 November 11

The Psychology of Composition

Howevera precise nature for a personsrsquos psychology of

composition seems to be a highly individual question

84Friday 18 November 11

85Friday 18 November 11

Improvisation and Psychology

Studying Improvisation and its psychological aspect might provide

further insight into Composition

Why

86Friday 18 November 11

Improvisation and Psychology

ldquoUnlike musical composition which can be mostly construed as a more-or-

less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the

human bodyrdquo

Ashley 2009

87Friday 18 November 11

To Improvisehellipis

to produce music (composing) audibly

and in real time

88Friday 18 November 11

Improvisation and Psychology

bull Psychology of Musical Performance (eg motor behaviourhellip)

bull Pitch

bull Tone (perception)

bull and othersapproaching

deeper lsquocreativityrsquo

come altogether and in real time into play

89Friday 18 November 11

improvisation and Psychology

bull Learningbull Teachingbull Cognitionbull Society

lsquoCreativityrsquois further connected with

90Friday 18 November 11

Teaching and Learning

Perception

Instrumental Performance Composition-Improvisation

Psychology of Music

91Friday 18 November 11

end of part II92Friday 18 November 11

Music And Neuroscience

1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning

2) Knowledge acquisition is governed by factors that are not

fully under conscious control and can hardly be influenced

externally (Roth 2006)

93Friday 18 November 11

However we try to understand this lsquoknowledge acquisitionrsquo

frameworkand this is where Neuroscience comes into Music

(performance teaching learninghellip)

94Friday 18 November 11

What is Neuroscience

bull Neuroscience is this science which studies the Brain

bull This is where new experiences and knowledge are processed by interconnected Neurons which

become activated when a sensorial input is perceived

95Friday 18 November 11

How the Brain looks like

96Friday 18 November 11

97Friday 18 November 11

98Friday 18 November 11

lsquoBrain Voyagerrsquo Pictures

99Friday 18 November 11

bull The structure of the brain alters continuously

throughout our lives

bull This happens via experiences stimuli studies a walk in the parkby playing a musical

instrument

100Friday 18 November 11

The change of the brain structure we call it - Plasticity -

lsquoexperience-driven brain plasticityrsquo

101Friday 18 November 11

Why is it important to know about lsquoPlasticityrsquo

By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos

saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political

version of schooling

102Friday 18 November 11

A bit of History

ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt

almost 5000 years agohelliprdquo

Minagar Ragheb and Kelley 2003

103Friday 18 November 11

A Musical Fact

We know that evidence of music has been confirmed in every civilisation

throughout history

Chailley 1964

104Friday 18 November 11

Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology

(egGardner 1983)

Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful

musical experience

105Friday 18 November 11

History of Neuroscience in Music

One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)

106Friday 18 November 11

Supporting Areas

bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology

107Friday 18 November 11

Ways (Tools) of neuroscientific Rsc

bullMagnetic Resonance Imaging (MRI)

bullfunctional MRI

bullElectroencephalography (EEG)

bullEvent Related Potentials (ERPs)

bullTranscranial magnetic Stimulation (TMS)

bullMagnetoencephalography (MEG)

bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target

108Friday 18 November 11

Research Areas in Music

bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors

109Friday 18 November 11

Perception and Cognition -Musical Performance

Your Opinionhellip

Group Discussion

110Friday 18 November 11

Perception in Meuromusic

Perception (in music) is based on the sensory information that is

gathered by the brain regarding onersquos external and internal

environment

111Friday 18 November 11

Perception in Neuromusic

PitchRhythm

112Friday 18 November 11

We donrsquot know yet wether musical cognition and perception is

(a) specifically localised to distinct neural networks

(b) made up of shared neural networks that are associated with other brain processes

(c) a bit of both

113Friday 18 November 11

Musical Performance

Motor Learning and Instrumental Training

the act of making music is physically

intensivea pianist may bimanually

coordinate and lsquoscrutinisersquo up to 1800 notes per minute

114Friday 18 November 11

Musical Performance

3 parts of the brain are involved

bullthe sensorimotor cortex (interpretation of stimuli control of muscles)

bullthe basal ganglia (muscles in cooperative functions)

bullthe cerebellum (fine-tuning of motor movements stores motor patterns)

115Friday 18 November 11

Growth and Development proceed from general to specific

116Friday 18 November 11

Musicians appear to process new incoming stimuli more effectively

compared to non-musicians

117Friday 18 November 11

Meaning

if you practise more your brain learns to work more effectively

118Friday 18 November 11

lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop

brain cells and neurons

makes us even more effective

119Friday 18 November 11

It is evident that musicians have different brain structure than

non-musiciansAmunts et al 1997Schlaug et al 1995b

enhanced if training has started earlier in life

120Friday 18 November 11

For musical training there is this concept of lsquodeliberate practicersquo

motivation resources and attention determine the amount and quality of practice undertaken

121Friday 18 November 11

In Neuroscience scientists uncovered evidence showing a close association

between practice and expertisehellip

hours of deliberate practice

level of expertise

Lehmann and Gruber 2006

122Friday 18 November 11

implications to Musical performance and Training

1How to practise is best learned by practising

2Start early but not to early with playing an instrument

3Breaks and sleep is essential for motor learning and memory

4Use the human lsquomirror systemrsquo

123Friday 18 November 11

Examples of practisinghellip

124Friday 18 November 11

Neuroscience and Emotion in Music

Largely overlapping networks required for the processing of both

general and music-specific emotions

125Friday 18 November 11

Whether the neural basis of emotional appraisal of music is

innate or rather acquired through enculturation is subject

to ongoing discussion

Peretz and Sloboda 2005

126Friday 18 November 11

Nature vs NurtureProblem

127Friday 18 November 11

Howeverrecognition of emotions appears independent of musical

training

howhellipfamily environment possibly

128Friday 18 November 11

Recognising from Experiencing musical emotion is different

129Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

Personal Family of Models

Nondirecampve13 Teaching Building13 capacity13 for13 personal13 development13 self13 ndash13 understanding13 autonomy13 and13 esteem13 of13 self

13 Awareness13 TrainingIncreasing13 self13 ndash13 understanding13 self13 ndash13 esteem13 and13 capacity13 for13 exploraampon13 Development13 of13 interpersonal13 sensiampvity13 and13 empathy

Classroom13 Meeampng Development13 of13 self13 ndash13 understanding13 and13 responsibility13 to13 self13 and13 others

Self13 ndash13 Actualisaampon Development13 of13 personal13 understanding13 and13 capacity13 for13 development

Conceptual13 Systems Increasing13 personal13 complexity13 and13 flexibility13 in13 processing13 informaampon13 and13 interacampng13 with13 others

63Friday 18 November 11

Behavioural systems Family of Models

Social13 Learning

Management13 of13 behaviour13 Learning13 new13 paerns13 of13 behaviour13

reducing13 phobic13 and13 other13 dysfuncamponal13 paerns13 learning13 self13 ndash13

control

Mastery13 Learning Mastery13 of13 academic13 skills13 and13 content13 of13 all13 types

Programmed13 Learning Mastery13 of13 skills13 concepts13 factual13 informaampon

SimulaamponMastery13 of13 complex13 skills13 and13 concepts13 in13 a13 wide13 range13 of13 areas13

of13 study

Direct13 TeachingMastery13 of13 academic13 content13 and13 skills13 in13 a13 wide13 range13 of13 areas13

of13 study

Anxiety13 Reducampon

Control13 over13 aversive13 reacampons13 Applicaampons13 in13 treatment13 and13

self13 ndash13 treatment13 of13 avoidance13 and13 dysfuncamponal13 paerns13 of13

response

64Friday 18 November 11

1st Musical Example

65Friday 18 November 11

2nd Musical Example

66Friday 18 November 11

Why is it important to Know

bull You can handle better your own education and practice (constructional approach vs behavioural approach)

bull Different professional exit points - but

bull Will need to employ variations of the above

bull Knowingpotential for greater achievement

67Friday 18 November 11

Psy and Music Education

Group Discussion

How would you approach a lesson if were a teacher

68Friday 18 November 11

69Friday 18 November 11

In Music Psychology

bull Compositionbull Improvisationbull Aestheticsbull Creativity

70Friday 18 November 11

The Psychology of Composition

In its discussionsldquoquestions fundamental assumptions

about the nature and role of musical activity and the

musical artefactrdquo

Impett 2009 p403

71Friday 18 November 11

The Psychology of Composition

It is not widely researched

ldquoLeast studied least understood of all musical artefactsrdquo

Sloboda 1985

ldquoLittle progress has been made in understanding composition per serdquo

Brown 2003

72Friday 18 November 11

The Psychology of Composition

What is Composition in terms of Psychology

73Friday 18 November 11

The Psychology of Composition

Composition (organisation of musical sound) could be seen as a process of self-reflection

from where self-expression derives

74Friday 18 November 11

The Psychology of Composition

ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated

expression the conscious embodiment of psychological

statesrdquo

Impett 2009

75Friday 18 November 11

Composition Psychology

76Friday 18 November 11

Composition Psychology

Creativity

77Friday 18 November 11

How could we perceive Composition

78Friday 18 November 11

Composition

it is a lsquoDiscussion of Mindsrsquo

Composer + Performer + Audience

79Friday 18 November 11

The Psychology of Composition

ldquoAlthough Composition to some degree is innateit is a product of a

situated processrdquo

Impett 2009

80Friday 18 November 11

Composition

a Process

whichby itself is in some sense creative

81Friday 18 November 11

Composition

In this ProcesshellipMetaphors and Imagination come into play

where personal aesthetics concepts and innovation (for example) shape the outcome

82Friday 18 November 11

The Psychology of Composition

based on the aforementionedSome fundamental principles exist

eg rhythm perception tonal perception

83Friday 18 November 11

The Psychology of Composition

Howevera precise nature for a personsrsquos psychology of

composition seems to be a highly individual question

84Friday 18 November 11

85Friday 18 November 11

Improvisation and Psychology

Studying Improvisation and its psychological aspect might provide

further insight into Composition

Why

86Friday 18 November 11

Improvisation and Psychology

ldquoUnlike musical composition which can be mostly construed as a more-or-

less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the

human bodyrdquo

Ashley 2009

87Friday 18 November 11

To Improvisehellipis

to produce music (composing) audibly

and in real time

88Friday 18 November 11

Improvisation and Psychology

bull Psychology of Musical Performance (eg motor behaviourhellip)

bull Pitch

bull Tone (perception)

bull and othersapproaching

deeper lsquocreativityrsquo

come altogether and in real time into play

89Friday 18 November 11

improvisation and Psychology

bull Learningbull Teachingbull Cognitionbull Society

lsquoCreativityrsquois further connected with

90Friday 18 November 11

Teaching and Learning

Perception

Instrumental Performance Composition-Improvisation

Psychology of Music

91Friday 18 November 11

end of part II92Friday 18 November 11

Music And Neuroscience

1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning

2) Knowledge acquisition is governed by factors that are not

fully under conscious control and can hardly be influenced

externally (Roth 2006)

93Friday 18 November 11

However we try to understand this lsquoknowledge acquisitionrsquo

frameworkand this is where Neuroscience comes into Music

(performance teaching learninghellip)

94Friday 18 November 11

What is Neuroscience

bull Neuroscience is this science which studies the Brain

bull This is where new experiences and knowledge are processed by interconnected Neurons which

become activated when a sensorial input is perceived

95Friday 18 November 11

How the Brain looks like

96Friday 18 November 11

97Friday 18 November 11

98Friday 18 November 11

lsquoBrain Voyagerrsquo Pictures

99Friday 18 November 11

bull The structure of the brain alters continuously

throughout our lives

bull This happens via experiences stimuli studies a walk in the parkby playing a musical

instrument

100Friday 18 November 11

The change of the brain structure we call it - Plasticity -

lsquoexperience-driven brain plasticityrsquo

101Friday 18 November 11

Why is it important to know about lsquoPlasticityrsquo

By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos

saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political

version of schooling

102Friday 18 November 11

A bit of History

ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt

almost 5000 years agohelliprdquo

Minagar Ragheb and Kelley 2003

103Friday 18 November 11

A Musical Fact

We know that evidence of music has been confirmed in every civilisation

throughout history

Chailley 1964

104Friday 18 November 11

Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology

(egGardner 1983)

Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful

musical experience

105Friday 18 November 11

History of Neuroscience in Music

One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)

106Friday 18 November 11

Supporting Areas

bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology

107Friday 18 November 11

Ways (Tools) of neuroscientific Rsc

bullMagnetic Resonance Imaging (MRI)

bullfunctional MRI

bullElectroencephalography (EEG)

bullEvent Related Potentials (ERPs)

bullTranscranial magnetic Stimulation (TMS)

bullMagnetoencephalography (MEG)

bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target

108Friday 18 November 11

Research Areas in Music

bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors

109Friday 18 November 11

Perception and Cognition -Musical Performance

Your Opinionhellip

Group Discussion

110Friday 18 November 11

Perception in Meuromusic

Perception (in music) is based on the sensory information that is

gathered by the brain regarding onersquos external and internal

environment

111Friday 18 November 11

Perception in Neuromusic

PitchRhythm

112Friday 18 November 11

We donrsquot know yet wether musical cognition and perception is

(a) specifically localised to distinct neural networks

(b) made up of shared neural networks that are associated with other brain processes

(c) a bit of both

113Friday 18 November 11

Musical Performance

Motor Learning and Instrumental Training

the act of making music is physically

intensivea pianist may bimanually

coordinate and lsquoscrutinisersquo up to 1800 notes per minute

114Friday 18 November 11

Musical Performance

3 parts of the brain are involved

bullthe sensorimotor cortex (interpretation of stimuli control of muscles)

bullthe basal ganglia (muscles in cooperative functions)

bullthe cerebellum (fine-tuning of motor movements stores motor patterns)

115Friday 18 November 11

Growth and Development proceed from general to specific

116Friday 18 November 11

Musicians appear to process new incoming stimuli more effectively

compared to non-musicians

117Friday 18 November 11

Meaning

if you practise more your brain learns to work more effectively

118Friday 18 November 11

lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop

brain cells and neurons

makes us even more effective

119Friday 18 November 11

It is evident that musicians have different brain structure than

non-musiciansAmunts et al 1997Schlaug et al 1995b

enhanced if training has started earlier in life

120Friday 18 November 11

For musical training there is this concept of lsquodeliberate practicersquo

motivation resources and attention determine the amount and quality of practice undertaken

121Friday 18 November 11

In Neuroscience scientists uncovered evidence showing a close association

between practice and expertisehellip

hours of deliberate practice

level of expertise

Lehmann and Gruber 2006

122Friday 18 November 11

implications to Musical performance and Training

1How to practise is best learned by practising

2Start early but not to early with playing an instrument

3Breaks and sleep is essential for motor learning and memory

4Use the human lsquomirror systemrsquo

123Friday 18 November 11

Examples of practisinghellip

124Friday 18 November 11

Neuroscience and Emotion in Music

Largely overlapping networks required for the processing of both

general and music-specific emotions

125Friday 18 November 11

Whether the neural basis of emotional appraisal of music is

innate or rather acquired through enculturation is subject

to ongoing discussion

Peretz and Sloboda 2005

126Friday 18 November 11

Nature vs NurtureProblem

127Friday 18 November 11

Howeverrecognition of emotions appears independent of musical

training

howhellipfamily environment possibly

128Friday 18 November 11

Recognising from Experiencing musical emotion is different

129Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

Behavioural systems Family of Models

Social13 Learning

Management13 of13 behaviour13 Learning13 new13 paerns13 of13 behaviour13

reducing13 phobic13 and13 other13 dysfuncamponal13 paerns13 learning13 self13 ndash13

control

Mastery13 Learning Mastery13 of13 academic13 skills13 and13 content13 of13 all13 types

Programmed13 Learning Mastery13 of13 skills13 concepts13 factual13 informaampon

SimulaamponMastery13 of13 complex13 skills13 and13 concepts13 in13 a13 wide13 range13 of13 areas13

of13 study

Direct13 TeachingMastery13 of13 academic13 content13 and13 skills13 in13 a13 wide13 range13 of13 areas13

of13 study

Anxiety13 Reducampon

Control13 over13 aversive13 reacampons13 Applicaampons13 in13 treatment13 and13

self13 ndash13 treatment13 of13 avoidance13 and13 dysfuncamponal13 paerns13 of13

response

64Friday 18 November 11

1st Musical Example

65Friday 18 November 11

2nd Musical Example

66Friday 18 November 11

Why is it important to Know

bull You can handle better your own education and practice (constructional approach vs behavioural approach)

bull Different professional exit points - but

bull Will need to employ variations of the above

bull Knowingpotential for greater achievement

67Friday 18 November 11

Psy and Music Education

Group Discussion

How would you approach a lesson if were a teacher

68Friday 18 November 11

69Friday 18 November 11

In Music Psychology

bull Compositionbull Improvisationbull Aestheticsbull Creativity

70Friday 18 November 11

The Psychology of Composition

In its discussionsldquoquestions fundamental assumptions

about the nature and role of musical activity and the

musical artefactrdquo

Impett 2009 p403

71Friday 18 November 11

The Psychology of Composition

It is not widely researched

ldquoLeast studied least understood of all musical artefactsrdquo

Sloboda 1985

ldquoLittle progress has been made in understanding composition per serdquo

Brown 2003

72Friday 18 November 11

The Psychology of Composition

What is Composition in terms of Psychology

73Friday 18 November 11

The Psychology of Composition

Composition (organisation of musical sound) could be seen as a process of self-reflection

from where self-expression derives

74Friday 18 November 11

The Psychology of Composition

ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated

expression the conscious embodiment of psychological

statesrdquo

Impett 2009

75Friday 18 November 11

Composition Psychology

76Friday 18 November 11

Composition Psychology

Creativity

77Friday 18 November 11

How could we perceive Composition

78Friday 18 November 11

Composition

it is a lsquoDiscussion of Mindsrsquo

Composer + Performer + Audience

79Friday 18 November 11

The Psychology of Composition

ldquoAlthough Composition to some degree is innateit is a product of a

situated processrdquo

Impett 2009

80Friday 18 November 11

Composition

a Process

whichby itself is in some sense creative

81Friday 18 November 11

Composition

In this ProcesshellipMetaphors and Imagination come into play

where personal aesthetics concepts and innovation (for example) shape the outcome

82Friday 18 November 11

The Psychology of Composition

based on the aforementionedSome fundamental principles exist

eg rhythm perception tonal perception

83Friday 18 November 11

The Psychology of Composition

Howevera precise nature for a personsrsquos psychology of

composition seems to be a highly individual question

84Friday 18 November 11

85Friday 18 November 11

Improvisation and Psychology

Studying Improvisation and its psychological aspect might provide

further insight into Composition

Why

86Friday 18 November 11

Improvisation and Psychology

ldquoUnlike musical composition which can be mostly construed as a more-or-

less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the

human bodyrdquo

Ashley 2009

87Friday 18 November 11

To Improvisehellipis

to produce music (composing) audibly

and in real time

88Friday 18 November 11

Improvisation and Psychology

bull Psychology of Musical Performance (eg motor behaviourhellip)

bull Pitch

bull Tone (perception)

bull and othersapproaching

deeper lsquocreativityrsquo

come altogether and in real time into play

89Friday 18 November 11

improvisation and Psychology

bull Learningbull Teachingbull Cognitionbull Society

lsquoCreativityrsquois further connected with

90Friday 18 November 11

Teaching and Learning

Perception

Instrumental Performance Composition-Improvisation

Psychology of Music

91Friday 18 November 11

end of part II92Friday 18 November 11

Music And Neuroscience

1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning

2) Knowledge acquisition is governed by factors that are not

fully under conscious control and can hardly be influenced

externally (Roth 2006)

93Friday 18 November 11

However we try to understand this lsquoknowledge acquisitionrsquo

frameworkand this is where Neuroscience comes into Music

(performance teaching learninghellip)

94Friday 18 November 11

What is Neuroscience

bull Neuroscience is this science which studies the Brain

bull This is where new experiences and knowledge are processed by interconnected Neurons which

become activated when a sensorial input is perceived

95Friday 18 November 11

How the Brain looks like

96Friday 18 November 11

97Friday 18 November 11

98Friday 18 November 11

lsquoBrain Voyagerrsquo Pictures

99Friday 18 November 11

bull The structure of the brain alters continuously

throughout our lives

bull This happens via experiences stimuli studies a walk in the parkby playing a musical

instrument

100Friday 18 November 11

The change of the brain structure we call it - Plasticity -

lsquoexperience-driven brain plasticityrsquo

101Friday 18 November 11

Why is it important to know about lsquoPlasticityrsquo

By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos

saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political

version of schooling

102Friday 18 November 11

A bit of History

ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt

almost 5000 years agohelliprdquo

Minagar Ragheb and Kelley 2003

103Friday 18 November 11

A Musical Fact

We know that evidence of music has been confirmed in every civilisation

throughout history

Chailley 1964

104Friday 18 November 11

Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology

(egGardner 1983)

Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful

musical experience

105Friday 18 November 11

History of Neuroscience in Music

One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)

106Friday 18 November 11

Supporting Areas

bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology

107Friday 18 November 11

Ways (Tools) of neuroscientific Rsc

bullMagnetic Resonance Imaging (MRI)

bullfunctional MRI

bullElectroencephalography (EEG)

bullEvent Related Potentials (ERPs)

bullTranscranial magnetic Stimulation (TMS)

bullMagnetoencephalography (MEG)

bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target

108Friday 18 November 11

Research Areas in Music

bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors

109Friday 18 November 11

Perception and Cognition -Musical Performance

Your Opinionhellip

Group Discussion

110Friday 18 November 11

Perception in Meuromusic

Perception (in music) is based on the sensory information that is

gathered by the brain regarding onersquos external and internal

environment

111Friday 18 November 11

Perception in Neuromusic

PitchRhythm

112Friday 18 November 11

We donrsquot know yet wether musical cognition and perception is

(a) specifically localised to distinct neural networks

(b) made up of shared neural networks that are associated with other brain processes

(c) a bit of both

113Friday 18 November 11

Musical Performance

Motor Learning and Instrumental Training

the act of making music is physically

intensivea pianist may bimanually

coordinate and lsquoscrutinisersquo up to 1800 notes per minute

114Friday 18 November 11

Musical Performance

3 parts of the brain are involved

bullthe sensorimotor cortex (interpretation of stimuli control of muscles)

bullthe basal ganglia (muscles in cooperative functions)

bullthe cerebellum (fine-tuning of motor movements stores motor patterns)

115Friday 18 November 11

Growth and Development proceed from general to specific

116Friday 18 November 11

Musicians appear to process new incoming stimuli more effectively

compared to non-musicians

117Friday 18 November 11

Meaning

if you practise more your brain learns to work more effectively

118Friday 18 November 11

lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop

brain cells and neurons

makes us even more effective

119Friday 18 November 11

It is evident that musicians have different brain structure than

non-musiciansAmunts et al 1997Schlaug et al 1995b

enhanced if training has started earlier in life

120Friday 18 November 11

For musical training there is this concept of lsquodeliberate practicersquo

motivation resources and attention determine the amount and quality of practice undertaken

121Friday 18 November 11

In Neuroscience scientists uncovered evidence showing a close association

between practice and expertisehellip

hours of deliberate practice

level of expertise

Lehmann and Gruber 2006

122Friday 18 November 11

implications to Musical performance and Training

1How to practise is best learned by practising

2Start early but not to early with playing an instrument

3Breaks and sleep is essential for motor learning and memory

4Use the human lsquomirror systemrsquo

123Friday 18 November 11

Examples of practisinghellip

124Friday 18 November 11

Neuroscience and Emotion in Music

Largely overlapping networks required for the processing of both

general and music-specific emotions

125Friday 18 November 11

Whether the neural basis of emotional appraisal of music is

innate or rather acquired through enculturation is subject

to ongoing discussion

Peretz and Sloboda 2005

126Friday 18 November 11

Nature vs NurtureProblem

127Friday 18 November 11

Howeverrecognition of emotions appears independent of musical

training

howhellipfamily environment possibly

128Friday 18 November 11

Recognising from Experiencing musical emotion is different

129Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

1st Musical Example

65Friday 18 November 11

2nd Musical Example

66Friday 18 November 11

Why is it important to Know

bull You can handle better your own education and practice (constructional approach vs behavioural approach)

bull Different professional exit points - but

bull Will need to employ variations of the above

bull Knowingpotential for greater achievement

67Friday 18 November 11

Psy and Music Education

Group Discussion

How would you approach a lesson if were a teacher

68Friday 18 November 11

69Friday 18 November 11

In Music Psychology

bull Compositionbull Improvisationbull Aestheticsbull Creativity

70Friday 18 November 11

The Psychology of Composition

In its discussionsldquoquestions fundamental assumptions

about the nature and role of musical activity and the

musical artefactrdquo

Impett 2009 p403

71Friday 18 November 11

The Psychology of Composition

It is not widely researched

ldquoLeast studied least understood of all musical artefactsrdquo

Sloboda 1985

ldquoLittle progress has been made in understanding composition per serdquo

Brown 2003

72Friday 18 November 11

The Psychology of Composition

What is Composition in terms of Psychology

73Friday 18 November 11

The Psychology of Composition

Composition (organisation of musical sound) could be seen as a process of self-reflection

from where self-expression derives

74Friday 18 November 11

The Psychology of Composition

ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated

expression the conscious embodiment of psychological

statesrdquo

Impett 2009

75Friday 18 November 11

Composition Psychology

76Friday 18 November 11

Composition Psychology

Creativity

77Friday 18 November 11

How could we perceive Composition

78Friday 18 November 11

Composition

it is a lsquoDiscussion of Mindsrsquo

Composer + Performer + Audience

79Friday 18 November 11

The Psychology of Composition

ldquoAlthough Composition to some degree is innateit is a product of a

situated processrdquo

Impett 2009

80Friday 18 November 11

Composition

a Process

whichby itself is in some sense creative

81Friday 18 November 11

Composition

In this ProcesshellipMetaphors and Imagination come into play

where personal aesthetics concepts and innovation (for example) shape the outcome

82Friday 18 November 11

The Psychology of Composition

based on the aforementionedSome fundamental principles exist

eg rhythm perception tonal perception

83Friday 18 November 11

The Psychology of Composition

Howevera precise nature for a personsrsquos psychology of

composition seems to be a highly individual question

84Friday 18 November 11

85Friday 18 November 11

Improvisation and Psychology

Studying Improvisation and its psychological aspect might provide

further insight into Composition

Why

86Friday 18 November 11

Improvisation and Psychology

ldquoUnlike musical composition which can be mostly construed as a more-or-

less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the

human bodyrdquo

Ashley 2009

87Friday 18 November 11

To Improvisehellipis

to produce music (composing) audibly

and in real time

88Friday 18 November 11

Improvisation and Psychology

bull Psychology of Musical Performance (eg motor behaviourhellip)

bull Pitch

bull Tone (perception)

bull and othersapproaching

deeper lsquocreativityrsquo

come altogether and in real time into play

89Friday 18 November 11

improvisation and Psychology

bull Learningbull Teachingbull Cognitionbull Society

lsquoCreativityrsquois further connected with

90Friday 18 November 11

Teaching and Learning

Perception

Instrumental Performance Composition-Improvisation

Psychology of Music

91Friday 18 November 11

end of part II92Friday 18 November 11

Music And Neuroscience

1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning

2) Knowledge acquisition is governed by factors that are not

fully under conscious control and can hardly be influenced

externally (Roth 2006)

93Friday 18 November 11

However we try to understand this lsquoknowledge acquisitionrsquo

frameworkand this is where Neuroscience comes into Music

(performance teaching learninghellip)

94Friday 18 November 11

What is Neuroscience

bull Neuroscience is this science which studies the Brain

bull This is where new experiences and knowledge are processed by interconnected Neurons which

become activated when a sensorial input is perceived

95Friday 18 November 11

How the Brain looks like

96Friday 18 November 11

97Friday 18 November 11

98Friday 18 November 11

lsquoBrain Voyagerrsquo Pictures

99Friday 18 November 11

bull The structure of the brain alters continuously

throughout our lives

bull This happens via experiences stimuli studies a walk in the parkby playing a musical

instrument

100Friday 18 November 11

The change of the brain structure we call it - Plasticity -

lsquoexperience-driven brain plasticityrsquo

101Friday 18 November 11

Why is it important to know about lsquoPlasticityrsquo

By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos

saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political

version of schooling

102Friday 18 November 11

A bit of History

ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt

almost 5000 years agohelliprdquo

Minagar Ragheb and Kelley 2003

103Friday 18 November 11

A Musical Fact

We know that evidence of music has been confirmed in every civilisation

throughout history

Chailley 1964

104Friday 18 November 11

Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology

(egGardner 1983)

Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful

musical experience

105Friday 18 November 11

History of Neuroscience in Music

One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)

106Friday 18 November 11

Supporting Areas

bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology

107Friday 18 November 11

Ways (Tools) of neuroscientific Rsc

bullMagnetic Resonance Imaging (MRI)

bullfunctional MRI

bullElectroencephalography (EEG)

bullEvent Related Potentials (ERPs)

bullTranscranial magnetic Stimulation (TMS)

bullMagnetoencephalography (MEG)

bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target

108Friday 18 November 11

Research Areas in Music

bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors

109Friday 18 November 11

Perception and Cognition -Musical Performance

Your Opinionhellip

Group Discussion

110Friday 18 November 11

Perception in Meuromusic

Perception (in music) is based on the sensory information that is

gathered by the brain regarding onersquos external and internal

environment

111Friday 18 November 11

Perception in Neuromusic

PitchRhythm

112Friday 18 November 11

We donrsquot know yet wether musical cognition and perception is

(a) specifically localised to distinct neural networks

(b) made up of shared neural networks that are associated with other brain processes

(c) a bit of both

113Friday 18 November 11

Musical Performance

Motor Learning and Instrumental Training

the act of making music is physically

intensivea pianist may bimanually

coordinate and lsquoscrutinisersquo up to 1800 notes per minute

114Friday 18 November 11

Musical Performance

3 parts of the brain are involved

bullthe sensorimotor cortex (interpretation of stimuli control of muscles)

bullthe basal ganglia (muscles in cooperative functions)

bullthe cerebellum (fine-tuning of motor movements stores motor patterns)

115Friday 18 November 11

Growth and Development proceed from general to specific

116Friday 18 November 11

Musicians appear to process new incoming stimuli more effectively

compared to non-musicians

117Friday 18 November 11

Meaning

if you practise more your brain learns to work more effectively

118Friday 18 November 11

lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop

brain cells and neurons

makes us even more effective

119Friday 18 November 11

It is evident that musicians have different brain structure than

non-musiciansAmunts et al 1997Schlaug et al 1995b

enhanced if training has started earlier in life

120Friday 18 November 11

For musical training there is this concept of lsquodeliberate practicersquo

motivation resources and attention determine the amount and quality of practice undertaken

121Friday 18 November 11

In Neuroscience scientists uncovered evidence showing a close association

between practice and expertisehellip

hours of deliberate practice

level of expertise

Lehmann and Gruber 2006

122Friday 18 November 11

implications to Musical performance and Training

1How to practise is best learned by practising

2Start early but not to early with playing an instrument

3Breaks and sleep is essential for motor learning and memory

4Use the human lsquomirror systemrsquo

123Friday 18 November 11

Examples of practisinghellip

124Friday 18 November 11

Neuroscience and Emotion in Music

Largely overlapping networks required for the processing of both

general and music-specific emotions

125Friday 18 November 11

Whether the neural basis of emotional appraisal of music is

innate or rather acquired through enculturation is subject

to ongoing discussion

Peretz and Sloboda 2005

126Friday 18 November 11

Nature vs NurtureProblem

127Friday 18 November 11

Howeverrecognition of emotions appears independent of musical

training

howhellipfamily environment possibly

128Friday 18 November 11

Recognising from Experiencing musical emotion is different

129Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

2nd Musical Example

66Friday 18 November 11

Why is it important to Know

bull You can handle better your own education and practice (constructional approach vs behavioural approach)

bull Different professional exit points - but

bull Will need to employ variations of the above

bull Knowingpotential for greater achievement

67Friday 18 November 11

Psy and Music Education

Group Discussion

How would you approach a lesson if were a teacher

68Friday 18 November 11

69Friday 18 November 11

In Music Psychology

bull Compositionbull Improvisationbull Aestheticsbull Creativity

70Friday 18 November 11

The Psychology of Composition

In its discussionsldquoquestions fundamental assumptions

about the nature and role of musical activity and the

musical artefactrdquo

Impett 2009 p403

71Friday 18 November 11

The Psychology of Composition

It is not widely researched

ldquoLeast studied least understood of all musical artefactsrdquo

Sloboda 1985

ldquoLittle progress has been made in understanding composition per serdquo

Brown 2003

72Friday 18 November 11

The Psychology of Composition

What is Composition in terms of Psychology

73Friday 18 November 11

The Psychology of Composition

Composition (organisation of musical sound) could be seen as a process of self-reflection

from where self-expression derives

74Friday 18 November 11

The Psychology of Composition

ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated

expression the conscious embodiment of psychological

statesrdquo

Impett 2009

75Friday 18 November 11

Composition Psychology

76Friday 18 November 11

Composition Psychology

Creativity

77Friday 18 November 11

How could we perceive Composition

78Friday 18 November 11

Composition

it is a lsquoDiscussion of Mindsrsquo

Composer + Performer + Audience

79Friday 18 November 11

The Psychology of Composition

ldquoAlthough Composition to some degree is innateit is a product of a

situated processrdquo

Impett 2009

80Friday 18 November 11

Composition

a Process

whichby itself is in some sense creative

81Friday 18 November 11

Composition

In this ProcesshellipMetaphors and Imagination come into play

where personal aesthetics concepts and innovation (for example) shape the outcome

82Friday 18 November 11

The Psychology of Composition

based on the aforementionedSome fundamental principles exist

eg rhythm perception tonal perception

83Friday 18 November 11

The Psychology of Composition

Howevera precise nature for a personsrsquos psychology of

composition seems to be a highly individual question

84Friday 18 November 11

85Friday 18 November 11

Improvisation and Psychology

Studying Improvisation and its psychological aspect might provide

further insight into Composition

Why

86Friday 18 November 11

Improvisation and Psychology

ldquoUnlike musical composition which can be mostly construed as a more-or-

less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the

human bodyrdquo

Ashley 2009

87Friday 18 November 11

To Improvisehellipis

to produce music (composing) audibly

and in real time

88Friday 18 November 11

Improvisation and Psychology

bull Psychology of Musical Performance (eg motor behaviourhellip)

bull Pitch

bull Tone (perception)

bull and othersapproaching

deeper lsquocreativityrsquo

come altogether and in real time into play

89Friday 18 November 11

improvisation and Psychology

bull Learningbull Teachingbull Cognitionbull Society

lsquoCreativityrsquois further connected with

90Friday 18 November 11

Teaching and Learning

Perception

Instrumental Performance Composition-Improvisation

Psychology of Music

91Friday 18 November 11

end of part II92Friday 18 November 11

Music And Neuroscience

1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning

2) Knowledge acquisition is governed by factors that are not

fully under conscious control and can hardly be influenced

externally (Roth 2006)

93Friday 18 November 11

However we try to understand this lsquoknowledge acquisitionrsquo

frameworkand this is where Neuroscience comes into Music

(performance teaching learninghellip)

94Friday 18 November 11

What is Neuroscience

bull Neuroscience is this science which studies the Brain

bull This is where new experiences and knowledge are processed by interconnected Neurons which

become activated when a sensorial input is perceived

95Friday 18 November 11

How the Brain looks like

96Friday 18 November 11

97Friday 18 November 11

98Friday 18 November 11

lsquoBrain Voyagerrsquo Pictures

99Friday 18 November 11

bull The structure of the brain alters continuously

throughout our lives

bull This happens via experiences stimuli studies a walk in the parkby playing a musical

instrument

100Friday 18 November 11

The change of the brain structure we call it - Plasticity -

lsquoexperience-driven brain plasticityrsquo

101Friday 18 November 11

Why is it important to know about lsquoPlasticityrsquo

By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos

saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political

version of schooling

102Friday 18 November 11

A bit of History

ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt

almost 5000 years agohelliprdquo

Minagar Ragheb and Kelley 2003

103Friday 18 November 11

A Musical Fact

We know that evidence of music has been confirmed in every civilisation

throughout history

Chailley 1964

104Friday 18 November 11

Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology

(egGardner 1983)

Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful

musical experience

105Friday 18 November 11

History of Neuroscience in Music

One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)

106Friday 18 November 11

Supporting Areas

bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology

107Friday 18 November 11

Ways (Tools) of neuroscientific Rsc

bullMagnetic Resonance Imaging (MRI)

bullfunctional MRI

bullElectroencephalography (EEG)

bullEvent Related Potentials (ERPs)

bullTranscranial magnetic Stimulation (TMS)

bullMagnetoencephalography (MEG)

bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target

108Friday 18 November 11

Research Areas in Music

bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors

109Friday 18 November 11

Perception and Cognition -Musical Performance

Your Opinionhellip

Group Discussion

110Friday 18 November 11

Perception in Meuromusic

Perception (in music) is based on the sensory information that is

gathered by the brain regarding onersquos external and internal

environment

111Friday 18 November 11

Perception in Neuromusic

PitchRhythm

112Friday 18 November 11

We donrsquot know yet wether musical cognition and perception is

(a) specifically localised to distinct neural networks

(b) made up of shared neural networks that are associated with other brain processes

(c) a bit of both

113Friday 18 November 11

Musical Performance

Motor Learning and Instrumental Training

the act of making music is physically

intensivea pianist may bimanually

coordinate and lsquoscrutinisersquo up to 1800 notes per minute

114Friday 18 November 11

Musical Performance

3 parts of the brain are involved

bullthe sensorimotor cortex (interpretation of stimuli control of muscles)

bullthe basal ganglia (muscles in cooperative functions)

bullthe cerebellum (fine-tuning of motor movements stores motor patterns)

115Friday 18 November 11

Growth and Development proceed from general to specific

116Friday 18 November 11

Musicians appear to process new incoming stimuli more effectively

compared to non-musicians

117Friday 18 November 11

Meaning

if you practise more your brain learns to work more effectively

118Friday 18 November 11

lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop

brain cells and neurons

makes us even more effective

119Friday 18 November 11

It is evident that musicians have different brain structure than

non-musiciansAmunts et al 1997Schlaug et al 1995b

enhanced if training has started earlier in life

120Friday 18 November 11

For musical training there is this concept of lsquodeliberate practicersquo

motivation resources and attention determine the amount and quality of practice undertaken

121Friday 18 November 11

In Neuroscience scientists uncovered evidence showing a close association

between practice and expertisehellip

hours of deliberate practice

level of expertise

Lehmann and Gruber 2006

122Friday 18 November 11

implications to Musical performance and Training

1How to practise is best learned by practising

2Start early but not to early with playing an instrument

3Breaks and sleep is essential for motor learning and memory

4Use the human lsquomirror systemrsquo

123Friday 18 November 11

Examples of practisinghellip

124Friday 18 November 11

Neuroscience and Emotion in Music

Largely overlapping networks required for the processing of both

general and music-specific emotions

125Friday 18 November 11

Whether the neural basis of emotional appraisal of music is

innate or rather acquired through enculturation is subject

to ongoing discussion

Peretz and Sloboda 2005

126Friday 18 November 11

Nature vs NurtureProblem

127Friday 18 November 11

Howeverrecognition of emotions appears independent of musical

training

howhellipfamily environment possibly

128Friday 18 November 11

Recognising from Experiencing musical emotion is different

129Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

Why is it important to Know

bull You can handle better your own education and practice (constructional approach vs behavioural approach)

bull Different professional exit points - but

bull Will need to employ variations of the above

bull Knowingpotential for greater achievement

67Friday 18 November 11

Psy and Music Education

Group Discussion

How would you approach a lesson if were a teacher

68Friday 18 November 11

69Friday 18 November 11

In Music Psychology

bull Compositionbull Improvisationbull Aestheticsbull Creativity

70Friday 18 November 11

The Psychology of Composition

In its discussionsldquoquestions fundamental assumptions

about the nature and role of musical activity and the

musical artefactrdquo

Impett 2009 p403

71Friday 18 November 11

The Psychology of Composition

It is not widely researched

ldquoLeast studied least understood of all musical artefactsrdquo

Sloboda 1985

ldquoLittle progress has been made in understanding composition per serdquo

Brown 2003

72Friday 18 November 11

The Psychology of Composition

What is Composition in terms of Psychology

73Friday 18 November 11

The Psychology of Composition

Composition (organisation of musical sound) could be seen as a process of self-reflection

from where self-expression derives

74Friday 18 November 11

The Psychology of Composition

ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated

expression the conscious embodiment of psychological

statesrdquo

Impett 2009

75Friday 18 November 11

Composition Psychology

76Friday 18 November 11

Composition Psychology

Creativity

77Friday 18 November 11

How could we perceive Composition

78Friday 18 November 11

Composition

it is a lsquoDiscussion of Mindsrsquo

Composer + Performer + Audience

79Friday 18 November 11

The Psychology of Composition

ldquoAlthough Composition to some degree is innateit is a product of a

situated processrdquo

Impett 2009

80Friday 18 November 11

Composition

a Process

whichby itself is in some sense creative

81Friday 18 November 11

Composition

In this ProcesshellipMetaphors and Imagination come into play

where personal aesthetics concepts and innovation (for example) shape the outcome

82Friday 18 November 11

The Psychology of Composition

based on the aforementionedSome fundamental principles exist

eg rhythm perception tonal perception

83Friday 18 November 11

The Psychology of Composition

Howevera precise nature for a personsrsquos psychology of

composition seems to be a highly individual question

84Friday 18 November 11

85Friday 18 November 11

Improvisation and Psychology

Studying Improvisation and its psychological aspect might provide

further insight into Composition

Why

86Friday 18 November 11

Improvisation and Psychology

ldquoUnlike musical composition which can be mostly construed as a more-or-

less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the

human bodyrdquo

Ashley 2009

87Friday 18 November 11

To Improvisehellipis

to produce music (composing) audibly

and in real time

88Friday 18 November 11

Improvisation and Psychology

bull Psychology of Musical Performance (eg motor behaviourhellip)

bull Pitch

bull Tone (perception)

bull and othersapproaching

deeper lsquocreativityrsquo

come altogether and in real time into play

89Friday 18 November 11

improvisation and Psychology

bull Learningbull Teachingbull Cognitionbull Society

lsquoCreativityrsquois further connected with

90Friday 18 November 11

Teaching and Learning

Perception

Instrumental Performance Composition-Improvisation

Psychology of Music

91Friday 18 November 11

end of part II92Friday 18 November 11

Music And Neuroscience

1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning

2) Knowledge acquisition is governed by factors that are not

fully under conscious control and can hardly be influenced

externally (Roth 2006)

93Friday 18 November 11

However we try to understand this lsquoknowledge acquisitionrsquo

frameworkand this is where Neuroscience comes into Music

(performance teaching learninghellip)

94Friday 18 November 11

What is Neuroscience

bull Neuroscience is this science which studies the Brain

bull This is where new experiences and knowledge are processed by interconnected Neurons which

become activated when a sensorial input is perceived

95Friday 18 November 11

How the Brain looks like

96Friday 18 November 11

97Friday 18 November 11

98Friday 18 November 11

lsquoBrain Voyagerrsquo Pictures

99Friday 18 November 11

bull The structure of the brain alters continuously

throughout our lives

bull This happens via experiences stimuli studies a walk in the parkby playing a musical

instrument

100Friday 18 November 11

The change of the brain structure we call it - Plasticity -

lsquoexperience-driven brain plasticityrsquo

101Friday 18 November 11

Why is it important to know about lsquoPlasticityrsquo

By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos

saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political

version of schooling

102Friday 18 November 11

A bit of History

ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt

almost 5000 years agohelliprdquo

Minagar Ragheb and Kelley 2003

103Friday 18 November 11

A Musical Fact

We know that evidence of music has been confirmed in every civilisation

throughout history

Chailley 1964

104Friday 18 November 11

Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology

(egGardner 1983)

Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful

musical experience

105Friday 18 November 11

History of Neuroscience in Music

One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)

106Friday 18 November 11

Supporting Areas

bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology

107Friday 18 November 11

Ways (Tools) of neuroscientific Rsc

bullMagnetic Resonance Imaging (MRI)

bullfunctional MRI

bullElectroencephalography (EEG)

bullEvent Related Potentials (ERPs)

bullTranscranial magnetic Stimulation (TMS)

bullMagnetoencephalography (MEG)

bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target

108Friday 18 November 11

Research Areas in Music

bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors

109Friday 18 November 11

Perception and Cognition -Musical Performance

Your Opinionhellip

Group Discussion

110Friday 18 November 11

Perception in Meuromusic

Perception (in music) is based on the sensory information that is

gathered by the brain regarding onersquos external and internal

environment

111Friday 18 November 11

Perception in Neuromusic

PitchRhythm

112Friday 18 November 11

We donrsquot know yet wether musical cognition and perception is

(a) specifically localised to distinct neural networks

(b) made up of shared neural networks that are associated with other brain processes

(c) a bit of both

113Friday 18 November 11

Musical Performance

Motor Learning and Instrumental Training

the act of making music is physically

intensivea pianist may bimanually

coordinate and lsquoscrutinisersquo up to 1800 notes per minute

114Friday 18 November 11

Musical Performance

3 parts of the brain are involved

bullthe sensorimotor cortex (interpretation of stimuli control of muscles)

bullthe basal ganglia (muscles in cooperative functions)

bullthe cerebellum (fine-tuning of motor movements stores motor patterns)

115Friday 18 November 11

Growth and Development proceed from general to specific

116Friday 18 November 11

Musicians appear to process new incoming stimuli more effectively

compared to non-musicians

117Friday 18 November 11

Meaning

if you practise more your brain learns to work more effectively

118Friday 18 November 11

lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop

brain cells and neurons

makes us even more effective

119Friday 18 November 11

It is evident that musicians have different brain structure than

non-musiciansAmunts et al 1997Schlaug et al 1995b

enhanced if training has started earlier in life

120Friday 18 November 11

For musical training there is this concept of lsquodeliberate practicersquo

motivation resources and attention determine the amount and quality of practice undertaken

121Friday 18 November 11

In Neuroscience scientists uncovered evidence showing a close association

between practice and expertisehellip

hours of deliberate practice

level of expertise

Lehmann and Gruber 2006

122Friday 18 November 11

implications to Musical performance and Training

1How to practise is best learned by practising

2Start early but not to early with playing an instrument

3Breaks and sleep is essential for motor learning and memory

4Use the human lsquomirror systemrsquo

123Friday 18 November 11

Examples of practisinghellip

124Friday 18 November 11

Neuroscience and Emotion in Music

Largely overlapping networks required for the processing of both

general and music-specific emotions

125Friday 18 November 11

Whether the neural basis of emotional appraisal of music is

innate or rather acquired through enculturation is subject

to ongoing discussion

Peretz and Sloboda 2005

126Friday 18 November 11

Nature vs NurtureProblem

127Friday 18 November 11

Howeverrecognition of emotions appears independent of musical

training

howhellipfamily environment possibly

128Friday 18 November 11

Recognising from Experiencing musical emotion is different

129Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

Psy and Music Education

Group Discussion

How would you approach a lesson if were a teacher

68Friday 18 November 11

69Friday 18 November 11

In Music Psychology

bull Compositionbull Improvisationbull Aestheticsbull Creativity

70Friday 18 November 11

The Psychology of Composition

In its discussionsldquoquestions fundamental assumptions

about the nature and role of musical activity and the

musical artefactrdquo

Impett 2009 p403

71Friday 18 November 11

The Psychology of Composition

It is not widely researched

ldquoLeast studied least understood of all musical artefactsrdquo

Sloboda 1985

ldquoLittle progress has been made in understanding composition per serdquo

Brown 2003

72Friday 18 November 11

The Psychology of Composition

What is Composition in terms of Psychology

73Friday 18 November 11

The Psychology of Composition

Composition (organisation of musical sound) could be seen as a process of self-reflection

from where self-expression derives

74Friday 18 November 11

The Psychology of Composition

ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated

expression the conscious embodiment of psychological

statesrdquo

Impett 2009

75Friday 18 November 11

Composition Psychology

76Friday 18 November 11

Composition Psychology

Creativity

77Friday 18 November 11

How could we perceive Composition

78Friday 18 November 11

Composition

it is a lsquoDiscussion of Mindsrsquo

Composer + Performer + Audience

79Friday 18 November 11

The Psychology of Composition

ldquoAlthough Composition to some degree is innateit is a product of a

situated processrdquo

Impett 2009

80Friday 18 November 11

Composition

a Process

whichby itself is in some sense creative

81Friday 18 November 11

Composition

In this ProcesshellipMetaphors and Imagination come into play

where personal aesthetics concepts and innovation (for example) shape the outcome

82Friday 18 November 11

The Psychology of Composition

based on the aforementionedSome fundamental principles exist

eg rhythm perception tonal perception

83Friday 18 November 11

The Psychology of Composition

Howevera precise nature for a personsrsquos psychology of

composition seems to be a highly individual question

84Friday 18 November 11

85Friday 18 November 11

Improvisation and Psychology

Studying Improvisation and its psychological aspect might provide

further insight into Composition

Why

86Friday 18 November 11

Improvisation and Psychology

ldquoUnlike musical composition which can be mostly construed as a more-or-

less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the

human bodyrdquo

Ashley 2009

87Friday 18 November 11

To Improvisehellipis

to produce music (composing) audibly

and in real time

88Friday 18 November 11

Improvisation and Psychology

bull Psychology of Musical Performance (eg motor behaviourhellip)

bull Pitch

bull Tone (perception)

bull and othersapproaching

deeper lsquocreativityrsquo

come altogether and in real time into play

89Friday 18 November 11

improvisation and Psychology

bull Learningbull Teachingbull Cognitionbull Society

lsquoCreativityrsquois further connected with

90Friday 18 November 11

Teaching and Learning

Perception

Instrumental Performance Composition-Improvisation

Psychology of Music

91Friday 18 November 11

end of part II92Friday 18 November 11

Music And Neuroscience

1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning

2) Knowledge acquisition is governed by factors that are not

fully under conscious control and can hardly be influenced

externally (Roth 2006)

93Friday 18 November 11

However we try to understand this lsquoknowledge acquisitionrsquo

frameworkand this is where Neuroscience comes into Music

(performance teaching learninghellip)

94Friday 18 November 11

What is Neuroscience

bull Neuroscience is this science which studies the Brain

bull This is where new experiences and knowledge are processed by interconnected Neurons which

become activated when a sensorial input is perceived

95Friday 18 November 11

How the Brain looks like

96Friday 18 November 11

97Friday 18 November 11

98Friday 18 November 11

lsquoBrain Voyagerrsquo Pictures

99Friday 18 November 11

bull The structure of the brain alters continuously

throughout our lives

bull This happens via experiences stimuli studies a walk in the parkby playing a musical

instrument

100Friday 18 November 11

The change of the brain structure we call it - Plasticity -

lsquoexperience-driven brain plasticityrsquo

101Friday 18 November 11

Why is it important to know about lsquoPlasticityrsquo

By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos

saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political

version of schooling

102Friday 18 November 11

A bit of History

ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt

almost 5000 years agohelliprdquo

Minagar Ragheb and Kelley 2003

103Friday 18 November 11

A Musical Fact

We know that evidence of music has been confirmed in every civilisation

throughout history

Chailley 1964

104Friday 18 November 11

Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology

(egGardner 1983)

Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful

musical experience

105Friday 18 November 11

History of Neuroscience in Music

One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)

106Friday 18 November 11

Supporting Areas

bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology

107Friday 18 November 11

Ways (Tools) of neuroscientific Rsc

bullMagnetic Resonance Imaging (MRI)

bullfunctional MRI

bullElectroencephalography (EEG)

bullEvent Related Potentials (ERPs)

bullTranscranial magnetic Stimulation (TMS)

bullMagnetoencephalography (MEG)

bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target

108Friday 18 November 11

Research Areas in Music

bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors

109Friday 18 November 11

Perception and Cognition -Musical Performance

Your Opinionhellip

Group Discussion

110Friday 18 November 11

Perception in Meuromusic

Perception (in music) is based on the sensory information that is

gathered by the brain regarding onersquos external and internal

environment

111Friday 18 November 11

Perception in Neuromusic

PitchRhythm

112Friday 18 November 11

We donrsquot know yet wether musical cognition and perception is

(a) specifically localised to distinct neural networks

(b) made up of shared neural networks that are associated with other brain processes

(c) a bit of both

113Friday 18 November 11

Musical Performance

Motor Learning and Instrumental Training

the act of making music is physically

intensivea pianist may bimanually

coordinate and lsquoscrutinisersquo up to 1800 notes per minute

114Friday 18 November 11

Musical Performance

3 parts of the brain are involved

bullthe sensorimotor cortex (interpretation of stimuli control of muscles)

bullthe basal ganglia (muscles in cooperative functions)

bullthe cerebellum (fine-tuning of motor movements stores motor patterns)

115Friday 18 November 11

Growth and Development proceed from general to specific

116Friday 18 November 11

Musicians appear to process new incoming stimuli more effectively

compared to non-musicians

117Friday 18 November 11

Meaning

if you practise more your brain learns to work more effectively

118Friday 18 November 11

lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop

brain cells and neurons

makes us even more effective

119Friday 18 November 11

It is evident that musicians have different brain structure than

non-musiciansAmunts et al 1997Schlaug et al 1995b

enhanced if training has started earlier in life

120Friday 18 November 11

For musical training there is this concept of lsquodeliberate practicersquo

motivation resources and attention determine the amount and quality of practice undertaken

121Friday 18 November 11

In Neuroscience scientists uncovered evidence showing a close association

between practice and expertisehellip

hours of deliberate practice

level of expertise

Lehmann and Gruber 2006

122Friday 18 November 11

implications to Musical performance and Training

1How to practise is best learned by practising

2Start early but not to early with playing an instrument

3Breaks and sleep is essential for motor learning and memory

4Use the human lsquomirror systemrsquo

123Friday 18 November 11

Examples of practisinghellip

124Friday 18 November 11

Neuroscience and Emotion in Music

Largely overlapping networks required for the processing of both

general and music-specific emotions

125Friday 18 November 11

Whether the neural basis of emotional appraisal of music is

innate or rather acquired through enculturation is subject

to ongoing discussion

Peretz and Sloboda 2005

126Friday 18 November 11

Nature vs NurtureProblem

127Friday 18 November 11

Howeverrecognition of emotions appears independent of musical

training

howhellipfamily environment possibly

128Friday 18 November 11

Recognising from Experiencing musical emotion is different

129Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

69Friday 18 November 11

In Music Psychology

bull Compositionbull Improvisationbull Aestheticsbull Creativity

70Friday 18 November 11

The Psychology of Composition

In its discussionsldquoquestions fundamental assumptions

about the nature and role of musical activity and the

musical artefactrdquo

Impett 2009 p403

71Friday 18 November 11

The Psychology of Composition

It is not widely researched

ldquoLeast studied least understood of all musical artefactsrdquo

Sloboda 1985

ldquoLittle progress has been made in understanding composition per serdquo

Brown 2003

72Friday 18 November 11

The Psychology of Composition

What is Composition in terms of Psychology

73Friday 18 November 11

The Psychology of Composition

Composition (organisation of musical sound) could be seen as a process of self-reflection

from where self-expression derives

74Friday 18 November 11

The Psychology of Composition

ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated

expression the conscious embodiment of psychological

statesrdquo

Impett 2009

75Friday 18 November 11

Composition Psychology

76Friday 18 November 11

Composition Psychology

Creativity

77Friday 18 November 11

How could we perceive Composition

78Friday 18 November 11

Composition

it is a lsquoDiscussion of Mindsrsquo

Composer + Performer + Audience

79Friday 18 November 11

The Psychology of Composition

ldquoAlthough Composition to some degree is innateit is a product of a

situated processrdquo

Impett 2009

80Friday 18 November 11

Composition

a Process

whichby itself is in some sense creative

81Friday 18 November 11

Composition

In this ProcesshellipMetaphors and Imagination come into play

where personal aesthetics concepts and innovation (for example) shape the outcome

82Friday 18 November 11

The Psychology of Composition

based on the aforementionedSome fundamental principles exist

eg rhythm perception tonal perception

83Friday 18 November 11

The Psychology of Composition

Howevera precise nature for a personsrsquos psychology of

composition seems to be a highly individual question

84Friday 18 November 11

85Friday 18 November 11

Improvisation and Psychology

Studying Improvisation and its psychological aspect might provide

further insight into Composition

Why

86Friday 18 November 11

Improvisation and Psychology

ldquoUnlike musical composition which can be mostly construed as a more-or-

less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the

human bodyrdquo

Ashley 2009

87Friday 18 November 11

To Improvisehellipis

to produce music (composing) audibly

and in real time

88Friday 18 November 11

Improvisation and Psychology

bull Psychology of Musical Performance (eg motor behaviourhellip)

bull Pitch

bull Tone (perception)

bull and othersapproaching

deeper lsquocreativityrsquo

come altogether and in real time into play

89Friday 18 November 11

improvisation and Psychology

bull Learningbull Teachingbull Cognitionbull Society

lsquoCreativityrsquois further connected with

90Friday 18 November 11

Teaching and Learning

Perception

Instrumental Performance Composition-Improvisation

Psychology of Music

91Friday 18 November 11

end of part II92Friday 18 November 11

Music And Neuroscience

1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning

2) Knowledge acquisition is governed by factors that are not

fully under conscious control and can hardly be influenced

externally (Roth 2006)

93Friday 18 November 11

However we try to understand this lsquoknowledge acquisitionrsquo

frameworkand this is where Neuroscience comes into Music

(performance teaching learninghellip)

94Friday 18 November 11

What is Neuroscience

bull Neuroscience is this science which studies the Brain

bull This is where new experiences and knowledge are processed by interconnected Neurons which

become activated when a sensorial input is perceived

95Friday 18 November 11

How the Brain looks like

96Friday 18 November 11

97Friday 18 November 11

98Friday 18 November 11

lsquoBrain Voyagerrsquo Pictures

99Friday 18 November 11

bull The structure of the brain alters continuously

throughout our lives

bull This happens via experiences stimuli studies a walk in the parkby playing a musical

instrument

100Friday 18 November 11

The change of the brain structure we call it - Plasticity -

lsquoexperience-driven brain plasticityrsquo

101Friday 18 November 11

Why is it important to know about lsquoPlasticityrsquo

By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos

saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political

version of schooling

102Friday 18 November 11

A bit of History

ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt

almost 5000 years agohelliprdquo

Minagar Ragheb and Kelley 2003

103Friday 18 November 11

A Musical Fact

We know that evidence of music has been confirmed in every civilisation

throughout history

Chailley 1964

104Friday 18 November 11

Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology

(egGardner 1983)

Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful

musical experience

105Friday 18 November 11

History of Neuroscience in Music

One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)

106Friday 18 November 11

Supporting Areas

bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology

107Friday 18 November 11

Ways (Tools) of neuroscientific Rsc

bullMagnetic Resonance Imaging (MRI)

bullfunctional MRI

bullElectroencephalography (EEG)

bullEvent Related Potentials (ERPs)

bullTranscranial magnetic Stimulation (TMS)

bullMagnetoencephalography (MEG)

bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target

108Friday 18 November 11

Research Areas in Music

bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors

109Friday 18 November 11

Perception and Cognition -Musical Performance

Your Opinionhellip

Group Discussion

110Friday 18 November 11

Perception in Meuromusic

Perception (in music) is based on the sensory information that is

gathered by the brain regarding onersquos external and internal

environment

111Friday 18 November 11

Perception in Neuromusic

PitchRhythm

112Friday 18 November 11

We donrsquot know yet wether musical cognition and perception is

(a) specifically localised to distinct neural networks

(b) made up of shared neural networks that are associated with other brain processes

(c) a bit of both

113Friday 18 November 11

Musical Performance

Motor Learning and Instrumental Training

the act of making music is physically

intensivea pianist may bimanually

coordinate and lsquoscrutinisersquo up to 1800 notes per minute

114Friday 18 November 11

Musical Performance

3 parts of the brain are involved

bullthe sensorimotor cortex (interpretation of stimuli control of muscles)

bullthe basal ganglia (muscles in cooperative functions)

bullthe cerebellum (fine-tuning of motor movements stores motor patterns)

115Friday 18 November 11

Growth and Development proceed from general to specific

116Friday 18 November 11

Musicians appear to process new incoming stimuli more effectively

compared to non-musicians

117Friday 18 November 11

Meaning

if you practise more your brain learns to work more effectively

118Friday 18 November 11

lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop

brain cells and neurons

makes us even more effective

119Friday 18 November 11

It is evident that musicians have different brain structure than

non-musiciansAmunts et al 1997Schlaug et al 1995b

enhanced if training has started earlier in life

120Friday 18 November 11

For musical training there is this concept of lsquodeliberate practicersquo

motivation resources and attention determine the amount and quality of practice undertaken

121Friday 18 November 11

In Neuroscience scientists uncovered evidence showing a close association

between practice and expertisehellip

hours of deliberate practice

level of expertise

Lehmann and Gruber 2006

122Friday 18 November 11

implications to Musical performance and Training

1How to practise is best learned by practising

2Start early but not to early with playing an instrument

3Breaks and sleep is essential for motor learning and memory

4Use the human lsquomirror systemrsquo

123Friday 18 November 11

Examples of practisinghellip

124Friday 18 November 11

Neuroscience and Emotion in Music

Largely overlapping networks required for the processing of both

general and music-specific emotions

125Friday 18 November 11

Whether the neural basis of emotional appraisal of music is

innate or rather acquired through enculturation is subject

to ongoing discussion

Peretz and Sloboda 2005

126Friday 18 November 11

Nature vs NurtureProblem

127Friday 18 November 11

Howeverrecognition of emotions appears independent of musical

training

howhellipfamily environment possibly

128Friday 18 November 11

Recognising from Experiencing musical emotion is different

129Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

In Music Psychology

bull Compositionbull Improvisationbull Aestheticsbull Creativity

70Friday 18 November 11

The Psychology of Composition

In its discussionsldquoquestions fundamental assumptions

about the nature and role of musical activity and the

musical artefactrdquo

Impett 2009 p403

71Friday 18 November 11

The Psychology of Composition

It is not widely researched

ldquoLeast studied least understood of all musical artefactsrdquo

Sloboda 1985

ldquoLittle progress has been made in understanding composition per serdquo

Brown 2003

72Friday 18 November 11

The Psychology of Composition

What is Composition in terms of Psychology

73Friday 18 November 11

The Psychology of Composition

Composition (organisation of musical sound) could be seen as a process of self-reflection

from where self-expression derives

74Friday 18 November 11

The Psychology of Composition

ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated

expression the conscious embodiment of psychological

statesrdquo

Impett 2009

75Friday 18 November 11

Composition Psychology

76Friday 18 November 11

Composition Psychology

Creativity

77Friday 18 November 11

How could we perceive Composition

78Friday 18 November 11

Composition

it is a lsquoDiscussion of Mindsrsquo

Composer + Performer + Audience

79Friday 18 November 11

The Psychology of Composition

ldquoAlthough Composition to some degree is innateit is a product of a

situated processrdquo

Impett 2009

80Friday 18 November 11

Composition

a Process

whichby itself is in some sense creative

81Friday 18 November 11

Composition

In this ProcesshellipMetaphors and Imagination come into play

where personal aesthetics concepts and innovation (for example) shape the outcome

82Friday 18 November 11

The Psychology of Composition

based on the aforementionedSome fundamental principles exist

eg rhythm perception tonal perception

83Friday 18 November 11

The Psychology of Composition

Howevera precise nature for a personsrsquos psychology of

composition seems to be a highly individual question

84Friday 18 November 11

85Friday 18 November 11

Improvisation and Psychology

Studying Improvisation and its psychological aspect might provide

further insight into Composition

Why

86Friday 18 November 11

Improvisation and Psychology

ldquoUnlike musical composition which can be mostly construed as a more-or-

less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the

human bodyrdquo

Ashley 2009

87Friday 18 November 11

To Improvisehellipis

to produce music (composing) audibly

and in real time

88Friday 18 November 11

Improvisation and Psychology

bull Psychology of Musical Performance (eg motor behaviourhellip)

bull Pitch

bull Tone (perception)

bull and othersapproaching

deeper lsquocreativityrsquo

come altogether and in real time into play

89Friday 18 November 11

improvisation and Psychology

bull Learningbull Teachingbull Cognitionbull Society

lsquoCreativityrsquois further connected with

90Friday 18 November 11

Teaching and Learning

Perception

Instrumental Performance Composition-Improvisation

Psychology of Music

91Friday 18 November 11

end of part II92Friday 18 November 11

Music And Neuroscience

1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning

2) Knowledge acquisition is governed by factors that are not

fully under conscious control and can hardly be influenced

externally (Roth 2006)

93Friday 18 November 11

However we try to understand this lsquoknowledge acquisitionrsquo

frameworkand this is where Neuroscience comes into Music

(performance teaching learninghellip)

94Friday 18 November 11

What is Neuroscience

bull Neuroscience is this science which studies the Brain

bull This is where new experiences and knowledge are processed by interconnected Neurons which

become activated when a sensorial input is perceived

95Friday 18 November 11

How the Brain looks like

96Friday 18 November 11

97Friday 18 November 11

98Friday 18 November 11

lsquoBrain Voyagerrsquo Pictures

99Friday 18 November 11

bull The structure of the brain alters continuously

throughout our lives

bull This happens via experiences stimuli studies a walk in the parkby playing a musical

instrument

100Friday 18 November 11

The change of the brain structure we call it - Plasticity -

lsquoexperience-driven brain plasticityrsquo

101Friday 18 November 11

Why is it important to know about lsquoPlasticityrsquo

By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos

saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political

version of schooling

102Friday 18 November 11

A bit of History

ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt

almost 5000 years agohelliprdquo

Minagar Ragheb and Kelley 2003

103Friday 18 November 11

A Musical Fact

We know that evidence of music has been confirmed in every civilisation

throughout history

Chailley 1964

104Friday 18 November 11

Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology

(egGardner 1983)

Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful

musical experience

105Friday 18 November 11

History of Neuroscience in Music

One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)

106Friday 18 November 11

Supporting Areas

bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology

107Friday 18 November 11

Ways (Tools) of neuroscientific Rsc

bullMagnetic Resonance Imaging (MRI)

bullfunctional MRI

bullElectroencephalography (EEG)

bullEvent Related Potentials (ERPs)

bullTranscranial magnetic Stimulation (TMS)

bullMagnetoencephalography (MEG)

bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target

108Friday 18 November 11

Research Areas in Music

bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors

109Friday 18 November 11

Perception and Cognition -Musical Performance

Your Opinionhellip

Group Discussion

110Friday 18 November 11

Perception in Meuromusic

Perception (in music) is based on the sensory information that is

gathered by the brain regarding onersquos external and internal

environment

111Friday 18 November 11

Perception in Neuromusic

PitchRhythm

112Friday 18 November 11

We donrsquot know yet wether musical cognition and perception is

(a) specifically localised to distinct neural networks

(b) made up of shared neural networks that are associated with other brain processes

(c) a bit of both

113Friday 18 November 11

Musical Performance

Motor Learning and Instrumental Training

the act of making music is physically

intensivea pianist may bimanually

coordinate and lsquoscrutinisersquo up to 1800 notes per minute

114Friday 18 November 11

Musical Performance

3 parts of the brain are involved

bullthe sensorimotor cortex (interpretation of stimuli control of muscles)

bullthe basal ganglia (muscles in cooperative functions)

bullthe cerebellum (fine-tuning of motor movements stores motor patterns)

115Friday 18 November 11

Growth and Development proceed from general to specific

116Friday 18 November 11

Musicians appear to process new incoming stimuli more effectively

compared to non-musicians

117Friday 18 November 11

Meaning

if you practise more your brain learns to work more effectively

118Friday 18 November 11

lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop

brain cells and neurons

makes us even more effective

119Friday 18 November 11

It is evident that musicians have different brain structure than

non-musiciansAmunts et al 1997Schlaug et al 1995b

enhanced if training has started earlier in life

120Friday 18 November 11

For musical training there is this concept of lsquodeliberate practicersquo

motivation resources and attention determine the amount and quality of practice undertaken

121Friday 18 November 11

In Neuroscience scientists uncovered evidence showing a close association

between practice and expertisehellip

hours of deliberate practice

level of expertise

Lehmann and Gruber 2006

122Friday 18 November 11

implications to Musical performance and Training

1How to practise is best learned by practising

2Start early but not to early with playing an instrument

3Breaks and sleep is essential for motor learning and memory

4Use the human lsquomirror systemrsquo

123Friday 18 November 11

Examples of practisinghellip

124Friday 18 November 11

Neuroscience and Emotion in Music

Largely overlapping networks required for the processing of both

general and music-specific emotions

125Friday 18 November 11

Whether the neural basis of emotional appraisal of music is

innate or rather acquired through enculturation is subject

to ongoing discussion

Peretz and Sloboda 2005

126Friday 18 November 11

Nature vs NurtureProblem

127Friday 18 November 11

Howeverrecognition of emotions appears independent of musical

training

howhellipfamily environment possibly

128Friday 18 November 11

Recognising from Experiencing musical emotion is different

129Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

The Psychology of Composition

In its discussionsldquoquestions fundamental assumptions

about the nature and role of musical activity and the

musical artefactrdquo

Impett 2009 p403

71Friday 18 November 11

The Psychology of Composition

It is not widely researched

ldquoLeast studied least understood of all musical artefactsrdquo

Sloboda 1985

ldquoLittle progress has been made in understanding composition per serdquo

Brown 2003

72Friday 18 November 11

The Psychology of Composition

What is Composition in terms of Psychology

73Friday 18 November 11

The Psychology of Composition

Composition (organisation of musical sound) could be seen as a process of self-reflection

from where self-expression derives

74Friday 18 November 11

The Psychology of Composition

ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated

expression the conscious embodiment of psychological

statesrdquo

Impett 2009

75Friday 18 November 11

Composition Psychology

76Friday 18 November 11

Composition Psychology

Creativity

77Friday 18 November 11

How could we perceive Composition

78Friday 18 November 11

Composition

it is a lsquoDiscussion of Mindsrsquo

Composer + Performer + Audience

79Friday 18 November 11

The Psychology of Composition

ldquoAlthough Composition to some degree is innateit is a product of a

situated processrdquo

Impett 2009

80Friday 18 November 11

Composition

a Process

whichby itself is in some sense creative

81Friday 18 November 11

Composition

In this ProcesshellipMetaphors and Imagination come into play

where personal aesthetics concepts and innovation (for example) shape the outcome

82Friday 18 November 11

The Psychology of Composition

based on the aforementionedSome fundamental principles exist

eg rhythm perception tonal perception

83Friday 18 November 11

The Psychology of Composition

Howevera precise nature for a personsrsquos psychology of

composition seems to be a highly individual question

84Friday 18 November 11

85Friday 18 November 11

Improvisation and Psychology

Studying Improvisation and its psychological aspect might provide

further insight into Composition

Why

86Friday 18 November 11

Improvisation and Psychology

ldquoUnlike musical composition which can be mostly construed as a more-or-

less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the

human bodyrdquo

Ashley 2009

87Friday 18 November 11

To Improvisehellipis

to produce music (composing) audibly

and in real time

88Friday 18 November 11

Improvisation and Psychology

bull Psychology of Musical Performance (eg motor behaviourhellip)

bull Pitch

bull Tone (perception)

bull and othersapproaching

deeper lsquocreativityrsquo

come altogether and in real time into play

89Friday 18 November 11

improvisation and Psychology

bull Learningbull Teachingbull Cognitionbull Society

lsquoCreativityrsquois further connected with

90Friday 18 November 11

Teaching and Learning

Perception

Instrumental Performance Composition-Improvisation

Psychology of Music

91Friday 18 November 11

end of part II92Friday 18 November 11

Music And Neuroscience

1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning

2) Knowledge acquisition is governed by factors that are not

fully under conscious control and can hardly be influenced

externally (Roth 2006)

93Friday 18 November 11

However we try to understand this lsquoknowledge acquisitionrsquo

frameworkand this is where Neuroscience comes into Music

(performance teaching learninghellip)

94Friday 18 November 11

What is Neuroscience

bull Neuroscience is this science which studies the Brain

bull This is where new experiences and knowledge are processed by interconnected Neurons which

become activated when a sensorial input is perceived

95Friday 18 November 11

How the Brain looks like

96Friday 18 November 11

97Friday 18 November 11

98Friday 18 November 11

lsquoBrain Voyagerrsquo Pictures

99Friday 18 November 11

bull The structure of the brain alters continuously

throughout our lives

bull This happens via experiences stimuli studies a walk in the parkby playing a musical

instrument

100Friday 18 November 11

The change of the brain structure we call it - Plasticity -

lsquoexperience-driven brain plasticityrsquo

101Friday 18 November 11

Why is it important to know about lsquoPlasticityrsquo

By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos

saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political

version of schooling

102Friday 18 November 11

A bit of History

ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt

almost 5000 years agohelliprdquo

Minagar Ragheb and Kelley 2003

103Friday 18 November 11

A Musical Fact

We know that evidence of music has been confirmed in every civilisation

throughout history

Chailley 1964

104Friday 18 November 11

Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology

(egGardner 1983)

Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful

musical experience

105Friday 18 November 11

History of Neuroscience in Music

One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)

106Friday 18 November 11

Supporting Areas

bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology

107Friday 18 November 11

Ways (Tools) of neuroscientific Rsc

bullMagnetic Resonance Imaging (MRI)

bullfunctional MRI

bullElectroencephalography (EEG)

bullEvent Related Potentials (ERPs)

bullTranscranial magnetic Stimulation (TMS)

bullMagnetoencephalography (MEG)

bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target

108Friday 18 November 11

Research Areas in Music

bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors

109Friday 18 November 11

Perception and Cognition -Musical Performance

Your Opinionhellip

Group Discussion

110Friday 18 November 11

Perception in Meuromusic

Perception (in music) is based on the sensory information that is

gathered by the brain regarding onersquos external and internal

environment

111Friday 18 November 11

Perception in Neuromusic

PitchRhythm

112Friday 18 November 11

We donrsquot know yet wether musical cognition and perception is

(a) specifically localised to distinct neural networks

(b) made up of shared neural networks that are associated with other brain processes

(c) a bit of both

113Friday 18 November 11

Musical Performance

Motor Learning and Instrumental Training

the act of making music is physically

intensivea pianist may bimanually

coordinate and lsquoscrutinisersquo up to 1800 notes per minute

114Friday 18 November 11

Musical Performance

3 parts of the brain are involved

bullthe sensorimotor cortex (interpretation of stimuli control of muscles)

bullthe basal ganglia (muscles in cooperative functions)

bullthe cerebellum (fine-tuning of motor movements stores motor patterns)

115Friday 18 November 11

Growth and Development proceed from general to specific

116Friday 18 November 11

Musicians appear to process new incoming stimuli more effectively

compared to non-musicians

117Friday 18 November 11

Meaning

if you practise more your brain learns to work more effectively

118Friday 18 November 11

lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop

brain cells and neurons

makes us even more effective

119Friday 18 November 11

It is evident that musicians have different brain structure than

non-musiciansAmunts et al 1997Schlaug et al 1995b

enhanced if training has started earlier in life

120Friday 18 November 11

For musical training there is this concept of lsquodeliberate practicersquo

motivation resources and attention determine the amount and quality of practice undertaken

121Friday 18 November 11

In Neuroscience scientists uncovered evidence showing a close association

between practice and expertisehellip

hours of deliberate practice

level of expertise

Lehmann and Gruber 2006

122Friday 18 November 11

implications to Musical performance and Training

1How to practise is best learned by practising

2Start early but not to early with playing an instrument

3Breaks and sleep is essential for motor learning and memory

4Use the human lsquomirror systemrsquo

123Friday 18 November 11

Examples of practisinghellip

124Friday 18 November 11

Neuroscience and Emotion in Music

Largely overlapping networks required for the processing of both

general and music-specific emotions

125Friday 18 November 11

Whether the neural basis of emotional appraisal of music is

innate or rather acquired through enculturation is subject

to ongoing discussion

Peretz and Sloboda 2005

126Friday 18 November 11

Nature vs NurtureProblem

127Friday 18 November 11

Howeverrecognition of emotions appears independent of musical

training

howhellipfamily environment possibly

128Friday 18 November 11

Recognising from Experiencing musical emotion is different

129Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

The Psychology of Composition

It is not widely researched

ldquoLeast studied least understood of all musical artefactsrdquo

Sloboda 1985

ldquoLittle progress has been made in understanding composition per serdquo

Brown 2003

72Friday 18 November 11

The Psychology of Composition

What is Composition in terms of Psychology

73Friday 18 November 11

The Psychology of Composition

Composition (organisation of musical sound) could be seen as a process of self-reflection

from where self-expression derives

74Friday 18 November 11

The Psychology of Composition

ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated

expression the conscious embodiment of psychological

statesrdquo

Impett 2009

75Friday 18 November 11

Composition Psychology

76Friday 18 November 11

Composition Psychology

Creativity

77Friday 18 November 11

How could we perceive Composition

78Friday 18 November 11

Composition

it is a lsquoDiscussion of Mindsrsquo

Composer + Performer + Audience

79Friday 18 November 11

The Psychology of Composition

ldquoAlthough Composition to some degree is innateit is a product of a

situated processrdquo

Impett 2009

80Friday 18 November 11

Composition

a Process

whichby itself is in some sense creative

81Friday 18 November 11

Composition

In this ProcesshellipMetaphors and Imagination come into play

where personal aesthetics concepts and innovation (for example) shape the outcome

82Friday 18 November 11

The Psychology of Composition

based on the aforementionedSome fundamental principles exist

eg rhythm perception tonal perception

83Friday 18 November 11

The Psychology of Composition

Howevera precise nature for a personsrsquos psychology of

composition seems to be a highly individual question

84Friday 18 November 11

85Friday 18 November 11

Improvisation and Psychology

Studying Improvisation and its psychological aspect might provide

further insight into Composition

Why

86Friday 18 November 11

Improvisation and Psychology

ldquoUnlike musical composition which can be mostly construed as a more-or-

less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the

human bodyrdquo

Ashley 2009

87Friday 18 November 11

To Improvisehellipis

to produce music (composing) audibly

and in real time

88Friday 18 November 11

Improvisation and Psychology

bull Psychology of Musical Performance (eg motor behaviourhellip)

bull Pitch

bull Tone (perception)

bull and othersapproaching

deeper lsquocreativityrsquo

come altogether and in real time into play

89Friday 18 November 11

improvisation and Psychology

bull Learningbull Teachingbull Cognitionbull Society

lsquoCreativityrsquois further connected with

90Friday 18 November 11

Teaching and Learning

Perception

Instrumental Performance Composition-Improvisation

Psychology of Music

91Friday 18 November 11

end of part II92Friday 18 November 11

Music And Neuroscience

1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning

2) Knowledge acquisition is governed by factors that are not

fully under conscious control and can hardly be influenced

externally (Roth 2006)

93Friday 18 November 11

However we try to understand this lsquoknowledge acquisitionrsquo

frameworkand this is where Neuroscience comes into Music

(performance teaching learninghellip)

94Friday 18 November 11

What is Neuroscience

bull Neuroscience is this science which studies the Brain

bull This is where new experiences and knowledge are processed by interconnected Neurons which

become activated when a sensorial input is perceived

95Friday 18 November 11

How the Brain looks like

96Friday 18 November 11

97Friday 18 November 11

98Friday 18 November 11

lsquoBrain Voyagerrsquo Pictures

99Friday 18 November 11

bull The structure of the brain alters continuously

throughout our lives

bull This happens via experiences stimuli studies a walk in the parkby playing a musical

instrument

100Friday 18 November 11

The change of the brain structure we call it - Plasticity -

lsquoexperience-driven brain plasticityrsquo

101Friday 18 November 11

Why is it important to know about lsquoPlasticityrsquo

By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos

saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political

version of schooling

102Friday 18 November 11

A bit of History

ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt

almost 5000 years agohelliprdquo

Minagar Ragheb and Kelley 2003

103Friday 18 November 11

A Musical Fact

We know that evidence of music has been confirmed in every civilisation

throughout history

Chailley 1964

104Friday 18 November 11

Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology

(egGardner 1983)

Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful

musical experience

105Friday 18 November 11

History of Neuroscience in Music

One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)

106Friday 18 November 11

Supporting Areas

bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology

107Friday 18 November 11

Ways (Tools) of neuroscientific Rsc

bullMagnetic Resonance Imaging (MRI)

bullfunctional MRI

bullElectroencephalography (EEG)

bullEvent Related Potentials (ERPs)

bullTranscranial magnetic Stimulation (TMS)

bullMagnetoencephalography (MEG)

bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target

108Friday 18 November 11

Research Areas in Music

bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors

109Friday 18 November 11

Perception and Cognition -Musical Performance

Your Opinionhellip

Group Discussion

110Friday 18 November 11

Perception in Meuromusic

Perception (in music) is based on the sensory information that is

gathered by the brain regarding onersquos external and internal

environment

111Friday 18 November 11

Perception in Neuromusic

PitchRhythm

112Friday 18 November 11

We donrsquot know yet wether musical cognition and perception is

(a) specifically localised to distinct neural networks

(b) made up of shared neural networks that are associated with other brain processes

(c) a bit of both

113Friday 18 November 11

Musical Performance

Motor Learning and Instrumental Training

the act of making music is physically

intensivea pianist may bimanually

coordinate and lsquoscrutinisersquo up to 1800 notes per minute

114Friday 18 November 11

Musical Performance

3 parts of the brain are involved

bullthe sensorimotor cortex (interpretation of stimuli control of muscles)

bullthe basal ganglia (muscles in cooperative functions)

bullthe cerebellum (fine-tuning of motor movements stores motor patterns)

115Friday 18 November 11

Growth and Development proceed from general to specific

116Friday 18 November 11

Musicians appear to process new incoming stimuli more effectively

compared to non-musicians

117Friday 18 November 11

Meaning

if you practise more your brain learns to work more effectively

118Friday 18 November 11

lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop

brain cells and neurons

makes us even more effective

119Friday 18 November 11

It is evident that musicians have different brain structure than

non-musiciansAmunts et al 1997Schlaug et al 1995b

enhanced if training has started earlier in life

120Friday 18 November 11

For musical training there is this concept of lsquodeliberate practicersquo

motivation resources and attention determine the amount and quality of practice undertaken

121Friday 18 November 11

In Neuroscience scientists uncovered evidence showing a close association

between practice and expertisehellip

hours of deliberate practice

level of expertise

Lehmann and Gruber 2006

122Friday 18 November 11

implications to Musical performance and Training

1How to practise is best learned by practising

2Start early but not to early with playing an instrument

3Breaks and sleep is essential for motor learning and memory

4Use the human lsquomirror systemrsquo

123Friday 18 November 11

Examples of practisinghellip

124Friday 18 November 11

Neuroscience and Emotion in Music

Largely overlapping networks required for the processing of both

general and music-specific emotions

125Friday 18 November 11

Whether the neural basis of emotional appraisal of music is

innate or rather acquired through enculturation is subject

to ongoing discussion

Peretz and Sloboda 2005

126Friday 18 November 11

Nature vs NurtureProblem

127Friday 18 November 11

Howeverrecognition of emotions appears independent of musical

training

howhellipfamily environment possibly

128Friday 18 November 11

Recognising from Experiencing musical emotion is different

129Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

The Psychology of Composition

What is Composition in terms of Psychology

73Friday 18 November 11

The Psychology of Composition

Composition (organisation of musical sound) could be seen as a process of self-reflection

from where self-expression derives

74Friday 18 November 11

The Psychology of Composition

ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated

expression the conscious embodiment of psychological

statesrdquo

Impett 2009

75Friday 18 November 11

Composition Psychology

76Friday 18 November 11

Composition Psychology

Creativity

77Friday 18 November 11

How could we perceive Composition

78Friday 18 November 11

Composition

it is a lsquoDiscussion of Mindsrsquo

Composer + Performer + Audience

79Friday 18 November 11

The Psychology of Composition

ldquoAlthough Composition to some degree is innateit is a product of a

situated processrdquo

Impett 2009

80Friday 18 November 11

Composition

a Process

whichby itself is in some sense creative

81Friday 18 November 11

Composition

In this ProcesshellipMetaphors and Imagination come into play

where personal aesthetics concepts and innovation (for example) shape the outcome

82Friday 18 November 11

The Psychology of Composition

based on the aforementionedSome fundamental principles exist

eg rhythm perception tonal perception

83Friday 18 November 11

The Psychology of Composition

Howevera precise nature for a personsrsquos psychology of

composition seems to be a highly individual question

84Friday 18 November 11

85Friday 18 November 11

Improvisation and Psychology

Studying Improvisation and its psychological aspect might provide

further insight into Composition

Why

86Friday 18 November 11

Improvisation and Psychology

ldquoUnlike musical composition which can be mostly construed as a more-or-

less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the

human bodyrdquo

Ashley 2009

87Friday 18 November 11

To Improvisehellipis

to produce music (composing) audibly

and in real time

88Friday 18 November 11

Improvisation and Psychology

bull Psychology of Musical Performance (eg motor behaviourhellip)

bull Pitch

bull Tone (perception)

bull and othersapproaching

deeper lsquocreativityrsquo

come altogether and in real time into play

89Friday 18 November 11

improvisation and Psychology

bull Learningbull Teachingbull Cognitionbull Society

lsquoCreativityrsquois further connected with

90Friday 18 November 11

Teaching and Learning

Perception

Instrumental Performance Composition-Improvisation

Psychology of Music

91Friday 18 November 11

end of part II92Friday 18 November 11

Music And Neuroscience

1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning

2) Knowledge acquisition is governed by factors that are not

fully under conscious control and can hardly be influenced

externally (Roth 2006)

93Friday 18 November 11

However we try to understand this lsquoknowledge acquisitionrsquo

frameworkand this is where Neuroscience comes into Music

(performance teaching learninghellip)

94Friday 18 November 11

What is Neuroscience

bull Neuroscience is this science which studies the Brain

bull This is where new experiences and knowledge are processed by interconnected Neurons which

become activated when a sensorial input is perceived

95Friday 18 November 11

How the Brain looks like

96Friday 18 November 11

97Friday 18 November 11

98Friday 18 November 11

lsquoBrain Voyagerrsquo Pictures

99Friday 18 November 11

bull The structure of the brain alters continuously

throughout our lives

bull This happens via experiences stimuli studies a walk in the parkby playing a musical

instrument

100Friday 18 November 11

The change of the brain structure we call it - Plasticity -

lsquoexperience-driven brain plasticityrsquo

101Friday 18 November 11

Why is it important to know about lsquoPlasticityrsquo

By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos

saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political

version of schooling

102Friday 18 November 11

A bit of History

ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt

almost 5000 years agohelliprdquo

Minagar Ragheb and Kelley 2003

103Friday 18 November 11

A Musical Fact

We know that evidence of music has been confirmed in every civilisation

throughout history

Chailley 1964

104Friday 18 November 11

Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology

(egGardner 1983)

Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful

musical experience

105Friday 18 November 11

History of Neuroscience in Music

One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)

106Friday 18 November 11

Supporting Areas

bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology

107Friday 18 November 11

Ways (Tools) of neuroscientific Rsc

bullMagnetic Resonance Imaging (MRI)

bullfunctional MRI

bullElectroencephalography (EEG)

bullEvent Related Potentials (ERPs)

bullTranscranial magnetic Stimulation (TMS)

bullMagnetoencephalography (MEG)

bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target

108Friday 18 November 11

Research Areas in Music

bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors

109Friday 18 November 11

Perception and Cognition -Musical Performance

Your Opinionhellip

Group Discussion

110Friday 18 November 11

Perception in Meuromusic

Perception (in music) is based on the sensory information that is

gathered by the brain regarding onersquos external and internal

environment

111Friday 18 November 11

Perception in Neuromusic

PitchRhythm

112Friday 18 November 11

We donrsquot know yet wether musical cognition and perception is

(a) specifically localised to distinct neural networks

(b) made up of shared neural networks that are associated with other brain processes

(c) a bit of both

113Friday 18 November 11

Musical Performance

Motor Learning and Instrumental Training

the act of making music is physically

intensivea pianist may bimanually

coordinate and lsquoscrutinisersquo up to 1800 notes per minute

114Friday 18 November 11

Musical Performance

3 parts of the brain are involved

bullthe sensorimotor cortex (interpretation of stimuli control of muscles)

bullthe basal ganglia (muscles in cooperative functions)

bullthe cerebellum (fine-tuning of motor movements stores motor patterns)

115Friday 18 November 11

Growth and Development proceed from general to specific

116Friday 18 November 11

Musicians appear to process new incoming stimuli more effectively

compared to non-musicians

117Friday 18 November 11

Meaning

if you practise more your brain learns to work more effectively

118Friday 18 November 11

lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop

brain cells and neurons

makes us even more effective

119Friday 18 November 11

It is evident that musicians have different brain structure than

non-musiciansAmunts et al 1997Schlaug et al 1995b

enhanced if training has started earlier in life

120Friday 18 November 11

For musical training there is this concept of lsquodeliberate practicersquo

motivation resources and attention determine the amount and quality of practice undertaken

121Friday 18 November 11

In Neuroscience scientists uncovered evidence showing a close association

between practice and expertisehellip

hours of deliberate practice

level of expertise

Lehmann and Gruber 2006

122Friday 18 November 11

implications to Musical performance and Training

1How to practise is best learned by practising

2Start early but not to early with playing an instrument

3Breaks and sleep is essential for motor learning and memory

4Use the human lsquomirror systemrsquo

123Friday 18 November 11

Examples of practisinghellip

124Friday 18 November 11

Neuroscience and Emotion in Music

Largely overlapping networks required for the processing of both

general and music-specific emotions

125Friday 18 November 11

Whether the neural basis of emotional appraisal of music is

innate or rather acquired through enculturation is subject

to ongoing discussion

Peretz and Sloboda 2005

126Friday 18 November 11

Nature vs NurtureProblem

127Friday 18 November 11

Howeverrecognition of emotions appears independent of musical

training

howhellipfamily environment possibly

128Friday 18 November 11

Recognising from Experiencing musical emotion is different

129Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

The Psychology of Composition

Composition (organisation of musical sound) could be seen as a process of self-reflection

from where self-expression derives

74Friday 18 November 11

The Psychology of Composition

ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated

expression the conscious embodiment of psychological

statesrdquo

Impett 2009

75Friday 18 November 11

Composition Psychology

76Friday 18 November 11

Composition Psychology

Creativity

77Friday 18 November 11

How could we perceive Composition

78Friday 18 November 11

Composition

it is a lsquoDiscussion of Mindsrsquo

Composer + Performer + Audience

79Friday 18 November 11

The Psychology of Composition

ldquoAlthough Composition to some degree is innateit is a product of a

situated processrdquo

Impett 2009

80Friday 18 November 11

Composition

a Process

whichby itself is in some sense creative

81Friday 18 November 11

Composition

In this ProcesshellipMetaphors and Imagination come into play

where personal aesthetics concepts and innovation (for example) shape the outcome

82Friday 18 November 11

The Psychology of Composition

based on the aforementionedSome fundamental principles exist

eg rhythm perception tonal perception

83Friday 18 November 11

The Psychology of Composition

Howevera precise nature for a personsrsquos psychology of

composition seems to be a highly individual question

84Friday 18 November 11

85Friday 18 November 11

Improvisation and Psychology

Studying Improvisation and its psychological aspect might provide

further insight into Composition

Why

86Friday 18 November 11

Improvisation and Psychology

ldquoUnlike musical composition which can be mostly construed as a more-or-

less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the

human bodyrdquo

Ashley 2009

87Friday 18 November 11

To Improvisehellipis

to produce music (composing) audibly

and in real time

88Friday 18 November 11

Improvisation and Psychology

bull Psychology of Musical Performance (eg motor behaviourhellip)

bull Pitch

bull Tone (perception)

bull and othersapproaching

deeper lsquocreativityrsquo

come altogether and in real time into play

89Friday 18 November 11

improvisation and Psychology

bull Learningbull Teachingbull Cognitionbull Society

lsquoCreativityrsquois further connected with

90Friday 18 November 11

Teaching and Learning

Perception

Instrumental Performance Composition-Improvisation

Psychology of Music

91Friday 18 November 11

end of part II92Friday 18 November 11

Music And Neuroscience

1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning

2) Knowledge acquisition is governed by factors that are not

fully under conscious control and can hardly be influenced

externally (Roth 2006)

93Friday 18 November 11

However we try to understand this lsquoknowledge acquisitionrsquo

frameworkand this is where Neuroscience comes into Music

(performance teaching learninghellip)

94Friday 18 November 11

What is Neuroscience

bull Neuroscience is this science which studies the Brain

bull This is where new experiences and knowledge are processed by interconnected Neurons which

become activated when a sensorial input is perceived

95Friday 18 November 11

How the Brain looks like

96Friday 18 November 11

97Friday 18 November 11

98Friday 18 November 11

lsquoBrain Voyagerrsquo Pictures

99Friday 18 November 11

bull The structure of the brain alters continuously

throughout our lives

bull This happens via experiences stimuli studies a walk in the parkby playing a musical

instrument

100Friday 18 November 11

The change of the brain structure we call it - Plasticity -

lsquoexperience-driven brain plasticityrsquo

101Friday 18 November 11

Why is it important to know about lsquoPlasticityrsquo

By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos

saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political

version of schooling

102Friday 18 November 11

A bit of History

ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt

almost 5000 years agohelliprdquo

Minagar Ragheb and Kelley 2003

103Friday 18 November 11

A Musical Fact

We know that evidence of music has been confirmed in every civilisation

throughout history

Chailley 1964

104Friday 18 November 11

Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology

(egGardner 1983)

Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful

musical experience

105Friday 18 November 11

History of Neuroscience in Music

One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)

106Friday 18 November 11

Supporting Areas

bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology

107Friday 18 November 11

Ways (Tools) of neuroscientific Rsc

bullMagnetic Resonance Imaging (MRI)

bullfunctional MRI

bullElectroencephalography (EEG)

bullEvent Related Potentials (ERPs)

bullTranscranial magnetic Stimulation (TMS)

bullMagnetoencephalography (MEG)

bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target

108Friday 18 November 11

Research Areas in Music

bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors

109Friday 18 November 11

Perception and Cognition -Musical Performance

Your Opinionhellip

Group Discussion

110Friday 18 November 11

Perception in Meuromusic

Perception (in music) is based on the sensory information that is

gathered by the brain regarding onersquos external and internal

environment

111Friday 18 November 11

Perception in Neuromusic

PitchRhythm

112Friday 18 November 11

We donrsquot know yet wether musical cognition and perception is

(a) specifically localised to distinct neural networks

(b) made up of shared neural networks that are associated with other brain processes

(c) a bit of both

113Friday 18 November 11

Musical Performance

Motor Learning and Instrumental Training

the act of making music is physically

intensivea pianist may bimanually

coordinate and lsquoscrutinisersquo up to 1800 notes per minute

114Friday 18 November 11

Musical Performance

3 parts of the brain are involved

bullthe sensorimotor cortex (interpretation of stimuli control of muscles)

bullthe basal ganglia (muscles in cooperative functions)

bullthe cerebellum (fine-tuning of motor movements stores motor patterns)

115Friday 18 November 11

Growth and Development proceed from general to specific

116Friday 18 November 11

Musicians appear to process new incoming stimuli more effectively

compared to non-musicians

117Friday 18 November 11

Meaning

if you practise more your brain learns to work more effectively

118Friday 18 November 11

lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop

brain cells and neurons

makes us even more effective

119Friday 18 November 11

It is evident that musicians have different brain structure than

non-musiciansAmunts et al 1997Schlaug et al 1995b

enhanced if training has started earlier in life

120Friday 18 November 11

For musical training there is this concept of lsquodeliberate practicersquo

motivation resources and attention determine the amount and quality of practice undertaken

121Friday 18 November 11

In Neuroscience scientists uncovered evidence showing a close association

between practice and expertisehellip

hours of deliberate practice

level of expertise

Lehmann and Gruber 2006

122Friday 18 November 11

implications to Musical performance and Training

1How to practise is best learned by practising

2Start early but not to early with playing an instrument

3Breaks and sleep is essential for motor learning and memory

4Use the human lsquomirror systemrsquo

123Friday 18 November 11

Examples of practisinghellip

124Friday 18 November 11

Neuroscience and Emotion in Music

Largely overlapping networks required for the processing of both

general and music-specific emotions

125Friday 18 November 11

Whether the neural basis of emotional appraisal of music is

innate or rather acquired through enculturation is subject

to ongoing discussion

Peretz and Sloboda 2005

126Friday 18 November 11

Nature vs NurtureProblem

127Friday 18 November 11

Howeverrecognition of emotions appears independent of musical

training

howhellipfamily environment possibly

128Friday 18 November 11

Recognising from Experiencing musical emotion is different

129Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

The Psychology of Composition

ldquoMusical expressionism (composition) is the stylistic embodiment of unmediated

expression the conscious embodiment of psychological

statesrdquo

Impett 2009

75Friday 18 November 11

Composition Psychology

76Friday 18 November 11

Composition Psychology

Creativity

77Friday 18 November 11

How could we perceive Composition

78Friday 18 November 11

Composition

it is a lsquoDiscussion of Mindsrsquo

Composer + Performer + Audience

79Friday 18 November 11

The Psychology of Composition

ldquoAlthough Composition to some degree is innateit is a product of a

situated processrdquo

Impett 2009

80Friday 18 November 11

Composition

a Process

whichby itself is in some sense creative

81Friday 18 November 11

Composition

In this ProcesshellipMetaphors and Imagination come into play

where personal aesthetics concepts and innovation (for example) shape the outcome

82Friday 18 November 11

The Psychology of Composition

based on the aforementionedSome fundamental principles exist

eg rhythm perception tonal perception

83Friday 18 November 11

The Psychology of Composition

Howevera precise nature for a personsrsquos psychology of

composition seems to be a highly individual question

84Friday 18 November 11

85Friday 18 November 11

Improvisation and Psychology

Studying Improvisation and its psychological aspect might provide

further insight into Composition

Why

86Friday 18 November 11

Improvisation and Psychology

ldquoUnlike musical composition which can be mostly construed as a more-or-

less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the

human bodyrdquo

Ashley 2009

87Friday 18 November 11

To Improvisehellipis

to produce music (composing) audibly

and in real time

88Friday 18 November 11

Improvisation and Psychology

bull Psychology of Musical Performance (eg motor behaviourhellip)

bull Pitch

bull Tone (perception)

bull and othersapproaching

deeper lsquocreativityrsquo

come altogether and in real time into play

89Friday 18 November 11

improvisation and Psychology

bull Learningbull Teachingbull Cognitionbull Society

lsquoCreativityrsquois further connected with

90Friday 18 November 11

Teaching and Learning

Perception

Instrumental Performance Composition-Improvisation

Psychology of Music

91Friday 18 November 11

end of part II92Friday 18 November 11

Music And Neuroscience

1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning

2) Knowledge acquisition is governed by factors that are not

fully under conscious control and can hardly be influenced

externally (Roth 2006)

93Friday 18 November 11

However we try to understand this lsquoknowledge acquisitionrsquo

frameworkand this is where Neuroscience comes into Music

(performance teaching learninghellip)

94Friday 18 November 11

What is Neuroscience

bull Neuroscience is this science which studies the Brain

bull This is where new experiences and knowledge are processed by interconnected Neurons which

become activated when a sensorial input is perceived

95Friday 18 November 11

How the Brain looks like

96Friday 18 November 11

97Friday 18 November 11

98Friday 18 November 11

lsquoBrain Voyagerrsquo Pictures

99Friday 18 November 11

bull The structure of the brain alters continuously

throughout our lives

bull This happens via experiences stimuli studies a walk in the parkby playing a musical

instrument

100Friday 18 November 11

The change of the brain structure we call it - Plasticity -

lsquoexperience-driven brain plasticityrsquo

101Friday 18 November 11

Why is it important to know about lsquoPlasticityrsquo

By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos

saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political

version of schooling

102Friday 18 November 11

A bit of History

ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt

almost 5000 years agohelliprdquo

Minagar Ragheb and Kelley 2003

103Friday 18 November 11

A Musical Fact

We know that evidence of music has been confirmed in every civilisation

throughout history

Chailley 1964

104Friday 18 November 11

Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology

(egGardner 1983)

Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful

musical experience

105Friday 18 November 11

History of Neuroscience in Music

One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)

106Friday 18 November 11

Supporting Areas

bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology

107Friday 18 November 11

Ways (Tools) of neuroscientific Rsc

bullMagnetic Resonance Imaging (MRI)

bullfunctional MRI

bullElectroencephalography (EEG)

bullEvent Related Potentials (ERPs)

bullTranscranial magnetic Stimulation (TMS)

bullMagnetoencephalography (MEG)

bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target

108Friday 18 November 11

Research Areas in Music

bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors

109Friday 18 November 11

Perception and Cognition -Musical Performance

Your Opinionhellip

Group Discussion

110Friday 18 November 11

Perception in Meuromusic

Perception (in music) is based on the sensory information that is

gathered by the brain regarding onersquos external and internal

environment

111Friday 18 November 11

Perception in Neuromusic

PitchRhythm

112Friday 18 November 11

We donrsquot know yet wether musical cognition and perception is

(a) specifically localised to distinct neural networks

(b) made up of shared neural networks that are associated with other brain processes

(c) a bit of both

113Friday 18 November 11

Musical Performance

Motor Learning and Instrumental Training

the act of making music is physically

intensivea pianist may bimanually

coordinate and lsquoscrutinisersquo up to 1800 notes per minute

114Friday 18 November 11

Musical Performance

3 parts of the brain are involved

bullthe sensorimotor cortex (interpretation of stimuli control of muscles)

bullthe basal ganglia (muscles in cooperative functions)

bullthe cerebellum (fine-tuning of motor movements stores motor patterns)

115Friday 18 November 11

Growth and Development proceed from general to specific

116Friday 18 November 11

Musicians appear to process new incoming stimuli more effectively

compared to non-musicians

117Friday 18 November 11

Meaning

if you practise more your brain learns to work more effectively

118Friday 18 November 11

lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop

brain cells and neurons

makes us even more effective

119Friday 18 November 11

It is evident that musicians have different brain structure than

non-musiciansAmunts et al 1997Schlaug et al 1995b

enhanced if training has started earlier in life

120Friday 18 November 11

For musical training there is this concept of lsquodeliberate practicersquo

motivation resources and attention determine the amount and quality of practice undertaken

121Friday 18 November 11

In Neuroscience scientists uncovered evidence showing a close association

between practice and expertisehellip

hours of deliberate practice

level of expertise

Lehmann and Gruber 2006

122Friday 18 November 11

implications to Musical performance and Training

1How to practise is best learned by practising

2Start early but not to early with playing an instrument

3Breaks and sleep is essential for motor learning and memory

4Use the human lsquomirror systemrsquo

123Friday 18 November 11

Examples of practisinghellip

124Friday 18 November 11

Neuroscience and Emotion in Music

Largely overlapping networks required for the processing of both

general and music-specific emotions

125Friday 18 November 11

Whether the neural basis of emotional appraisal of music is

innate or rather acquired through enculturation is subject

to ongoing discussion

Peretz and Sloboda 2005

126Friday 18 November 11

Nature vs NurtureProblem

127Friday 18 November 11

Howeverrecognition of emotions appears independent of musical

training

howhellipfamily environment possibly

128Friday 18 November 11

Recognising from Experiencing musical emotion is different

129Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

Composition Psychology

76Friday 18 November 11

Composition Psychology

Creativity

77Friday 18 November 11

How could we perceive Composition

78Friday 18 November 11

Composition

it is a lsquoDiscussion of Mindsrsquo

Composer + Performer + Audience

79Friday 18 November 11

The Psychology of Composition

ldquoAlthough Composition to some degree is innateit is a product of a

situated processrdquo

Impett 2009

80Friday 18 November 11

Composition

a Process

whichby itself is in some sense creative

81Friday 18 November 11

Composition

In this ProcesshellipMetaphors and Imagination come into play

where personal aesthetics concepts and innovation (for example) shape the outcome

82Friday 18 November 11

The Psychology of Composition

based on the aforementionedSome fundamental principles exist

eg rhythm perception tonal perception

83Friday 18 November 11

The Psychology of Composition

Howevera precise nature for a personsrsquos psychology of

composition seems to be a highly individual question

84Friday 18 November 11

85Friday 18 November 11

Improvisation and Psychology

Studying Improvisation and its psychological aspect might provide

further insight into Composition

Why

86Friday 18 November 11

Improvisation and Psychology

ldquoUnlike musical composition which can be mostly construed as a more-or-

less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the

human bodyrdquo

Ashley 2009

87Friday 18 November 11

To Improvisehellipis

to produce music (composing) audibly

and in real time

88Friday 18 November 11

Improvisation and Psychology

bull Psychology of Musical Performance (eg motor behaviourhellip)

bull Pitch

bull Tone (perception)

bull and othersapproaching

deeper lsquocreativityrsquo

come altogether and in real time into play

89Friday 18 November 11

improvisation and Psychology

bull Learningbull Teachingbull Cognitionbull Society

lsquoCreativityrsquois further connected with

90Friday 18 November 11

Teaching and Learning

Perception

Instrumental Performance Composition-Improvisation

Psychology of Music

91Friday 18 November 11

end of part II92Friday 18 November 11

Music And Neuroscience

1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning

2) Knowledge acquisition is governed by factors that are not

fully under conscious control and can hardly be influenced

externally (Roth 2006)

93Friday 18 November 11

However we try to understand this lsquoknowledge acquisitionrsquo

frameworkand this is where Neuroscience comes into Music

(performance teaching learninghellip)

94Friday 18 November 11

What is Neuroscience

bull Neuroscience is this science which studies the Brain

bull This is where new experiences and knowledge are processed by interconnected Neurons which

become activated when a sensorial input is perceived

95Friday 18 November 11

How the Brain looks like

96Friday 18 November 11

97Friday 18 November 11

98Friday 18 November 11

lsquoBrain Voyagerrsquo Pictures

99Friday 18 November 11

bull The structure of the brain alters continuously

throughout our lives

bull This happens via experiences stimuli studies a walk in the parkby playing a musical

instrument

100Friday 18 November 11

The change of the brain structure we call it - Plasticity -

lsquoexperience-driven brain plasticityrsquo

101Friday 18 November 11

Why is it important to know about lsquoPlasticityrsquo

By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos

saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political

version of schooling

102Friday 18 November 11

A bit of History

ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt

almost 5000 years agohelliprdquo

Minagar Ragheb and Kelley 2003

103Friday 18 November 11

A Musical Fact

We know that evidence of music has been confirmed in every civilisation

throughout history

Chailley 1964

104Friday 18 November 11

Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology

(egGardner 1983)

Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful

musical experience

105Friday 18 November 11

History of Neuroscience in Music

One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)

106Friday 18 November 11

Supporting Areas

bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology

107Friday 18 November 11

Ways (Tools) of neuroscientific Rsc

bullMagnetic Resonance Imaging (MRI)

bullfunctional MRI

bullElectroencephalography (EEG)

bullEvent Related Potentials (ERPs)

bullTranscranial magnetic Stimulation (TMS)

bullMagnetoencephalography (MEG)

bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target

108Friday 18 November 11

Research Areas in Music

bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors

109Friday 18 November 11

Perception and Cognition -Musical Performance

Your Opinionhellip

Group Discussion

110Friday 18 November 11

Perception in Meuromusic

Perception (in music) is based on the sensory information that is

gathered by the brain regarding onersquos external and internal

environment

111Friday 18 November 11

Perception in Neuromusic

PitchRhythm

112Friday 18 November 11

We donrsquot know yet wether musical cognition and perception is

(a) specifically localised to distinct neural networks

(b) made up of shared neural networks that are associated with other brain processes

(c) a bit of both

113Friday 18 November 11

Musical Performance

Motor Learning and Instrumental Training

the act of making music is physically

intensivea pianist may bimanually

coordinate and lsquoscrutinisersquo up to 1800 notes per minute

114Friday 18 November 11

Musical Performance

3 parts of the brain are involved

bullthe sensorimotor cortex (interpretation of stimuli control of muscles)

bullthe basal ganglia (muscles in cooperative functions)

bullthe cerebellum (fine-tuning of motor movements stores motor patterns)

115Friday 18 November 11

Growth and Development proceed from general to specific

116Friday 18 November 11

Musicians appear to process new incoming stimuli more effectively

compared to non-musicians

117Friday 18 November 11

Meaning

if you practise more your brain learns to work more effectively

118Friday 18 November 11

lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop

brain cells and neurons

makes us even more effective

119Friday 18 November 11

It is evident that musicians have different brain structure than

non-musiciansAmunts et al 1997Schlaug et al 1995b

enhanced if training has started earlier in life

120Friday 18 November 11

For musical training there is this concept of lsquodeliberate practicersquo

motivation resources and attention determine the amount and quality of practice undertaken

121Friday 18 November 11

In Neuroscience scientists uncovered evidence showing a close association

between practice and expertisehellip

hours of deliberate practice

level of expertise

Lehmann and Gruber 2006

122Friday 18 November 11

implications to Musical performance and Training

1How to practise is best learned by practising

2Start early but not to early with playing an instrument

3Breaks and sleep is essential for motor learning and memory

4Use the human lsquomirror systemrsquo

123Friday 18 November 11

Examples of practisinghellip

124Friday 18 November 11

Neuroscience and Emotion in Music

Largely overlapping networks required for the processing of both

general and music-specific emotions

125Friday 18 November 11

Whether the neural basis of emotional appraisal of music is

innate or rather acquired through enculturation is subject

to ongoing discussion

Peretz and Sloboda 2005

126Friday 18 November 11

Nature vs NurtureProblem

127Friday 18 November 11

Howeverrecognition of emotions appears independent of musical

training

howhellipfamily environment possibly

128Friday 18 November 11

Recognising from Experiencing musical emotion is different

129Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

Composition Psychology

Creativity

77Friday 18 November 11

How could we perceive Composition

78Friday 18 November 11

Composition

it is a lsquoDiscussion of Mindsrsquo

Composer + Performer + Audience

79Friday 18 November 11

The Psychology of Composition

ldquoAlthough Composition to some degree is innateit is a product of a

situated processrdquo

Impett 2009

80Friday 18 November 11

Composition

a Process

whichby itself is in some sense creative

81Friday 18 November 11

Composition

In this ProcesshellipMetaphors and Imagination come into play

where personal aesthetics concepts and innovation (for example) shape the outcome

82Friday 18 November 11

The Psychology of Composition

based on the aforementionedSome fundamental principles exist

eg rhythm perception tonal perception

83Friday 18 November 11

The Psychology of Composition

Howevera precise nature for a personsrsquos psychology of

composition seems to be a highly individual question

84Friday 18 November 11

85Friday 18 November 11

Improvisation and Psychology

Studying Improvisation and its psychological aspect might provide

further insight into Composition

Why

86Friday 18 November 11

Improvisation and Psychology

ldquoUnlike musical composition which can be mostly construed as a more-or-

less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the

human bodyrdquo

Ashley 2009

87Friday 18 November 11

To Improvisehellipis

to produce music (composing) audibly

and in real time

88Friday 18 November 11

Improvisation and Psychology

bull Psychology of Musical Performance (eg motor behaviourhellip)

bull Pitch

bull Tone (perception)

bull and othersapproaching

deeper lsquocreativityrsquo

come altogether and in real time into play

89Friday 18 November 11

improvisation and Psychology

bull Learningbull Teachingbull Cognitionbull Society

lsquoCreativityrsquois further connected with

90Friday 18 November 11

Teaching and Learning

Perception

Instrumental Performance Composition-Improvisation

Psychology of Music

91Friday 18 November 11

end of part II92Friday 18 November 11

Music And Neuroscience

1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning

2) Knowledge acquisition is governed by factors that are not

fully under conscious control and can hardly be influenced

externally (Roth 2006)

93Friday 18 November 11

However we try to understand this lsquoknowledge acquisitionrsquo

frameworkand this is where Neuroscience comes into Music

(performance teaching learninghellip)

94Friday 18 November 11

What is Neuroscience

bull Neuroscience is this science which studies the Brain

bull This is where new experiences and knowledge are processed by interconnected Neurons which

become activated when a sensorial input is perceived

95Friday 18 November 11

How the Brain looks like

96Friday 18 November 11

97Friday 18 November 11

98Friday 18 November 11

lsquoBrain Voyagerrsquo Pictures

99Friday 18 November 11

bull The structure of the brain alters continuously

throughout our lives

bull This happens via experiences stimuli studies a walk in the parkby playing a musical

instrument

100Friday 18 November 11

The change of the brain structure we call it - Plasticity -

lsquoexperience-driven brain plasticityrsquo

101Friday 18 November 11

Why is it important to know about lsquoPlasticityrsquo

By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos

saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political

version of schooling

102Friday 18 November 11

A bit of History

ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt

almost 5000 years agohelliprdquo

Minagar Ragheb and Kelley 2003

103Friday 18 November 11

A Musical Fact

We know that evidence of music has been confirmed in every civilisation

throughout history

Chailley 1964

104Friday 18 November 11

Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology

(egGardner 1983)

Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful

musical experience

105Friday 18 November 11

History of Neuroscience in Music

One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)

106Friday 18 November 11

Supporting Areas

bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology

107Friday 18 November 11

Ways (Tools) of neuroscientific Rsc

bullMagnetic Resonance Imaging (MRI)

bullfunctional MRI

bullElectroencephalography (EEG)

bullEvent Related Potentials (ERPs)

bullTranscranial magnetic Stimulation (TMS)

bullMagnetoencephalography (MEG)

bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target

108Friday 18 November 11

Research Areas in Music

bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors

109Friday 18 November 11

Perception and Cognition -Musical Performance

Your Opinionhellip

Group Discussion

110Friday 18 November 11

Perception in Meuromusic

Perception (in music) is based on the sensory information that is

gathered by the brain regarding onersquos external and internal

environment

111Friday 18 November 11

Perception in Neuromusic

PitchRhythm

112Friday 18 November 11

We donrsquot know yet wether musical cognition and perception is

(a) specifically localised to distinct neural networks

(b) made up of shared neural networks that are associated with other brain processes

(c) a bit of both

113Friday 18 November 11

Musical Performance

Motor Learning and Instrumental Training

the act of making music is physically

intensivea pianist may bimanually

coordinate and lsquoscrutinisersquo up to 1800 notes per minute

114Friday 18 November 11

Musical Performance

3 parts of the brain are involved

bullthe sensorimotor cortex (interpretation of stimuli control of muscles)

bullthe basal ganglia (muscles in cooperative functions)

bullthe cerebellum (fine-tuning of motor movements stores motor patterns)

115Friday 18 November 11

Growth and Development proceed from general to specific

116Friday 18 November 11

Musicians appear to process new incoming stimuli more effectively

compared to non-musicians

117Friday 18 November 11

Meaning

if you practise more your brain learns to work more effectively

118Friday 18 November 11

lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop

brain cells and neurons

makes us even more effective

119Friday 18 November 11

It is evident that musicians have different brain structure than

non-musiciansAmunts et al 1997Schlaug et al 1995b

enhanced if training has started earlier in life

120Friday 18 November 11

For musical training there is this concept of lsquodeliberate practicersquo

motivation resources and attention determine the amount and quality of practice undertaken

121Friday 18 November 11

In Neuroscience scientists uncovered evidence showing a close association

between practice and expertisehellip

hours of deliberate practice

level of expertise

Lehmann and Gruber 2006

122Friday 18 November 11

implications to Musical performance and Training

1How to practise is best learned by practising

2Start early but not to early with playing an instrument

3Breaks and sleep is essential for motor learning and memory

4Use the human lsquomirror systemrsquo

123Friday 18 November 11

Examples of practisinghellip

124Friday 18 November 11

Neuroscience and Emotion in Music

Largely overlapping networks required for the processing of both

general and music-specific emotions

125Friday 18 November 11

Whether the neural basis of emotional appraisal of music is

innate or rather acquired through enculturation is subject

to ongoing discussion

Peretz and Sloboda 2005

126Friday 18 November 11

Nature vs NurtureProblem

127Friday 18 November 11

Howeverrecognition of emotions appears independent of musical

training

howhellipfamily environment possibly

128Friday 18 November 11

Recognising from Experiencing musical emotion is different

129Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

How could we perceive Composition

78Friday 18 November 11

Composition

it is a lsquoDiscussion of Mindsrsquo

Composer + Performer + Audience

79Friday 18 November 11

The Psychology of Composition

ldquoAlthough Composition to some degree is innateit is a product of a

situated processrdquo

Impett 2009

80Friday 18 November 11

Composition

a Process

whichby itself is in some sense creative

81Friday 18 November 11

Composition

In this ProcesshellipMetaphors and Imagination come into play

where personal aesthetics concepts and innovation (for example) shape the outcome

82Friday 18 November 11

The Psychology of Composition

based on the aforementionedSome fundamental principles exist

eg rhythm perception tonal perception

83Friday 18 November 11

The Psychology of Composition

Howevera precise nature for a personsrsquos psychology of

composition seems to be a highly individual question

84Friday 18 November 11

85Friday 18 November 11

Improvisation and Psychology

Studying Improvisation and its psychological aspect might provide

further insight into Composition

Why

86Friday 18 November 11

Improvisation and Psychology

ldquoUnlike musical composition which can be mostly construed as a more-or-

less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the

human bodyrdquo

Ashley 2009

87Friday 18 November 11

To Improvisehellipis

to produce music (composing) audibly

and in real time

88Friday 18 November 11

Improvisation and Psychology

bull Psychology of Musical Performance (eg motor behaviourhellip)

bull Pitch

bull Tone (perception)

bull and othersapproaching

deeper lsquocreativityrsquo

come altogether and in real time into play

89Friday 18 November 11

improvisation and Psychology

bull Learningbull Teachingbull Cognitionbull Society

lsquoCreativityrsquois further connected with

90Friday 18 November 11

Teaching and Learning

Perception

Instrumental Performance Composition-Improvisation

Psychology of Music

91Friday 18 November 11

end of part II92Friday 18 November 11

Music And Neuroscience

1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning

2) Knowledge acquisition is governed by factors that are not

fully under conscious control and can hardly be influenced

externally (Roth 2006)

93Friday 18 November 11

However we try to understand this lsquoknowledge acquisitionrsquo

frameworkand this is where Neuroscience comes into Music

(performance teaching learninghellip)

94Friday 18 November 11

What is Neuroscience

bull Neuroscience is this science which studies the Brain

bull This is where new experiences and knowledge are processed by interconnected Neurons which

become activated when a sensorial input is perceived

95Friday 18 November 11

How the Brain looks like

96Friday 18 November 11

97Friday 18 November 11

98Friday 18 November 11

lsquoBrain Voyagerrsquo Pictures

99Friday 18 November 11

bull The structure of the brain alters continuously

throughout our lives

bull This happens via experiences stimuli studies a walk in the parkby playing a musical

instrument

100Friday 18 November 11

The change of the brain structure we call it - Plasticity -

lsquoexperience-driven brain plasticityrsquo

101Friday 18 November 11

Why is it important to know about lsquoPlasticityrsquo

By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos

saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political

version of schooling

102Friday 18 November 11

A bit of History

ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt

almost 5000 years agohelliprdquo

Minagar Ragheb and Kelley 2003

103Friday 18 November 11

A Musical Fact

We know that evidence of music has been confirmed in every civilisation

throughout history

Chailley 1964

104Friday 18 November 11

Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology

(egGardner 1983)

Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful

musical experience

105Friday 18 November 11

History of Neuroscience in Music

One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)

106Friday 18 November 11

Supporting Areas

bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology

107Friday 18 November 11

Ways (Tools) of neuroscientific Rsc

bullMagnetic Resonance Imaging (MRI)

bullfunctional MRI

bullElectroencephalography (EEG)

bullEvent Related Potentials (ERPs)

bullTranscranial magnetic Stimulation (TMS)

bullMagnetoencephalography (MEG)

bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target

108Friday 18 November 11

Research Areas in Music

bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors

109Friday 18 November 11

Perception and Cognition -Musical Performance

Your Opinionhellip

Group Discussion

110Friday 18 November 11

Perception in Meuromusic

Perception (in music) is based on the sensory information that is

gathered by the brain regarding onersquos external and internal

environment

111Friday 18 November 11

Perception in Neuromusic

PitchRhythm

112Friday 18 November 11

We donrsquot know yet wether musical cognition and perception is

(a) specifically localised to distinct neural networks

(b) made up of shared neural networks that are associated with other brain processes

(c) a bit of both

113Friday 18 November 11

Musical Performance

Motor Learning and Instrumental Training

the act of making music is physically

intensivea pianist may bimanually

coordinate and lsquoscrutinisersquo up to 1800 notes per minute

114Friday 18 November 11

Musical Performance

3 parts of the brain are involved

bullthe sensorimotor cortex (interpretation of stimuli control of muscles)

bullthe basal ganglia (muscles in cooperative functions)

bullthe cerebellum (fine-tuning of motor movements stores motor patterns)

115Friday 18 November 11

Growth and Development proceed from general to specific

116Friday 18 November 11

Musicians appear to process new incoming stimuli more effectively

compared to non-musicians

117Friday 18 November 11

Meaning

if you practise more your brain learns to work more effectively

118Friday 18 November 11

lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop

brain cells and neurons

makes us even more effective

119Friday 18 November 11

It is evident that musicians have different brain structure than

non-musiciansAmunts et al 1997Schlaug et al 1995b

enhanced if training has started earlier in life

120Friday 18 November 11

For musical training there is this concept of lsquodeliberate practicersquo

motivation resources and attention determine the amount and quality of practice undertaken

121Friday 18 November 11

In Neuroscience scientists uncovered evidence showing a close association

between practice and expertisehellip

hours of deliberate practice

level of expertise

Lehmann and Gruber 2006

122Friday 18 November 11

implications to Musical performance and Training

1How to practise is best learned by practising

2Start early but not to early with playing an instrument

3Breaks and sleep is essential for motor learning and memory

4Use the human lsquomirror systemrsquo

123Friday 18 November 11

Examples of practisinghellip

124Friday 18 November 11

Neuroscience and Emotion in Music

Largely overlapping networks required for the processing of both

general and music-specific emotions

125Friday 18 November 11

Whether the neural basis of emotional appraisal of music is

innate or rather acquired through enculturation is subject

to ongoing discussion

Peretz and Sloboda 2005

126Friday 18 November 11

Nature vs NurtureProblem

127Friday 18 November 11

Howeverrecognition of emotions appears independent of musical

training

howhellipfamily environment possibly

128Friday 18 November 11

Recognising from Experiencing musical emotion is different

129Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

Composition

it is a lsquoDiscussion of Mindsrsquo

Composer + Performer + Audience

79Friday 18 November 11

The Psychology of Composition

ldquoAlthough Composition to some degree is innateit is a product of a

situated processrdquo

Impett 2009

80Friday 18 November 11

Composition

a Process

whichby itself is in some sense creative

81Friday 18 November 11

Composition

In this ProcesshellipMetaphors and Imagination come into play

where personal aesthetics concepts and innovation (for example) shape the outcome

82Friday 18 November 11

The Psychology of Composition

based on the aforementionedSome fundamental principles exist

eg rhythm perception tonal perception

83Friday 18 November 11

The Psychology of Composition

Howevera precise nature for a personsrsquos psychology of

composition seems to be a highly individual question

84Friday 18 November 11

85Friday 18 November 11

Improvisation and Psychology

Studying Improvisation and its psychological aspect might provide

further insight into Composition

Why

86Friday 18 November 11

Improvisation and Psychology

ldquoUnlike musical composition which can be mostly construed as a more-or-

less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the

human bodyrdquo

Ashley 2009

87Friday 18 November 11

To Improvisehellipis

to produce music (composing) audibly

and in real time

88Friday 18 November 11

Improvisation and Psychology

bull Psychology of Musical Performance (eg motor behaviourhellip)

bull Pitch

bull Tone (perception)

bull and othersapproaching

deeper lsquocreativityrsquo

come altogether and in real time into play

89Friday 18 November 11

improvisation and Psychology

bull Learningbull Teachingbull Cognitionbull Society

lsquoCreativityrsquois further connected with

90Friday 18 November 11

Teaching and Learning

Perception

Instrumental Performance Composition-Improvisation

Psychology of Music

91Friday 18 November 11

end of part II92Friday 18 November 11

Music And Neuroscience

1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning

2) Knowledge acquisition is governed by factors that are not

fully under conscious control and can hardly be influenced

externally (Roth 2006)

93Friday 18 November 11

However we try to understand this lsquoknowledge acquisitionrsquo

frameworkand this is where Neuroscience comes into Music

(performance teaching learninghellip)

94Friday 18 November 11

What is Neuroscience

bull Neuroscience is this science which studies the Brain

bull This is where new experiences and knowledge are processed by interconnected Neurons which

become activated when a sensorial input is perceived

95Friday 18 November 11

How the Brain looks like

96Friday 18 November 11

97Friday 18 November 11

98Friday 18 November 11

lsquoBrain Voyagerrsquo Pictures

99Friday 18 November 11

bull The structure of the brain alters continuously

throughout our lives

bull This happens via experiences stimuli studies a walk in the parkby playing a musical

instrument

100Friday 18 November 11

The change of the brain structure we call it - Plasticity -

lsquoexperience-driven brain plasticityrsquo

101Friday 18 November 11

Why is it important to know about lsquoPlasticityrsquo

By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos

saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political

version of schooling

102Friday 18 November 11

A bit of History

ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt

almost 5000 years agohelliprdquo

Minagar Ragheb and Kelley 2003

103Friday 18 November 11

A Musical Fact

We know that evidence of music has been confirmed in every civilisation

throughout history

Chailley 1964

104Friday 18 November 11

Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology

(egGardner 1983)

Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful

musical experience

105Friday 18 November 11

History of Neuroscience in Music

One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)

106Friday 18 November 11

Supporting Areas

bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology

107Friday 18 November 11

Ways (Tools) of neuroscientific Rsc

bullMagnetic Resonance Imaging (MRI)

bullfunctional MRI

bullElectroencephalography (EEG)

bullEvent Related Potentials (ERPs)

bullTranscranial magnetic Stimulation (TMS)

bullMagnetoencephalography (MEG)

bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target

108Friday 18 November 11

Research Areas in Music

bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors

109Friday 18 November 11

Perception and Cognition -Musical Performance

Your Opinionhellip

Group Discussion

110Friday 18 November 11

Perception in Meuromusic

Perception (in music) is based on the sensory information that is

gathered by the brain regarding onersquos external and internal

environment

111Friday 18 November 11

Perception in Neuromusic

PitchRhythm

112Friday 18 November 11

We donrsquot know yet wether musical cognition and perception is

(a) specifically localised to distinct neural networks

(b) made up of shared neural networks that are associated with other brain processes

(c) a bit of both

113Friday 18 November 11

Musical Performance

Motor Learning and Instrumental Training

the act of making music is physically

intensivea pianist may bimanually

coordinate and lsquoscrutinisersquo up to 1800 notes per minute

114Friday 18 November 11

Musical Performance

3 parts of the brain are involved

bullthe sensorimotor cortex (interpretation of stimuli control of muscles)

bullthe basal ganglia (muscles in cooperative functions)

bullthe cerebellum (fine-tuning of motor movements stores motor patterns)

115Friday 18 November 11

Growth and Development proceed from general to specific

116Friday 18 November 11

Musicians appear to process new incoming stimuli more effectively

compared to non-musicians

117Friday 18 November 11

Meaning

if you practise more your brain learns to work more effectively

118Friday 18 November 11

lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop

brain cells and neurons

makes us even more effective

119Friday 18 November 11

It is evident that musicians have different brain structure than

non-musiciansAmunts et al 1997Schlaug et al 1995b

enhanced if training has started earlier in life

120Friday 18 November 11

For musical training there is this concept of lsquodeliberate practicersquo

motivation resources and attention determine the amount and quality of practice undertaken

121Friday 18 November 11

In Neuroscience scientists uncovered evidence showing a close association

between practice and expertisehellip

hours of deliberate practice

level of expertise

Lehmann and Gruber 2006

122Friday 18 November 11

implications to Musical performance and Training

1How to practise is best learned by practising

2Start early but not to early with playing an instrument

3Breaks and sleep is essential for motor learning and memory

4Use the human lsquomirror systemrsquo

123Friday 18 November 11

Examples of practisinghellip

124Friday 18 November 11

Neuroscience and Emotion in Music

Largely overlapping networks required for the processing of both

general and music-specific emotions

125Friday 18 November 11

Whether the neural basis of emotional appraisal of music is

innate or rather acquired through enculturation is subject

to ongoing discussion

Peretz and Sloboda 2005

126Friday 18 November 11

Nature vs NurtureProblem

127Friday 18 November 11

Howeverrecognition of emotions appears independent of musical

training

howhellipfamily environment possibly

128Friday 18 November 11

Recognising from Experiencing musical emotion is different

129Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

The Psychology of Composition

ldquoAlthough Composition to some degree is innateit is a product of a

situated processrdquo

Impett 2009

80Friday 18 November 11

Composition

a Process

whichby itself is in some sense creative

81Friday 18 November 11

Composition

In this ProcesshellipMetaphors and Imagination come into play

where personal aesthetics concepts and innovation (for example) shape the outcome

82Friday 18 November 11

The Psychology of Composition

based on the aforementionedSome fundamental principles exist

eg rhythm perception tonal perception

83Friday 18 November 11

The Psychology of Composition

Howevera precise nature for a personsrsquos psychology of

composition seems to be a highly individual question

84Friday 18 November 11

85Friday 18 November 11

Improvisation and Psychology

Studying Improvisation and its psychological aspect might provide

further insight into Composition

Why

86Friday 18 November 11

Improvisation and Psychology

ldquoUnlike musical composition which can be mostly construed as a more-or-

less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the

human bodyrdquo

Ashley 2009

87Friday 18 November 11

To Improvisehellipis

to produce music (composing) audibly

and in real time

88Friday 18 November 11

Improvisation and Psychology

bull Psychology of Musical Performance (eg motor behaviourhellip)

bull Pitch

bull Tone (perception)

bull and othersapproaching

deeper lsquocreativityrsquo

come altogether and in real time into play

89Friday 18 November 11

improvisation and Psychology

bull Learningbull Teachingbull Cognitionbull Society

lsquoCreativityrsquois further connected with

90Friday 18 November 11

Teaching and Learning

Perception

Instrumental Performance Composition-Improvisation

Psychology of Music

91Friday 18 November 11

end of part II92Friday 18 November 11

Music And Neuroscience

1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning

2) Knowledge acquisition is governed by factors that are not

fully under conscious control and can hardly be influenced

externally (Roth 2006)

93Friday 18 November 11

However we try to understand this lsquoknowledge acquisitionrsquo

frameworkand this is where Neuroscience comes into Music

(performance teaching learninghellip)

94Friday 18 November 11

What is Neuroscience

bull Neuroscience is this science which studies the Brain

bull This is where new experiences and knowledge are processed by interconnected Neurons which

become activated when a sensorial input is perceived

95Friday 18 November 11

How the Brain looks like

96Friday 18 November 11

97Friday 18 November 11

98Friday 18 November 11

lsquoBrain Voyagerrsquo Pictures

99Friday 18 November 11

bull The structure of the brain alters continuously

throughout our lives

bull This happens via experiences stimuli studies a walk in the parkby playing a musical

instrument

100Friday 18 November 11

The change of the brain structure we call it - Plasticity -

lsquoexperience-driven brain plasticityrsquo

101Friday 18 November 11

Why is it important to know about lsquoPlasticityrsquo

By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos

saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political

version of schooling

102Friday 18 November 11

A bit of History

ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt

almost 5000 years agohelliprdquo

Minagar Ragheb and Kelley 2003

103Friday 18 November 11

A Musical Fact

We know that evidence of music has been confirmed in every civilisation

throughout history

Chailley 1964

104Friday 18 November 11

Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology

(egGardner 1983)

Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful

musical experience

105Friday 18 November 11

History of Neuroscience in Music

One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)

106Friday 18 November 11

Supporting Areas

bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology

107Friday 18 November 11

Ways (Tools) of neuroscientific Rsc

bullMagnetic Resonance Imaging (MRI)

bullfunctional MRI

bullElectroencephalography (EEG)

bullEvent Related Potentials (ERPs)

bullTranscranial magnetic Stimulation (TMS)

bullMagnetoencephalography (MEG)

bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target

108Friday 18 November 11

Research Areas in Music

bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors

109Friday 18 November 11

Perception and Cognition -Musical Performance

Your Opinionhellip

Group Discussion

110Friday 18 November 11

Perception in Meuromusic

Perception (in music) is based on the sensory information that is

gathered by the brain regarding onersquos external and internal

environment

111Friday 18 November 11

Perception in Neuromusic

PitchRhythm

112Friday 18 November 11

We donrsquot know yet wether musical cognition and perception is

(a) specifically localised to distinct neural networks

(b) made up of shared neural networks that are associated with other brain processes

(c) a bit of both

113Friday 18 November 11

Musical Performance

Motor Learning and Instrumental Training

the act of making music is physically

intensivea pianist may bimanually

coordinate and lsquoscrutinisersquo up to 1800 notes per minute

114Friday 18 November 11

Musical Performance

3 parts of the brain are involved

bullthe sensorimotor cortex (interpretation of stimuli control of muscles)

bullthe basal ganglia (muscles in cooperative functions)

bullthe cerebellum (fine-tuning of motor movements stores motor patterns)

115Friday 18 November 11

Growth and Development proceed from general to specific

116Friday 18 November 11

Musicians appear to process new incoming stimuli more effectively

compared to non-musicians

117Friday 18 November 11

Meaning

if you practise more your brain learns to work more effectively

118Friday 18 November 11

lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop

brain cells and neurons

makes us even more effective

119Friday 18 November 11

It is evident that musicians have different brain structure than

non-musiciansAmunts et al 1997Schlaug et al 1995b

enhanced if training has started earlier in life

120Friday 18 November 11

For musical training there is this concept of lsquodeliberate practicersquo

motivation resources and attention determine the amount and quality of practice undertaken

121Friday 18 November 11

In Neuroscience scientists uncovered evidence showing a close association

between practice and expertisehellip

hours of deliberate practice

level of expertise

Lehmann and Gruber 2006

122Friday 18 November 11

implications to Musical performance and Training

1How to practise is best learned by practising

2Start early but not to early with playing an instrument

3Breaks and sleep is essential for motor learning and memory

4Use the human lsquomirror systemrsquo

123Friday 18 November 11

Examples of practisinghellip

124Friday 18 November 11

Neuroscience and Emotion in Music

Largely overlapping networks required for the processing of both

general and music-specific emotions

125Friday 18 November 11

Whether the neural basis of emotional appraisal of music is

innate or rather acquired through enculturation is subject

to ongoing discussion

Peretz and Sloboda 2005

126Friday 18 November 11

Nature vs NurtureProblem

127Friday 18 November 11

Howeverrecognition of emotions appears independent of musical

training

howhellipfamily environment possibly

128Friday 18 November 11

Recognising from Experiencing musical emotion is different

129Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

Composition

a Process

whichby itself is in some sense creative

81Friday 18 November 11

Composition

In this ProcesshellipMetaphors and Imagination come into play

where personal aesthetics concepts and innovation (for example) shape the outcome

82Friday 18 November 11

The Psychology of Composition

based on the aforementionedSome fundamental principles exist

eg rhythm perception tonal perception

83Friday 18 November 11

The Psychology of Composition

Howevera precise nature for a personsrsquos psychology of

composition seems to be a highly individual question

84Friday 18 November 11

85Friday 18 November 11

Improvisation and Psychology

Studying Improvisation and its psychological aspect might provide

further insight into Composition

Why

86Friday 18 November 11

Improvisation and Psychology

ldquoUnlike musical composition which can be mostly construed as a more-or-

less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the

human bodyrdquo

Ashley 2009

87Friday 18 November 11

To Improvisehellipis

to produce music (composing) audibly

and in real time

88Friday 18 November 11

Improvisation and Psychology

bull Psychology of Musical Performance (eg motor behaviourhellip)

bull Pitch

bull Tone (perception)

bull and othersapproaching

deeper lsquocreativityrsquo

come altogether and in real time into play

89Friday 18 November 11

improvisation and Psychology

bull Learningbull Teachingbull Cognitionbull Society

lsquoCreativityrsquois further connected with

90Friday 18 November 11

Teaching and Learning

Perception

Instrumental Performance Composition-Improvisation

Psychology of Music

91Friday 18 November 11

end of part II92Friday 18 November 11

Music And Neuroscience

1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning

2) Knowledge acquisition is governed by factors that are not

fully under conscious control and can hardly be influenced

externally (Roth 2006)

93Friday 18 November 11

However we try to understand this lsquoknowledge acquisitionrsquo

frameworkand this is where Neuroscience comes into Music

(performance teaching learninghellip)

94Friday 18 November 11

What is Neuroscience

bull Neuroscience is this science which studies the Brain

bull This is where new experiences and knowledge are processed by interconnected Neurons which

become activated when a sensorial input is perceived

95Friday 18 November 11

How the Brain looks like

96Friday 18 November 11

97Friday 18 November 11

98Friday 18 November 11

lsquoBrain Voyagerrsquo Pictures

99Friday 18 November 11

bull The structure of the brain alters continuously

throughout our lives

bull This happens via experiences stimuli studies a walk in the parkby playing a musical

instrument

100Friday 18 November 11

The change of the brain structure we call it - Plasticity -

lsquoexperience-driven brain plasticityrsquo

101Friday 18 November 11

Why is it important to know about lsquoPlasticityrsquo

By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos

saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political

version of schooling

102Friday 18 November 11

A bit of History

ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt

almost 5000 years agohelliprdquo

Minagar Ragheb and Kelley 2003

103Friday 18 November 11

A Musical Fact

We know that evidence of music has been confirmed in every civilisation

throughout history

Chailley 1964

104Friday 18 November 11

Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology

(egGardner 1983)

Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful

musical experience

105Friday 18 November 11

History of Neuroscience in Music

One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)

106Friday 18 November 11

Supporting Areas

bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology

107Friday 18 November 11

Ways (Tools) of neuroscientific Rsc

bullMagnetic Resonance Imaging (MRI)

bullfunctional MRI

bullElectroencephalography (EEG)

bullEvent Related Potentials (ERPs)

bullTranscranial magnetic Stimulation (TMS)

bullMagnetoencephalography (MEG)

bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target

108Friday 18 November 11

Research Areas in Music

bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors

109Friday 18 November 11

Perception and Cognition -Musical Performance

Your Opinionhellip

Group Discussion

110Friday 18 November 11

Perception in Meuromusic

Perception (in music) is based on the sensory information that is

gathered by the brain regarding onersquos external and internal

environment

111Friday 18 November 11

Perception in Neuromusic

PitchRhythm

112Friday 18 November 11

We donrsquot know yet wether musical cognition and perception is

(a) specifically localised to distinct neural networks

(b) made up of shared neural networks that are associated with other brain processes

(c) a bit of both

113Friday 18 November 11

Musical Performance

Motor Learning and Instrumental Training

the act of making music is physically

intensivea pianist may bimanually

coordinate and lsquoscrutinisersquo up to 1800 notes per minute

114Friday 18 November 11

Musical Performance

3 parts of the brain are involved

bullthe sensorimotor cortex (interpretation of stimuli control of muscles)

bullthe basal ganglia (muscles in cooperative functions)

bullthe cerebellum (fine-tuning of motor movements stores motor patterns)

115Friday 18 November 11

Growth and Development proceed from general to specific

116Friday 18 November 11

Musicians appear to process new incoming stimuli more effectively

compared to non-musicians

117Friday 18 November 11

Meaning

if you practise more your brain learns to work more effectively

118Friday 18 November 11

lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop

brain cells and neurons

makes us even more effective

119Friday 18 November 11

It is evident that musicians have different brain structure than

non-musiciansAmunts et al 1997Schlaug et al 1995b

enhanced if training has started earlier in life

120Friday 18 November 11

For musical training there is this concept of lsquodeliberate practicersquo

motivation resources and attention determine the amount and quality of practice undertaken

121Friday 18 November 11

In Neuroscience scientists uncovered evidence showing a close association

between practice and expertisehellip

hours of deliberate practice

level of expertise

Lehmann and Gruber 2006

122Friday 18 November 11

implications to Musical performance and Training

1How to practise is best learned by practising

2Start early but not to early with playing an instrument

3Breaks and sleep is essential for motor learning and memory

4Use the human lsquomirror systemrsquo

123Friday 18 November 11

Examples of practisinghellip

124Friday 18 November 11

Neuroscience and Emotion in Music

Largely overlapping networks required for the processing of both

general and music-specific emotions

125Friday 18 November 11

Whether the neural basis of emotional appraisal of music is

innate or rather acquired through enculturation is subject

to ongoing discussion

Peretz and Sloboda 2005

126Friday 18 November 11

Nature vs NurtureProblem

127Friday 18 November 11

Howeverrecognition of emotions appears independent of musical

training

howhellipfamily environment possibly

128Friday 18 November 11

Recognising from Experiencing musical emotion is different

129Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

Composition

In this ProcesshellipMetaphors and Imagination come into play

where personal aesthetics concepts and innovation (for example) shape the outcome

82Friday 18 November 11

The Psychology of Composition

based on the aforementionedSome fundamental principles exist

eg rhythm perception tonal perception

83Friday 18 November 11

The Psychology of Composition

Howevera precise nature for a personsrsquos psychology of

composition seems to be a highly individual question

84Friday 18 November 11

85Friday 18 November 11

Improvisation and Psychology

Studying Improvisation and its psychological aspect might provide

further insight into Composition

Why

86Friday 18 November 11

Improvisation and Psychology

ldquoUnlike musical composition which can be mostly construed as a more-or-

less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the

human bodyrdquo

Ashley 2009

87Friday 18 November 11

To Improvisehellipis

to produce music (composing) audibly

and in real time

88Friday 18 November 11

Improvisation and Psychology

bull Psychology of Musical Performance (eg motor behaviourhellip)

bull Pitch

bull Tone (perception)

bull and othersapproaching

deeper lsquocreativityrsquo

come altogether and in real time into play

89Friday 18 November 11

improvisation and Psychology

bull Learningbull Teachingbull Cognitionbull Society

lsquoCreativityrsquois further connected with

90Friday 18 November 11

Teaching and Learning

Perception

Instrumental Performance Composition-Improvisation

Psychology of Music

91Friday 18 November 11

end of part II92Friday 18 November 11

Music And Neuroscience

1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning

2) Knowledge acquisition is governed by factors that are not

fully under conscious control and can hardly be influenced

externally (Roth 2006)

93Friday 18 November 11

However we try to understand this lsquoknowledge acquisitionrsquo

frameworkand this is where Neuroscience comes into Music

(performance teaching learninghellip)

94Friday 18 November 11

What is Neuroscience

bull Neuroscience is this science which studies the Brain

bull This is where new experiences and knowledge are processed by interconnected Neurons which

become activated when a sensorial input is perceived

95Friday 18 November 11

How the Brain looks like

96Friday 18 November 11

97Friday 18 November 11

98Friday 18 November 11

lsquoBrain Voyagerrsquo Pictures

99Friday 18 November 11

bull The structure of the brain alters continuously

throughout our lives

bull This happens via experiences stimuli studies a walk in the parkby playing a musical

instrument

100Friday 18 November 11

The change of the brain structure we call it - Plasticity -

lsquoexperience-driven brain plasticityrsquo

101Friday 18 November 11

Why is it important to know about lsquoPlasticityrsquo

By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos

saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political

version of schooling

102Friday 18 November 11

A bit of History

ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt

almost 5000 years agohelliprdquo

Minagar Ragheb and Kelley 2003

103Friday 18 November 11

A Musical Fact

We know that evidence of music has been confirmed in every civilisation

throughout history

Chailley 1964

104Friday 18 November 11

Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology

(egGardner 1983)

Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful

musical experience

105Friday 18 November 11

History of Neuroscience in Music

One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)

106Friday 18 November 11

Supporting Areas

bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology

107Friday 18 November 11

Ways (Tools) of neuroscientific Rsc

bullMagnetic Resonance Imaging (MRI)

bullfunctional MRI

bullElectroencephalography (EEG)

bullEvent Related Potentials (ERPs)

bullTranscranial magnetic Stimulation (TMS)

bullMagnetoencephalography (MEG)

bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target

108Friday 18 November 11

Research Areas in Music

bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors

109Friday 18 November 11

Perception and Cognition -Musical Performance

Your Opinionhellip

Group Discussion

110Friday 18 November 11

Perception in Meuromusic

Perception (in music) is based on the sensory information that is

gathered by the brain regarding onersquos external and internal

environment

111Friday 18 November 11

Perception in Neuromusic

PitchRhythm

112Friday 18 November 11

We donrsquot know yet wether musical cognition and perception is

(a) specifically localised to distinct neural networks

(b) made up of shared neural networks that are associated with other brain processes

(c) a bit of both

113Friday 18 November 11

Musical Performance

Motor Learning and Instrumental Training

the act of making music is physically

intensivea pianist may bimanually

coordinate and lsquoscrutinisersquo up to 1800 notes per minute

114Friday 18 November 11

Musical Performance

3 parts of the brain are involved

bullthe sensorimotor cortex (interpretation of stimuli control of muscles)

bullthe basal ganglia (muscles in cooperative functions)

bullthe cerebellum (fine-tuning of motor movements stores motor patterns)

115Friday 18 November 11

Growth and Development proceed from general to specific

116Friday 18 November 11

Musicians appear to process new incoming stimuli more effectively

compared to non-musicians

117Friday 18 November 11

Meaning

if you practise more your brain learns to work more effectively

118Friday 18 November 11

lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop

brain cells and neurons

makes us even more effective

119Friday 18 November 11

It is evident that musicians have different brain structure than

non-musiciansAmunts et al 1997Schlaug et al 1995b

enhanced if training has started earlier in life

120Friday 18 November 11

For musical training there is this concept of lsquodeliberate practicersquo

motivation resources and attention determine the amount and quality of practice undertaken

121Friday 18 November 11

In Neuroscience scientists uncovered evidence showing a close association

between practice and expertisehellip

hours of deliberate practice

level of expertise

Lehmann and Gruber 2006

122Friday 18 November 11

implications to Musical performance and Training

1How to practise is best learned by practising

2Start early but not to early with playing an instrument

3Breaks and sleep is essential for motor learning and memory

4Use the human lsquomirror systemrsquo

123Friday 18 November 11

Examples of practisinghellip

124Friday 18 November 11

Neuroscience and Emotion in Music

Largely overlapping networks required for the processing of both

general and music-specific emotions

125Friday 18 November 11

Whether the neural basis of emotional appraisal of music is

innate or rather acquired through enculturation is subject

to ongoing discussion

Peretz and Sloboda 2005

126Friday 18 November 11

Nature vs NurtureProblem

127Friday 18 November 11

Howeverrecognition of emotions appears independent of musical

training

howhellipfamily environment possibly

128Friday 18 November 11

Recognising from Experiencing musical emotion is different

129Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

The Psychology of Composition

based on the aforementionedSome fundamental principles exist

eg rhythm perception tonal perception

83Friday 18 November 11

The Psychology of Composition

Howevera precise nature for a personsrsquos psychology of

composition seems to be a highly individual question

84Friday 18 November 11

85Friday 18 November 11

Improvisation and Psychology

Studying Improvisation and its psychological aspect might provide

further insight into Composition

Why

86Friday 18 November 11

Improvisation and Psychology

ldquoUnlike musical composition which can be mostly construed as a more-or-

less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the

human bodyrdquo

Ashley 2009

87Friday 18 November 11

To Improvisehellipis

to produce music (composing) audibly

and in real time

88Friday 18 November 11

Improvisation and Psychology

bull Psychology of Musical Performance (eg motor behaviourhellip)

bull Pitch

bull Tone (perception)

bull and othersapproaching

deeper lsquocreativityrsquo

come altogether and in real time into play

89Friday 18 November 11

improvisation and Psychology

bull Learningbull Teachingbull Cognitionbull Society

lsquoCreativityrsquois further connected with

90Friday 18 November 11

Teaching and Learning

Perception

Instrumental Performance Composition-Improvisation

Psychology of Music

91Friday 18 November 11

end of part II92Friday 18 November 11

Music And Neuroscience

1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning

2) Knowledge acquisition is governed by factors that are not

fully under conscious control and can hardly be influenced

externally (Roth 2006)

93Friday 18 November 11

However we try to understand this lsquoknowledge acquisitionrsquo

frameworkand this is where Neuroscience comes into Music

(performance teaching learninghellip)

94Friday 18 November 11

What is Neuroscience

bull Neuroscience is this science which studies the Brain

bull This is where new experiences and knowledge are processed by interconnected Neurons which

become activated when a sensorial input is perceived

95Friday 18 November 11

How the Brain looks like

96Friday 18 November 11

97Friday 18 November 11

98Friday 18 November 11

lsquoBrain Voyagerrsquo Pictures

99Friday 18 November 11

bull The structure of the brain alters continuously

throughout our lives

bull This happens via experiences stimuli studies a walk in the parkby playing a musical

instrument

100Friday 18 November 11

The change of the brain structure we call it - Plasticity -

lsquoexperience-driven brain plasticityrsquo

101Friday 18 November 11

Why is it important to know about lsquoPlasticityrsquo

By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos

saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political

version of schooling

102Friday 18 November 11

A bit of History

ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt

almost 5000 years agohelliprdquo

Minagar Ragheb and Kelley 2003

103Friday 18 November 11

A Musical Fact

We know that evidence of music has been confirmed in every civilisation

throughout history

Chailley 1964

104Friday 18 November 11

Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology

(egGardner 1983)

Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful

musical experience

105Friday 18 November 11

History of Neuroscience in Music

One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)

106Friday 18 November 11

Supporting Areas

bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology

107Friday 18 November 11

Ways (Tools) of neuroscientific Rsc

bullMagnetic Resonance Imaging (MRI)

bullfunctional MRI

bullElectroencephalography (EEG)

bullEvent Related Potentials (ERPs)

bullTranscranial magnetic Stimulation (TMS)

bullMagnetoencephalography (MEG)

bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target

108Friday 18 November 11

Research Areas in Music

bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors

109Friday 18 November 11

Perception and Cognition -Musical Performance

Your Opinionhellip

Group Discussion

110Friday 18 November 11

Perception in Meuromusic

Perception (in music) is based on the sensory information that is

gathered by the brain regarding onersquos external and internal

environment

111Friday 18 November 11

Perception in Neuromusic

PitchRhythm

112Friday 18 November 11

We donrsquot know yet wether musical cognition and perception is

(a) specifically localised to distinct neural networks

(b) made up of shared neural networks that are associated with other brain processes

(c) a bit of both

113Friday 18 November 11

Musical Performance

Motor Learning and Instrumental Training

the act of making music is physically

intensivea pianist may bimanually

coordinate and lsquoscrutinisersquo up to 1800 notes per minute

114Friday 18 November 11

Musical Performance

3 parts of the brain are involved

bullthe sensorimotor cortex (interpretation of stimuli control of muscles)

bullthe basal ganglia (muscles in cooperative functions)

bullthe cerebellum (fine-tuning of motor movements stores motor patterns)

115Friday 18 November 11

Growth and Development proceed from general to specific

116Friday 18 November 11

Musicians appear to process new incoming stimuli more effectively

compared to non-musicians

117Friday 18 November 11

Meaning

if you practise more your brain learns to work more effectively

118Friday 18 November 11

lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop

brain cells and neurons

makes us even more effective

119Friday 18 November 11

It is evident that musicians have different brain structure than

non-musiciansAmunts et al 1997Schlaug et al 1995b

enhanced if training has started earlier in life

120Friday 18 November 11

For musical training there is this concept of lsquodeliberate practicersquo

motivation resources and attention determine the amount and quality of practice undertaken

121Friday 18 November 11

In Neuroscience scientists uncovered evidence showing a close association

between practice and expertisehellip

hours of deliberate practice

level of expertise

Lehmann and Gruber 2006

122Friday 18 November 11

implications to Musical performance and Training

1How to practise is best learned by practising

2Start early but not to early with playing an instrument

3Breaks and sleep is essential for motor learning and memory

4Use the human lsquomirror systemrsquo

123Friday 18 November 11

Examples of practisinghellip

124Friday 18 November 11

Neuroscience and Emotion in Music

Largely overlapping networks required for the processing of both

general and music-specific emotions

125Friday 18 November 11

Whether the neural basis of emotional appraisal of music is

innate or rather acquired through enculturation is subject

to ongoing discussion

Peretz and Sloboda 2005

126Friday 18 November 11

Nature vs NurtureProblem

127Friday 18 November 11

Howeverrecognition of emotions appears independent of musical

training

howhellipfamily environment possibly

128Friday 18 November 11

Recognising from Experiencing musical emotion is different

129Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

The Psychology of Composition

Howevera precise nature for a personsrsquos psychology of

composition seems to be a highly individual question

84Friday 18 November 11

85Friday 18 November 11

Improvisation and Psychology

Studying Improvisation and its psychological aspect might provide

further insight into Composition

Why

86Friday 18 November 11

Improvisation and Psychology

ldquoUnlike musical composition which can be mostly construed as a more-or-

less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the

human bodyrdquo

Ashley 2009

87Friday 18 November 11

To Improvisehellipis

to produce music (composing) audibly

and in real time

88Friday 18 November 11

Improvisation and Psychology

bull Psychology of Musical Performance (eg motor behaviourhellip)

bull Pitch

bull Tone (perception)

bull and othersapproaching

deeper lsquocreativityrsquo

come altogether and in real time into play

89Friday 18 November 11

improvisation and Psychology

bull Learningbull Teachingbull Cognitionbull Society

lsquoCreativityrsquois further connected with

90Friday 18 November 11

Teaching and Learning

Perception

Instrumental Performance Composition-Improvisation

Psychology of Music

91Friday 18 November 11

end of part II92Friday 18 November 11

Music And Neuroscience

1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning

2) Knowledge acquisition is governed by factors that are not

fully under conscious control and can hardly be influenced

externally (Roth 2006)

93Friday 18 November 11

However we try to understand this lsquoknowledge acquisitionrsquo

frameworkand this is where Neuroscience comes into Music

(performance teaching learninghellip)

94Friday 18 November 11

What is Neuroscience

bull Neuroscience is this science which studies the Brain

bull This is where new experiences and knowledge are processed by interconnected Neurons which

become activated when a sensorial input is perceived

95Friday 18 November 11

How the Brain looks like

96Friday 18 November 11

97Friday 18 November 11

98Friday 18 November 11

lsquoBrain Voyagerrsquo Pictures

99Friday 18 November 11

bull The structure of the brain alters continuously

throughout our lives

bull This happens via experiences stimuli studies a walk in the parkby playing a musical

instrument

100Friday 18 November 11

The change of the brain structure we call it - Plasticity -

lsquoexperience-driven brain plasticityrsquo

101Friday 18 November 11

Why is it important to know about lsquoPlasticityrsquo

By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos

saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political

version of schooling

102Friday 18 November 11

A bit of History

ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt

almost 5000 years agohelliprdquo

Minagar Ragheb and Kelley 2003

103Friday 18 November 11

A Musical Fact

We know that evidence of music has been confirmed in every civilisation

throughout history

Chailley 1964

104Friday 18 November 11

Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology

(egGardner 1983)

Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful

musical experience

105Friday 18 November 11

History of Neuroscience in Music

One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)

106Friday 18 November 11

Supporting Areas

bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology

107Friday 18 November 11

Ways (Tools) of neuroscientific Rsc

bullMagnetic Resonance Imaging (MRI)

bullfunctional MRI

bullElectroencephalography (EEG)

bullEvent Related Potentials (ERPs)

bullTranscranial magnetic Stimulation (TMS)

bullMagnetoencephalography (MEG)

bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target

108Friday 18 November 11

Research Areas in Music

bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors

109Friday 18 November 11

Perception and Cognition -Musical Performance

Your Opinionhellip

Group Discussion

110Friday 18 November 11

Perception in Meuromusic

Perception (in music) is based on the sensory information that is

gathered by the brain regarding onersquos external and internal

environment

111Friday 18 November 11

Perception in Neuromusic

PitchRhythm

112Friday 18 November 11

We donrsquot know yet wether musical cognition and perception is

(a) specifically localised to distinct neural networks

(b) made up of shared neural networks that are associated with other brain processes

(c) a bit of both

113Friday 18 November 11

Musical Performance

Motor Learning and Instrumental Training

the act of making music is physically

intensivea pianist may bimanually

coordinate and lsquoscrutinisersquo up to 1800 notes per minute

114Friday 18 November 11

Musical Performance

3 parts of the brain are involved

bullthe sensorimotor cortex (interpretation of stimuli control of muscles)

bullthe basal ganglia (muscles in cooperative functions)

bullthe cerebellum (fine-tuning of motor movements stores motor patterns)

115Friday 18 November 11

Growth and Development proceed from general to specific

116Friday 18 November 11

Musicians appear to process new incoming stimuli more effectively

compared to non-musicians

117Friday 18 November 11

Meaning

if you practise more your brain learns to work more effectively

118Friday 18 November 11

lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop

brain cells and neurons

makes us even more effective

119Friday 18 November 11

It is evident that musicians have different brain structure than

non-musiciansAmunts et al 1997Schlaug et al 1995b

enhanced if training has started earlier in life

120Friday 18 November 11

For musical training there is this concept of lsquodeliberate practicersquo

motivation resources and attention determine the amount and quality of practice undertaken

121Friday 18 November 11

In Neuroscience scientists uncovered evidence showing a close association

between practice and expertisehellip

hours of deliberate practice

level of expertise

Lehmann and Gruber 2006

122Friday 18 November 11

implications to Musical performance and Training

1How to practise is best learned by practising

2Start early but not to early with playing an instrument

3Breaks and sleep is essential for motor learning and memory

4Use the human lsquomirror systemrsquo

123Friday 18 November 11

Examples of practisinghellip

124Friday 18 November 11

Neuroscience and Emotion in Music

Largely overlapping networks required for the processing of both

general and music-specific emotions

125Friday 18 November 11

Whether the neural basis of emotional appraisal of music is

innate or rather acquired through enculturation is subject

to ongoing discussion

Peretz and Sloboda 2005

126Friday 18 November 11

Nature vs NurtureProblem

127Friday 18 November 11

Howeverrecognition of emotions appears independent of musical

training

howhellipfamily environment possibly

128Friday 18 November 11

Recognising from Experiencing musical emotion is different

129Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

85Friday 18 November 11

Improvisation and Psychology

Studying Improvisation and its psychological aspect might provide

further insight into Composition

Why

86Friday 18 November 11

Improvisation and Psychology

ldquoUnlike musical composition which can be mostly construed as a more-or-

less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the

human bodyrdquo

Ashley 2009

87Friday 18 November 11

To Improvisehellipis

to produce music (composing) audibly

and in real time

88Friday 18 November 11

Improvisation and Psychology

bull Psychology of Musical Performance (eg motor behaviourhellip)

bull Pitch

bull Tone (perception)

bull and othersapproaching

deeper lsquocreativityrsquo

come altogether and in real time into play

89Friday 18 November 11

improvisation and Psychology

bull Learningbull Teachingbull Cognitionbull Society

lsquoCreativityrsquois further connected with

90Friday 18 November 11

Teaching and Learning

Perception

Instrumental Performance Composition-Improvisation

Psychology of Music

91Friday 18 November 11

end of part II92Friday 18 November 11

Music And Neuroscience

1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning

2) Knowledge acquisition is governed by factors that are not

fully under conscious control and can hardly be influenced

externally (Roth 2006)

93Friday 18 November 11

However we try to understand this lsquoknowledge acquisitionrsquo

frameworkand this is where Neuroscience comes into Music

(performance teaching learninghellip)

94Friday 18 November 11

What is Neuroscience

bull Neuroscience is this science which studies the Brain

bull This is where new experiences and knowledge are processed by interconnected Neurons which

become activated when a sensorial input is perceived

95Friday 18 November 11

How the Brain looks like

96Friday 18 November 11

97Friday 18 November 11

98Friday 18 November 11

lsquoBrain Voyagerrsquo Pictures

99Friday 18 November 11

bull The structure of the brain alters continuously

throughout our lives

bull This happens via experiences stimuli studies a walk in the parkby playing a musical

instrument

100Friday 18 November 11

The change of the brain structure we call it - Plasticity -

lsquoexperience-driven brain plasticityrsquo

101Friday 18 November 11

Why is it important to know about lsquoPlasticityrsquo

By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos

saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political

version of schooling

102Friday 18 November 11

A bit of History

ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt

almost 5000 years agohelliprdquo

Minagar Ragheb and Kelley 2003

103Friday 18 November 11

A Musical Fact

We know that evidence of music has been confirmed in every civilisation

throughout history

Chailley 1964

104Friday 18 November 11

Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology

(egGardner 1983)

Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful

musical experience

105Friday 18 November 11

History of Neuroscience in Music

One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)

106Friday 18 November 11

Supporting Areas

bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology

107Friday 18 November 11

Ways (Tools) of neuroscientific Rsc

bullMagnetic Resonance Imaging (MRI)

bullfunctional MRI

bullElectroencephalography (EEG)

bullEvent Related Potentials (ERPs)

bullTranscranial magnetic Stimulation (TMS)

bullMagnetoencephalography (MEG)

bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target

108Friday 18 November 11

Research Areas in Music

bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors

109Friday 18 November 11

Perception and Cognition -Musical Performance

Your Opinionhellip

Group Discussion

110Friday 18 November 11

Perception in Meuromusic

Perception (in music) is based on the sensory information that is

gathered by the brain regarding onersquos external and internal

environment

111Friday 18 November 11

Perception in Neuromusic

PitchRhythm

112Friday 18 November 11

We donrsquot know yet wether musical cognition and perception is

(a) specifically localised to distinct neural networks

(b) made up of shared neural networks that are associated with other brain processes

(c) a bit of both

113Friday 18 November 11

Musical Performance

Motor Learning and Instrumental Training

the act of making music is physically

intensivea pianist may bimanually

coordinate and lsquoscrutinisersquo up to 1800 notes per minute

114Friday 18 November 11

Musical Performance

3 parts of the brain are involved

bullthe sensorimotor cortex (interpretation of stimuli control of muscles)

bullthe basal ganglia (muscles in cooperative functions)

bullthe cerebellum (fine-tuning of motor movements stores motor patterns)

115Friday 18 November 11

Growth and Development proceed from general to specific

116Friday 18 November 11

Musicians appear to process new incoming stimuli more effectively

compared to non-musicians

117Friday 18 November 11

Meaning

if you practise more your brain learns to work more effectively

118Friday 18 November 11

lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop

brain cells and neurons

makes us even more effective

119Friday 18 November 11

It is evident that musicians have different brain structure than

non-musiciansAmunts et al 1997Schlaug et al 1995b

enhanced if training has started earlier in life

120Friday 18 November 11

For musical training there is this concept of lsquodeliberate practicersquo

motivation resources and attention determine the amount and quality of practice undertaken

121Friday 18 November 11

In Neuroscience scientists uncovered evidence showing a close association

between practice and expertisehellip

hours of deliberate practice

level of expertise

Lehmann and Gruber 2006

122Friday 18 November 11

implications to Musical performance and Training

1How to practise is best learned by practising

2Start early but not to early with playing an instrument

3Breaks and sleep is essential for motor learning and memory

4Use the human lsquomirror systemrsquo

123Friday 18 November 11

Examples of practisinghellip

124Friday 18 November 11

Neuroscience and Emotion in Music

Largely overlapping networks required for the processing of both

general and music-specific emotions

125Friday 18 November 11

Whether the neural basis of emotional appraisal of music is

innate or rather acquired through enculturation is subject

to ongoing discussion

Peretz and Sloboda 2005

126Friday 18 November 11

Nature vs NurtureProblem

127Friday 18 November 11

Howeverrecognition of emotions appears independent of musical

training

howhellipfamily environment possibly

128Friday 18 November 11

Recognising from Experiencing musical emotion is different

129Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

Improvisation and Psychology

Studying Improvisation and its psychological aspect might provide

further insight into Composition

Why

86Friday 18 November 11

Improvisation and Psychology

ldquoUnlike musical composition which can be mostly construed as a more-or-

less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the

human bodyrdquo

Ashley 2009

87Friday 18 November 11

To Improvisehellipis

to produce music (composing) audibly

and in real time

88Friday 18 November 11

Improvisation and Psychology

bull Psychology of Musical Performance (eg motor behaviourhellip)

bull Pitch

bull Tone (perception)

bull and othersapproaching

deeper lsquocreativityrsquo

come altogether and in real time into play

89Friday 18 November 11

improvisation and Psychology

bull Learningbull Teachingbull Cognitionbull Society

lsquoCreativityrsquois further connected with

90Friday 18 November 11

Teaching and Learning

Perception

Instrumental Performance Composition-Improvisation

Psychology of Music

91Friday 18 November 11

end of part II92Friday 18 November 11

Music And Neuroscience

1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning

2) Knowledge acquisition is governed by factors that are not

fully under conscious control and can hardly be influenced

externally (Roth 2006)

93Friday 18 November 11

However we try to understand this lsquoknowledge acquisitionrsquo

frameworkand this is where Neuroscience comes into Music

(performance teaching learninghellip)

94Friday 18 November 11

What is Neuroscience

bull Neuroscience is this science which studies the Brain

bull This is where new experiences and knowledge are processed by interconnected Neurons which

become activated when a sensorial input is perceived

95Friday 18 November 11

How the Brain looks like

96Friday 18 November 11

97Friday 18 November 11

98Friday 18 November 11

lsquoBrain Voyagerrsquo Pictures

99Friday 18 November 11

bull The structure of the brain alters continuously

throughout our lives

bull This happens via experiences stimuli studies a walk in the parkby playing a musical

instrument

100Friday 18 November 11

The change of the brain structure we call it - Plasticity -

lsquoexperience-driven brain plasticityrsquo

101Friday 18 November 11

Why is it important to know about lsquoPlasticityrsquo

By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos

saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political

version of schooling

102Friday 18 November 11

A bit of History

ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt

almost 5000 years agohelliprdquo

Minagar Ragheb and Kelley 2003

103Friday 18 November 11

A Musical Fact

We know that evidence of music has been confirmed in every civilisation

throughout history

Chailley 1964

104Friday 18 November 11

Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology

(egGardner 1983)

Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful

musical experience

105Friday 18 November 11

History of Neuroscience in Music

One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)

106Friday 18 November 11

Supporting Areas

bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology

107Friday 18 November 11

Ways (Tools) of neuroscientific Rsc

bullMagnetic Resonance Imaging (MRI)

bullfunctional MRI

bullElectroencephalography (EEG)

bullEvent Related Potentials (ERPs)

bullTranscranial magnetic Stimulation (TMS)

bullMagnetoencephalography (MEG)

bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target

108Friday 18 November 11

Research Areas in Music

bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors

109Friday 18 November 11

Perception and Cognition -Musical Performance

Your Opinionhellip

Group Discussion

110Friday 18 November 11

Perception in Meuromusic

Perception (in music) is based on the sensory information that is

gathered by the brain regarding onersquos external and internal

environment

111Friday 18 November 11

Perception in Neuromusic

PitchRhythm

112Friday 18 November 11

We donrsquot know yet wether musical cognition and perception is

(a) specifically localised to distinct neural networks

(b) made up of shared neural networks that are associated with other brain processes

(c) a bit of both

113Friday 18 November 11

Musical Performance

Motor Learning and Instrumental Training

the act of making music is physically

intensivea pianist may bimanually

coordinate and lsquoscrutinisersquo up to 1800 notes per minute

114Friday 18 November 11

Musical Performance

3 parts of the brain are involved

bullthe sensorimotor cortex (interpretation of stimuli control of muscles)

bullthe basal ganglia (muscles in cooperative functions)

bullthe cerebellum (fine-tuning of motor movements stores motor patterns)

115Friday 18 November 11

Growth and Development proceed from general to specific

116Friday 18 November 11

Musicians appear to process new incoming stimuli more effectively

compared to non-musicians

117Friday 18 November 11

Meaning

if you practise more your brain learns to work more effectively

118Friday 18 November 11

lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop

brain cells and neurons

makes us even more effective

119Friday 18 November 11

It is evident that musicians have different brain structure than

non-musiciansAmunts et al 1997Schlaug et al 1995b

enhanced if training has started earlier in life

120Friday 18 November 11

For musical training there is this concept of lsquodeliberate practicersquo

motivation resources and attention determine the amount and quality of practice undertaken

121Friday 18 November 11

In Neuroscience scientists uncovered evidence showing a close association

between practice and expertisehellip

hours of deliberate practice

level of expertise

Lehmann and Gruber 2006

122Friday 18 November 11

implications to Musical performance and Training

1How to practise is best learned by practising

2Start early but not to early with playing an instrument

3Breaks and sleep is essential for motor learning and memory

4Use the human lsquomirror systemrsquo

123Friday 18 November 11

Examples of practisinghellip

124Friday 18 November 11

Neuroscience and Emotion in Music

Largely overlapping networks required for the processing of both

general and music-specific emotions

125Friday 18 November 11

Whether the neural basis of emotional appraisal of music is

innate or rather acquired through enculturation is subject

to ongoing discussion

Peretz and Sloboda 2005

126Friday 18 November 11

Nature vs NurtureProblem

127Friday 18 November 11

Howeverrecognition of emotions appears independent of musical

training

howhellipfamily environment possibly

128Friday 18 November 11

Recognising from Experiencing musical emotion is different

129Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

Improvisation and Psychology

ldquoUnlike musical composition which can be mostly construed as a more-or-

less purely cognitive undertaking improvisation is an activity deeply steeped in and connected with the

human bodyrdquo

Ashley 2009

87Friday 18 November 11

To Improvisehellipis

to produce music (composing) audibly

and in real time

88Friday 18 November 11

Improvisation and Psychology

bull Psychology of Musical Performance (eg motor behaviourhellip)

bull Pitch

bull Tone (perception)

bull and othersapproaching

deeper lsquocreativityrsquo

come altogether and in real time into play

89Friday 18 November 11

improvisation and Psychology

bull Learningbull Teachingbull Cognitionbull Society

lsquoCreativityrsquois further connected with

90Friday 18 November 11

Teaching and Learning

Perception

Instrumental Performance Composition-Improvisation

Psychology of Music

91Friday 18 November 11

end of part II92Friday 18 November 11

Music And Neuroscience

1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning

2) Knowledge acquisition is governed by factors that are not

fully under conscious control and can hardly be influenced

externally (Roth 2006)

93Friday 18 November 11

However we try to understand this lsquoknowledge acquisitionrsquo

frameworkand this is where Neuroscience comes into Music

(performance teaching learninghellip)

94Friday 18 November 11

What is Neuroscience

bull Neuroscience is this science which studies the Brain

bull This is where new experiences and knowledge are processed by interconnected Neurons which

become activated when a sensorial input is perceived

95Friday 18 November 11

How the Brain looks like

96Friday 18 November 11

97Friday 18 November 11

98Friday 18 November 11

lsquoBrain Voyagerrsquo Pictures

99Friday 18 November 11

bull The structure of the brain alters continuously

throughout our lives

bull This happens via experiences stimuli studies a walk in the parkby playing a musical

instrument

100Friday 18 November 11

The change of the brain structure we call it - Plasticity -

lsquoexperience-driven brain plasticityrsquo

101Friday 18 November 11

Why is it important to know about lsquoPlasticityrsquo

By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos

saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political

version of schooling

102Friday 18 November 11

A bit of History

ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt

almost 5000 years agohelliprdquo

Minagar Ragheb and Kelley 2003

103Friday 18 November 11

A Musical Fact

We know that evidence of music has been confirmed in every civilisation

throughout history

Chailley 1964

104Friday 18 November 11

Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology

(egGardner 1983)

Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful

musical experience

105Friday 18 November 11

History of Neuroscience in Music

One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)

106Friday 18 November 11

Supporting Areas

bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology

107Friday 18 November 11

Ways (Tools) of neuroscientific Rsc

bullMagnetic Resonance Imaging (MRI)

bullfunctional MRI

bullElectroencephalography (EEG)

bullEvent Related Potentials (ERPs)

bullTranscranial magnetic Stimulation (TMS)

bullMagnetoencephalography (MEG)

bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target

108Friday 18 November 11

Research Areas in Music

bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors

109Friday 18 November 11

Perception and Cognition -Musical Performance

Your Opinionhellip

Group Discussion

110Friday 18 November 11

Perception in Meuromusic

Perception (in music) is based on the sensory information that is

gathered by the brain regarding onersquos external and internal

environment

111Friday 18 November 11

Perception in Neuromusic

PitchRhythm

112Friday 18 November 11

We donrsquot know yet wether musical cognition and perception is

(a) specifically localised to distinct neural networks

(b) made up of shared neural networks that are associated with other brain processes

(c) a bit of both

113Friday 18 November 11

Musical Performance

Motor Learning and Instrumental Training

the act of making music is physically

intensivea pianist may bimanually

coordinate and lsquoscrutinisersquo up to 1800 notes per minute

114Friday 18 November 11

Musical Performance

3 parts of the brain are involved

bullthe sensorimotor cortex (interpretation of stimuli control of muscles)

bullthe basal ganglia (muscles in cooperative functions)

bullthe cerebellum (fine-tuning of motor movements stores motor patterns)

115Friday 18 November 11

Growth and Development proceed from general to specific

116Friday 18 November 11

Musicians appear to process new incoming stimuli more effectively

compared to non-musicians

117Friday 18 November 11

Meaning

if you practise more your brain learns to work more effectively

118Friday 18 November 11

lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop

brain cells and neurons

makes us even more effective

119Friday 18 November 11

It is evident that musicians have different brain structure than

non-musiciansAmunts et al 1997Schlaug et al 1995b

enhanced if training has started earlier in life

120Friday 18 November 11

For musical training there is this concept of lsquodeliberate practicersquo

motivation resources and attention determine the amount and quality of practice undertaken

121Friday 18 November 11

In Neuroscience scientists uncovered evidence showing a close association

between practice and expertisehellip

hours of deliberate practice

level of expertise

Lehmann and Gruber 2006

122Friday 18 November 11

implications to Musical performance and Training

1How to practise is best learned by practising

2Start early but not to early with playing an instrument

3Breaks and sleep is essential for motor learning and memory

4Use the human lsquomirror systemrsquo

123Friday 18 November 11

Examples of practisinghellip

124Friday 18 November 11

Neuroscience and Emotion in Music

Largely overlapping networks required for the processing of both

general and music-specific emotions

125Friday 18 November 11

Whether the neural basis of emotional appraisal of music is

innate or rather acquired through enculturation is subject

to ongoing discussion

Peretz and Sloboda 2005

126Friday 18 November 11

Nature vs NurtureProblem

127Friday 18 November 11

Howeverrecognition of emotions appears independent of musical

training

howhellipfamily environment possibly

128Friday 18 November 11

Recognising from Experiencing musical emotion is different

129Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

To Improvisehellipis

to produce music (composing) audibly

and in real time

88Friday 18 November 11

Improvisation and Psychology

bull Psychology of Musical Performance (eg motor behaviourhellip)

bull Pitch

bull Tone (perception)

bull and othersapproaching

deeper lsquocreativityrsquo

come altogether and in real time into play

89Friday 18 November 11

improvisation and Psychology

bull Learningbull Teachingbull Cognitionbull Society

lsquoCreativityrsquois further connected with

90Friday 18 November 11

Teaching and Learning

Perception

Instrumental Performance Composition-Improvisation

Psychology of Music

91Friday 18 November 11

end of part II92Friday 18 November 11

Music And Neuroscience

1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning

2) Knowledge acquisition is governed by factors that are not

fully under conscious control and can hardly be influenced

externally (Roth 2006)

93Friday 18 November 11

However we try to understand this lsquoknowledge acquisitionrsquo

frameworkand this is where Neuroscience comes into Music

(performance teaching learninghellip)

94Friday 18 November 11

What is Neuroscience

bull Neuroscience is this science which studies the Brain

bull This is where new experiences and knowledge are processed by interconnected Neurons which

become activated when a sensorial input is perceived

95Friday 18 November 11

How the Brain looks like

96Friday 18 November 11

97Friday 18 November 11

98Friday 18 November 11

lsquoBrain Voyagerrsquo Pictures

99Friday 18 November 11

bull The structure of the brain alters continuously

throughout our lives

bull This happens via experiences stimuli studies a walk in the parkby playing a musical

instrument

100Friday 18 November 11

The change of the brain structure we call it - Plasticity -

lsquoexperience-driven brain plasticityrsquo

101Friday 18 November 11

Why is it important to know about lsquoPlasticityrsquo

By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos

saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political

version of schooling

102Friday 18 November 11

A bit of History

ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt

almost 5000 years agohelliprdquo

Minagar Ragheb and Kelley 2003

103Friday 18 November 11

A Musical Fact

We know that evidence of music has been confirmed in every civilisation

throughout history

Chailley 1964

104Friday 18 November 11

Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology

(egGardner 1983)

Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful

musical experience

105Friday 18 November 11

History of Neuroscience in Music

One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)

106Friday 18 November 11

Supporting Areas

bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology

107Friday 18 November 11

Ways (Tools) of neuroscientific Rsc

bullMagnetic Resonance Imaging (MRI)

bullfunctional MRI

bullElectroencephalography (EEG)

bullEvent Related Potentials (ERPs)

bullTranscranial magnetic Stimulation (TMS)

bullMagnetoencephalography (MEG)

bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target

108Friday 18 November 11

Research Areas in Music

bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors

109Friday 18 November 11

Perception and Cognition -Musical Performance

Your Opinionhellip

Group Discussion

110Friday 18 November 11

Perception in Meuromusic

Perception (in music) is based on the sensory information that is

gathered by the brain regarding onersquos external and internal

environment

111Friday 18 November 11

Perception in Neuromusic

PitchRhythm

112Friday 18 November 11

We donrsquot know yet wether musical cognition and perception is

(a) specifically localised to distinct neural networks

(b) made up of shared neural networks that are associated with other brain processes

(c) a bit of both

113Friday 18 November 11

Musical Performance

Motor Learning and Instrumental Training

the act of making music is physically

intensivea pianist may bimanually

coordinate and lsquoscrutinisersquo up to 1800 notes per minute

114Friday 18 November 11

Musical Performance

3 parts of the brain are involved

bullthe sensorimotor cortex (interpretation of stimuli control of muscles)

bullthe basal ganglia (muscles in cooperative functions)

bullthe cerebellum (fine-tuning of motor movements stores motor patterns)

115Friday 18 November 11

Growth and Development proceed from general to specific

116Friday 18 November 11

Musicians appear to process new incoming stimuli more effectively

compared to non-musicians

117Friday 18 November 11

Meaning

if you practise more your brain learns to work more effectively

118Friday 18 November 11

lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop

brain cells and neurons

makes us even more effective

119Friday 18 November 11

It is evident that musicians have different brain structure than

non-musiciansAmunts et al 1997Schlaug et al 1995b

enhanced if training has started earlier in life

120Friday 18 November 11

For musical training there is this concept of lsquodeliberate practicersquo

motivation resources and attention determine the amount and quality of practice undertaken

121Friday 18 November 11

In Neuroscience scientists uncovered evidence showing a close association

between practice and expertisehellip

hours of deliberate practice

level of expertise

Lehmann and Gruber 2006

122Friday 18 November 11

implications to Musical performance and Training

1How to practise is best learned by practising

2Start early but not to early with playing an instrument

3Breaks and sleep is essential for motor learning and memory

4Use the human lsquomirror systemrsquo

123Friday 18 November 11

Examples of practisinghellip

124Friday 18 November 11

Neuroscience and Emotion in Music

Largely overlapping networks required for the processing of both

general and music-specific emotions

125Friday 18 November 11

Whether the neural basis of emotional appraisal of music is

innate or rather acquired through enculturation is subject

to ongoing discussion

Peretz and Sloboda 2005

126Friday 18 November 11

Nature vs NurtureProblem

127Friday 18 November 11

Howeverrecognition of emotions appears independent of musical

training

howhellipfamily environment possibly

128Friday 18 November 11

Recognising from Experiencing musical emotion is different

129Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

Improvisation and Psychology

bull Psychology of Musical Performance (eg motor behaviourhellip)

bull Pitch

bull Tone (perception)

bull and othersapproaching

deeper lsquocreativityrsquo

come altogether and in real time into play

89Friday 18 November 11

improvisation and Psychology

bull Learningbull Teachingbull Cognitionbull Society

lsquoCreativityrsquois further connected with

90Friday 18 November 11

Teaching and Learning

Perception

Instrumental Performance Composition-Improvisation

Psychology of Music

91Friday 18 November 11

end of part II92Friday 18 November 11

Music And Neuroscience

1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning

2) Knowledge acquisition is governed by factors that are not

fully under conscious control and can hardly be influenced

externally (Roth 2006)

93Friday 18 November 11

However we try to understand this lsquoknowledge acquisitionrsquo

frameworkand this is where Neuroscience comes into Music

(performance teaching learninghellip)

94Friday 18 November 11

What is Neuroscience

bull Neuroscience is this science which studies the Brain

bull This is where new experiences and knowledge are processed by interconnected Neurons which

become activated when a sensorial input is perceived

95Friday 18 November 11

How the Brain looks like

96Friday 18 November 11

97Friday 18 November 11

98Friday 18 November 11

lsquoBrain Voyagerrsquo Pictures

99Friday 18 November 11

bull The structure of the brain alters continuously

throughout our lives

bull This happens via experiences stimuli studies a walk in the parkby playing a musical

instrument

100Friday 18 November 11

The change of the brain structure we call it - Plasticity -

lsquoexperience-driven brain plasticityrsquo

101Friday 18 November 11

Why is it important to know about lsquoPlasticityrsquo

By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos

saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political

version of schooling

102Friday 18 November 11

A bit of History

ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt

almost 5000 years agohelliprdquo

Minagar Ragheb and Kelley 2003

103Friday 18 November 11

A Musical Fact

We know that evidence of music has been confirmed in every civilisation

throughout history

Chailley 1964

104Friday 18 November 11

Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology

(egGardner 1983)

Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful

musical experience

105Friday 18 November 11

History of Neuroscience in Music

One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)

106Friday 18 November 11

Supporting Areas

bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology

107Friday 18 November 11

Ways (Tools) of neuroscientific Rsc

bullMagnetic Resonance Imaging (MRI)

bullfunctional MRI

bullElectroencephalography (EEG)

bullEvent Related Potentials (ERPs)

bullTranscranial magnetic Stimulation (TMS)

bullMagnetoencephalography (MEG)

bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target

108Friday 18 November 11

Research Areas in Music

bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors

109Friday 18 November 11

Perception and Cognition -Musical Performance

Your Opinionhellip

Group Discussion

110Friday 18 November 11

Perception in Meuromusic

Perception (in music) is based on the sensory information that is

gathered by the brain regarding onersquos external and internal

environment

111Friday 18 November 11

Perception in Neuromusic

PitchRhythm

112Friday 18 November 11

We donrsquot know yet wether musical cognition and perception is

(a) specifically localised to distinct neural networks

(b) made up of shared neural networks that are associated with other brain processes

(c) a bit of both

113Friday 18 November 11

Musical Performance

Motor Learning and Instrumental Training

the act of making music is physically

intensivea pianist may bimanually

coordinate and lsquoscrutinisersquo up to 1800 notes per minute

114Friday 18 November 11

Musical Performance

3 parts of the brain are involved

bullthe sensorimotor cortex (interpretation of stimuli control of muscles)

bullthe basal ganglia (muscles in cooperative functions)

bullthe cerebellum (fine-tuning of motor movements stores motor patterns)

115Friday 18 November 11

Growth and Development proceed from general to specific

116Friday 18 November 11

Musicians appear to process new incoming stimuli more effectively

compared to non-musicians

117Friday 18 November 11

Meaning

if you practise more your brain learns to work more effectively

118Friday 18 November 11

lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop

brain cells and neurons

makes us even more effective

119Friday 18 November 11

It is evident that musicians have different brain structure than

non-musiciansAmunts et al 1997Schlaug et al 1995b

enhanced if training has started earlier in life

120Friday 18 November 11

For musical training there is this concept of lsquodeliberate practicersquo

motivation resources and attention determine the amount and quality of practice undertaken

121Friday 18 November 11

In Neuroscience scientists uncovered evidence showing a close association

between practice and expertisehellip

hours of deliberate practice

level of expertise

Lehmann and Gruber 2006

122Friday 18 November 11

implications to Musical performance and Training

1How to practise is best learned by practising

2Start early but not to early with playing an instrument

3Breaks and sleep is essential for motor learning and memory

4Use the human lsquomirror systemrsquo

123Friday 18 November 11

Examples of practisinghellip

124Friday 18 November 11

Neuroscience and Emotion in Music

Largely overlapping networks required for the processing of both

general and music-specific emotions

125Friday 18 November 11

Whether the neural basis of emotional appraisal of music is

innate or rather acquired through enculturation is subject

to ongoing discussion

Peretz and Sloboda 2005

126Friday 18 November 11

Nature vs NurtureProblem

127Friday 18 November 11

Howeverrecognition of emotions appears independent of musical

training

howhellipfamily environment possibly

128Friday 18 November 11

Recognising from Experiencing musical emotion is different

129Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

improvisation and Psychology

bull Learningbull Teachingbull Cognitionbull Society

lsquoCreativityrsquois further connected with

90Friday 18 November 11

Teaching and Learning

Perception

Instrumental Performance Composition-Improvisation

Psychology of Music

91Friday 18 November 11

end of part II92Friday 18 November 11

Music And Neuroscience

1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning

2) Knowledge acquisition is governed by factors that are not

fully under conscious control and can hardly be influenced

externally (Roth 2006)

93Friday 18 November 11

However we try to understand this lsquoknowledge acquisitionrsquo

frameworkand this is where Neuroscience comes into Music

(performance teaching learninghellip)

94Friday 18 November 11

What is Neuroscience

bull Neuroscience is this science which studies the Brain

bull This is where new experiences and knowledge are processed by interconnected Neurons which

become activated when a sensorial input is perceived

95Friday 18 November 11

How the Brain looks like

96Friday 18 November 11

97Friday 18 November 11

98Friday 18 November 11

lsquoBrain Voyagerrsquo Pictures

99Friday 18 November 11

bull The structure of the brain alters continuously

throughout our lives

bull This happens via experiences stimuli studies a walk in the parkby playing a musical

instrument

100Friday 18 November 11

The change of the brain structure we call it - Plasticity -

lsquoexperience-driven brain plasticityrsquo

101Friday 18 November 11

Why is it important to know about lsquoPlasticityrsquo

By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos

saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political

version of schooling

102Friday 18 November 11

A bit of History

ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt

almost 5000 years agohelliprdquo

Minagar Ragheb and Kelley 2003

103Friday 18 November 11

A Musical Fact

We know that evidence of music has been confirmed in every civilisation

throughout history

Chailley 1964

104Friday 18 November 11

Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology

(egGardner 1983)

Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful

musical experience

105Friday 18 November 11

History of Neuroscience in Music

One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)

106Friday 18 November 11

Supporting Areas

bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology

107Friday 18 November 11

Ways (Tools) of neuroscientific Rsc

bullMagnetic Resonance Imaging (MRI)

bullfunctional MRI

bullElectroencephalography (EEG)

bullEvent Related Potentials (ERPs)

bullTranscranial magnetic Stimulation (TMS)

bullMagnetoencephalography (MEG)

bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target

108Friday 18 November 11

Research Areas in Music

bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors

109Friday 18 November 11

Perception and Cognition -Musical Performance

Your Opinionhellip

Group Discussion

110Friday 18 November 11

Perception in Meuromusic

Perception (in music) is based on the sensory information that is

gathered by the brain regarding onersquos external and internal

environment

111Friday 18 November 11

Perception in Neuromusic

PitchRhythm

112Friday 18 November 11

We donrsquot know yet wether musical cognition and perception is

(a) specifically localised to distinct neural networks

(b) made up of shared neural networks that are associated with other brain processes

(c) a bit of both

113Friday 18 November 11

Musical Performance

Motor Learning and Instrumental Training

the act of making music is physically

intensivea pianist may bimanually

coordinate and lsquoscrutinisersquo up to 1800 notes per minute

114Friday 18 November 11

Musical Performance

3 parts of the brain are involved

bullthe sensorimotor cortex (interpretation of stimuli control of muscles)

bullthe basal ganglia (muscles in cooperative functions)

bullthe cerebellum (fine-tuning of motor movements stores motor patterns)

115Friday 18 November 11

Growth and Development proceed from general to specific

116Friday 18 November 11

Musicians appear to process new incoming stimuli more effectively

compared to non-musicians

117Friday 18 November 11

Meaning

if you practise more your brain learns to work more effectively

118Friday 18 November 11

lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop

brain cells and neurons

makes us even more effective

119Friday 18 November 11

It is evident that musicians have different brain structure than

non-musiciansAmunts et al 1997Schlaug et al 1995b

enhanced if training has started earlier in life

120Friday 18 November 11

For musical training there is this concept of lsquodeliberate practicersquo

motivation resources and attention determine the amount and quality of practice undertaken

121Friday 18 November 11

In Neuroscience scientists uncovered evidence showing a close association

between practice and expertisehellip

hours of deliberate practice

level of expertise

Lehmann and Gruber 2006

122Friday 18 November 11

implications to Musical performance and Training

1How to practise is best learned by practising

2Start early but not to early with playing an instrument

3Breaks and sleep is essential for motor learning and memory

4Use the human lsquomirror systemrsquo

123Friday 18 November 11

Examples of practisinghellip

124Friday 18 November 11

Neuroscience and Emotion in Music

Largely overlapping networks required for the processing of both

general and music-specific emotions

125Friday 18 November 11

Whether the neural basis of emotional appraisal of music is

innate or rather acquired through enculturation is subject

to ongoing discussion

Peretz and Sloboda 2005

126Friday 18 November 11

Nature vs NurtureProblem

127Friday 18 November 11

Howeverrecognition of emotions appears independent of musical

training

howhellipfamily environment possibly

128Friday 18 November 11

Recognising from Experiencing musical emotion is different

129Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

Teaching and Learning

Perception

Instrumental Performance Composition-Improvisation

Psychology of Music

91Friday 18 November 11

end of part II92Friday 18 November 11

Music And Neuroscience

1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning

2) Knowledge acquisition is governed by factors that are not

fully under conscious control and can hardly be influenced

externally (Roth 2006)

93Friday 18 November 11

However we try to understand this lsquoknowledge acquisitionrsquo

frameworkand this is where Neuroscience comes into Music

(performance teaching learninghellip)

94Friday 18 November 11

What is Neuroscience

bull Neuroscience is this science which studies the Brain

bull This is where new experiences and knowledge are processed by interconnected Neurons which

become activated when a sensorial input is perceived

95Friday 18 November 11

How the Brain looks like

96Friday 18 November 11

97Friday 18 November 11

98Friday 18 November 11

lsquoBrain Voyagerrsquo Pictures

99Friday 18 November 11

bull The structure of the brain alters continuously

throughout our lives

bull This happens via experiences stimuli studies a walk in the parkby playing a musical

instrument

100Friday 18 November 11

The change of the brain structure we call it - Plasticity -

lsquoexperience-driven brain plasticityrsquo

101Friday 18 November 11

Why is it important to know about lsquoPlasticityrsquo

By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos

saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political

version of schooling

102Friday 18 November 11

A bit of History

ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt

almost 5000 years agohelliprdquo

Minagar Ragheb and Kelley 2003

103Friday 18 November 11

A Musical Fact

We know that evidence of music has been confirmed in every civilisation

throughout history

Chailley 1964

104Friday 18 November 11

Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology

(egGardner 1983)

Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful

musical experience

105Friday 18 November 11

History of Neuroscience in Music

One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)

106Friday 18 November 11

Supporting Areas

bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology

107Friday 18 November 11

Ways (Tools) of neuroscientific Rsc

bullMagnetic Resonance Imaging (MRI)

bullfunctional MRI

bullElectroencephalography (EEG)

bullEvent Related Potentials (ERPs)

bullTranscranial magnetic Stimulation (TMS)

bullMagnetoencephalography (MEG)

bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target

108Friday 18 November 11

Research Areas in Music

bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors

109Friday 18 November 11

Perception and Cognition -Musical Performance

Your Opinionhellip

Group Discussion

110Friday 18 November 11

Perception in Meuromusic

Perception (in music) is based on the sensory information that is

gathered by the brain regarding onersquos external and internal

environment

111Friday 18 November 11

Perception in Neuromusic

PitchRhythm

112Friday 18 November 11

We donrsquot know yet wether musical cognition and perception is

(a) specifically localised to distinct neural networks

(b) made up of shared neural networks that are associated with other brain processes

(c) a bit of both

113Friday 18 November 11

Musical Performance

Motor Learning and Instrumental Training

the act of making music is physically

intensivea pianist may bimanually

coordinate and lsquoscrutinisersquo up to 1800 notes per minute

114Friday 18 November 11

Musical Performance

3 parts of the brain are involved

bullthe sensorimotor cortex (interpretation of stimuli control of muscles)

bullthe basal ganglia (muscles in cooperative functions)

bullthe cerebellum (fine-tuning of motor movements stores motor patterns)

115Friday 18 November 11

Growth and Development proceed from general to specific

116Friday 18 November 11

Musicians appear to process new incoming stimuli more effectively

compared to non-musicians

117Friday 18 November 11

Meaning

if you practise more your brain learns to work more effectively

118Friday 18 November 11

lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop

brain cells and neurons

makes us even more effective

119Friday 18 November 11

It is evident that musicians have different brain structure than

non-musiciansAmunts et al 1997Schlaug et al 1995b

enhanced if training has started earlier in life

120Friday 18 November 11

For musical training there is this concept of lsquodeliberate practicersquo

motivation resources and attention determine the amount and quality of practice undertaken

121Friday 18 November 11

In Neuroscience scientists uncovered evidence showing a close association

between practice and expertisehellip

hours of deliberate practice

level of expertise

Lehmann and Gruber 2006

122Friday 18 November 11

implications to Musical performance and Training

1How to practise is best learned by practising

2Start early but not to early with playing an instrument

3Breaks and sleep is essential for motor learning and memory

4Use the human lsquomirror systemrsquo

123Friday 18 November 11

Examples of practisinghellip

124Friday 18 November 11

Neuroscience and Emotion in Music

Largely overlapping networks required for the processing of both

general and music-specific emotions

125Friday 18 November 11

Whether the neural basis of emotional appraisal of music is

innate or rather acquired through enculturation is subject

to ongoing discussion

Peretz and Sloboda 2005

126Friday 18 November 11

Nature vs NurtureProblem

127Friday 18 November 11

Howeverrecognition of emotions appears independent of musical

training

howhellipfamily environment possibly

128Friday 18 November 11

Recognising from Experiencing musical emotion is different

129Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

end of part II92Friday 18 November 11

Music And Neuroscience

1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning

2) Knowledge acquisition is governed by factors that are not

fully under conscious control and can hardly be influenced

externally (Roth 2006)

93Friday 18 November 11

However we try to understand this lsquoknowledge acquisitionrsquo

frameworkand this is where Neuroscience comes into Music

(performance teaching learninghellip)

94Friday 18 November 11

What is Neuroscience

bull Neuroscience is this science which studies the Brain

bull This is where new experiences and knowledge are processed by interconnected Neurons which

become activated when a sensorial input is perceived

95Friday 18 November 11

How the Brain looks like

96Friday 18 November 11

97Friday 18 November 11

98Friday 18 November 11

lsquoBrain Voyagerrsquo Pictures

99Friday 18 November 11

bull The structure of the brain alters continuously

throughout our lives

bull This happens via experiences stimuli studies a walk in the parkby playing a musical

instrument

100Friday 18 November 11

The change of the brain structure we call it - Plasticity -

lsquoexperience-driven brain plasticityrsquo

101Friday 18 November 11

Why is it important to know about lsquoPlasticityrsquo

By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos

saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political

version of schooling

102Friday 18 November 11

A bit of History

ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt

almost 5000 years agohelliprdquo

Minagar Ragheb and Kelley 2003

103Friday 18 November 11

A Musical Fact

We know that evidence of music has been confirmed in every civilisation

throughout history

Chailley 1964

104Friday 18 November 11

Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology

(egGardner 1983)

Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful

musical experience

105Friday 18 November 11

History of Neuroscience in Music

One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)

106Friday 18 November 11

Supporting Areas

bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology

107Friday 18 November 11

Ways (Tools) of neuroscientific Rsc

bullMagnetic Resonance Imaging (MRI)

bullfunctional MRI

bullElectroencephalography (EEG)

bullEvent Related Potentials (ERPs)

bullTranscranial magnetic Stimulation (TMS)

bullMagnetoencephalography (MEG)

bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target

108Friday 18 November 11

Research Areas in Music

bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors

109Friday 18 November 11

Perception and Cognition -Musical Performance

Your Opinionhellip

Group Discussion

110Friday 18 November 11

Perception in Meuromusic

Perception (in music) is based on the sensory information that is

gathered by the brain regarding onersquos external and internal

environment

111Friday 18 November 11

Perception in Neuromusic

PitchRhythm

112Friday 18 November 11

We donrsquot know yet wether musical cognition and perception is

(a) specifically localised to distinct neural networks

(b) made up of shared neural networks that are associated with other brain processes

(c) a bit of both

113Friday 18 November 11

Musical Performance

Motor Learning and Instrumental Training

the act of making music is physically

intensivea pianist may bimanually

coordinate and lsquoscrutinisersquo up to 1800 notes per minute

114Friday 18 November 11

Musical Performance

3 parts of the brain are involved

bullthe sensorimotor cortex (interpretation of stimuli control of muscles)

bullthe basal ganglia (muscles in cooperative functions)

bullthe cerebellum (fine-tuning of motor movements stores motor patterns)

115Friday 18 November 11

Growth and Development proceed from general to specific

116Friday 18 November 11

Musicians appear to process new incoming stimuli more effectively

compared to non-musicians

117Friday 18 November 11

Meaning

if you practise more your brain learns to work more effectively

118Friday 18 November 11

lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop

brain cells and neurons

makes us even more effective

119Friday 18 November 11

It is evident that musicians have different brain structure than

non-musiciansAmunts et al 1997Schlaug et al 1995b

enhanced if training has started earlier in life

120Friday 18 November 11

For musical training there is this concept of lsquodeliberate practicersquo

motivation resources and attention determine the amount and quality of practice undertaken

121Friday 18 November 11

In Neuroscience scientists uncovered evidence showing a close association

between practice and expertisehellip

hours of deliberate practice

level of expertise

Lehmann and Gruber 2006

122Friday 18 November 11

implications to Musical performance and Training

1How to practise is best learned by practising

2Start early but not to early with playing an instrument

3Breaks and sleep is essential for motor learning and memory

4Use the human lsquomirror systemrsquo

123Friday 18 November 11

Examples of practisinghellip

124Friday 18 November 11

Neuroscience and Emotion in Music

Largely overlapping networks required for the processing of both

general and music-specific emotions

125Friday 18 November 11

Whether the neural basis of emotional appraisal of music is

innate or rather acquired through enculturation is subject

to ongoing discussion

Peretz and Sloboda 2005

126Friday 18 November 11

Nature vs NurtureProblem

127Friday 18 November 11

Howeverrecognition of emotions appears independent of musical

training

howhellipfamily environment possibly

128Friday 18 November 11

Recognising from Experiencing musical emotion is different

129Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

Music And Neuroscience

1) Knowledge as such is not transferablebullSupport from a stimulating environment bullFavourable environmental conditions to enhance learning

2) Knowledge acquisition is governed by factors that are not

fully under conscious control and can hardly be influenced

externally (Roth 2006)

93Friday 18 November 11

However we try to understand this lsquoknowledge acquisitionrsquo

frameworkand this is where Neuroscience comes into Music

(performance teaching learninghellip)

94Friday 18 November 11

What is Neuroscience

bull Neuroscience is this science which studies the Brain

bull This is where new experiences and knowledge are processed by interconnected Neurons which

become activated when a sensorial input is perceived

95Friday 18 November 11

How the Brain looks like

96Friday 18 November 11

97Friday 18 November 11

98Friday 18 November 11

lsquoBrain Voyagerrsquo Pictures

99Friday 18 November 11

bull The structure of the brain alters continuously

throughout our lives

bull This happens via experiences stimuli studies a walk in the parkby playing a musical

instrument

100Friday 18 November 11

The change of the brain structure we call it - Plasticity -

lsquoexperience-driven brain plasticityrsquo

101Friday 18 November 11

Why is it important to know about lsquoPlasticityrsquo

By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos

saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political

version of schooling

102Friday 18 November 11

A bit of History

ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt

almost 5000 years agohelliprdquo

Minagar Ragheb and Kelley 2003

103Friday 18 November 11

A Musical Fact

We know that evidence of music has been confirmed in every civilisation

throughout history

Chailley 1964

104Friday 18 November 11

Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology

(egGardner 1983)

Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful

musical experience

105Friday 18 November 11

History of Neuroscience in Music

One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)

106Friday 18 November 11

Supporting Areas

bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology

107Friday 18 November 11

Ways (Tools) of neuroscientific Rsc

bullMagnetic Resonance Imaging (MRI)

bullfunctional MRI

bullElectroencephalography (EEG)

bullEvent Related Potentials (ERPs)

bullTranscranial magnetic Stimulation (TMS)

bullMagnetoencephalography (MEG)

bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target

108Friday 18 November 11

Research Areas in Music

bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors

109Friday 18 November 11

Perception and Cognition -Musical Performance

Your Opinionhellip

Group Discussion

110Friday 18 November 11

Perception in Meuromusic

Perception (in music) is based on the sensory information that is

gathered by the brain regarding onersquos external and internal

environment

111Friday 18 November 11

Perception in Neuromusic

PitchRhythm

112Friday 18 November 11

We donrsquot know yet wether musical cognition and perception is

(a) specifically localised to distinct neural networks

(b) made up of shared neural networks that are associated with other brain processes

(c) a bit of both

113Friday 18 November 11

Musical Performance

Motor Learning and Instrumental Training

the act of making music is physically

intensivea pianist may bimanually

coordinate and lsquoscrutinisersquo up to 1800 notes per minute

114Friday 18 November 11

Musical Performance

3 parts of the brain are involved

bullthe sensorimotor cortex (interpretation of stimuli control of muscles)

bullthe basal ganglia (muscles in cooperative functions)

bullthe cerebellum (fine-tuning of motor movements stores motor patterns)

115Friday 18 November 11

Growth and Development proceed from general to specific

116Friday 18 November 11

Musicians appear to process new incoming stimuli more effectively

compared to non-musicians

117Friday 18 November 11

Meaning

if you practise more your brain learns to work more effectively

118Friday 18 November 11

lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop

brain cells and neurons

makes us even more effective

119Friday 18 November 11

It is evident that musicians have different brain structure than

non-musiciansAmunts et al 1997Schlaug et al 1995b

enhanced if training has started earlier in life

120Friday 18 November 11

For musical training there is this concept of lsquodeliberate practicersquo

motivation resources and attention determine the amount and quality of practice undertaken

121Friday 18 November 11

In Neuroscience scientists uncovered evidence showing a close association

between practice and expertisehellip

hours of deliberate practice

level of expertise

Lehmann and Gruber 2006

122Friday 18 November 11

implications to Musical performance and Training

1How to practise is best learned by practising

2Start early but not to early with playing an instrument

3Breaks and sleep is essential for motor learning and memory

4Use the human lsquomirror systemrsquo

123Friday 18 November 11

Examples of practisinghellip

124Friday 18 November 11

Neuroscience and Emotion in Music

Largely overlapping networks required for the processing of both

general and music-specific emotions

125Friday 18 November 11

Whether the neural basis of emotional appraisal of music is

innate or rather acquired through enculturation is subject

to ongoing discussion

Peretz and Sloboda 2005

126Friday 18 November 11

Nature vs NurtureProblem

127Friday 18 November 11

Howeverrecognition of emotions appears independent of musical

training

howhellipfamily environment possibly

128Friday 18 November 11

Recognising from Experiencing musical emotion is different

129Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

However we try to understand this lsquoknowledge acquisitionrsquo

frameworkand this is where Neuroscience comes into Music

(performance teaching learninghellip)

94Friday 18 November 11

What is Neuroscience

bull Neuroscience is this science which studies the Brain

bull This is where new experiences and knowledge are processed by interconnected Neurons which

become activated when a sensorial input is perceived

95Friday 18 November 11

How the Brain looks like

96Friday 18 November 11

97Friday 18 November 11

98Friday 18 November 11

lsquoBrain Voyagerrsquo Pictures

99Friday 18 November 11

bull The structure of the brain alters continuously

throughout our lives

bull This happens via experiences stimuli studies a walk in the parkby playing a musical

instrument

100Friday 18 November 11

The change of the brain structure we call it - Plasticity -

lsquoexperience-driven brain plasticityrsquo

101Friday 18 November 11

Why is it important to know about lsquoPlasticityrsquo

By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos

saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political

version of schooling

102Friday 18 November 11

A bit of History

ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt

almost 5000 years agohelliprdquo

Minagar Ragheb and Kelley 2003

103Friday 18 November 11

A Musical Fact

We know that evidence of music has been confirmed in every civilisation

throughout history

Chailley 1964

104Friday 18 November 11

Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology

(egGardner 1983)

Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful

musical experience

105Friday 18 November 11

History of Neuroscience in Music

One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)

106Friday 18 November 11

Supporting Areas

bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology

107Friday 18 November 11

Ways (Tools) of neuroscientific Rsc

bullMagnetic Resonance Imaging (MRI)

bullfunctional MRI

bullElectroencephalography (EEG)

bullEvent Related Potentials (ERPs)

bullTranscranial magnetic Stimulation (TMS)

bullMagnetoencephalography (MEG)

bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target

108Friday 18 November 11

Research Areas in Music

bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors

109Friday 18 November 11

Perception and Cognition -Musical Performance

Your Opinionhellip

Group Discussion

110Friday 18 November 11

Perception in Meuromusic

Perception (in music) is based on the sensory information that is

gathered by the brain regarding onersquos external and internal

environment

111Friday 18 November 11

Perception in Neuromusic

PitchRhythm

112Friday 18 November 11

We donrsquot know yet wether musical cognition and perception is

(a) specifically localised to distinct neural networks

(b) made up of shared neural networks that are associated with other brain processes

(c) a bit of both

113Friday 18 November 11

Musical Performance

Motor Learning and Instrumental Training

the act of making music is physically

intensivea pianist may bimanually

coordinate and lsquoscrutinisersquo up to 1800 notes per minute

114Friday 18 November 11

Musical Performance

3 parts of the brain are involved

bullthe sensorimotor cortex (interpretation of stimuli control of muscles)

bullthe basal ganglia (muscles in cooperative functions)

bullthe cerebellum (fine-tuning of motor movements stores motor patterns)

115Friday 18 November 11

Growth and Development proceed from general to specific

116Friday 18 November 11

Musicians appear to process new incoming stimuli more effectively

compared to non-musicians

117Friday 18 November 11

Meaning

if you practise more your brain learns to work more effectively

118Friday 18 November 11

lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop

brain cells and neurons

makes us even more effective

119Friday 18 November 11

It is evident that musicians have different brain structure than

non-musiciansAmunts et al 1997Schlaug et al 1995b

enhanced if training has started earlier in life

120Friday 18 November 11

For musical training there is this concept of lsquodeliberate practicersquo

motivation resources and attention determine the amount and quality of practice undertaken

121Friday 18 November 11

In Neuroscience scientists uncovered evidence showing a close association

between practice and expertisehellip

hours of deliberate practice

level of expertise

Lehmann and Gruber 2006

122Friday 18 November 11

implications to Musical performance and Training

1How to practise is best learned by practising

2Start early but not to early with playing an instrument

3Breaks and sleep is essential for motor learning and memory

4Use the human lsquomirror systemrsquo

123Friday 18 November 11

Examples of practisinghellip

124Friday 18 November 11

Neuroscience and Emotion in Music

Largely overlapping networks required for the processing of both

general and music-specific emotions

125Friday 18 November 11

Whether the neural basis of emotional appraisal of music is

innate or rather acquired through enculturation is subject

to ongoing discussion

Peretz and Sloboda 2005

126Friday 18 November 11

Nature vs NurtureProblem

127Friday 18 November 11

Howeverrecognition of emotions appears independent of musical

training

howhellipfamily environment possibly

128Friday 18 November 11

Recognising from Experiencing musical emotion is different

129Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

What is Neuroscience

bull Neuroscience is this science which studies the Brain

bull This is where new experiences and knowledge are processed by interconnected Neurons which

become activated when a sensorial input is perceived

95Friday 18 November 11

How the Brain looks like

96Friday 18 November 11

97Friday 18 November 11

98Friday 18 November 11

lsquoBrain Voyagerrsquo Pictures

99Friday 18 November 11

bull The structure of the brain alters continuously

throughout our lives

bull This happens via experiences stimuli studies a walk in the parkby playing a musical

instrument

100Friday 18 November 11

The change of the brain structure we call it - Plasticity -

lsquoexperience-driven brain plasticityrsquo

101Friday 18 November 11

Why is it important to know about lsquoPlasticityrsquo

By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos

saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political

version of schooling

102Friday 18 November 11

A bit of History

ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt

almost 5000 years agohelliprdquo

Minagar Ragheb and Kelley 2003

103Friday 18 November 11

A Musical Fact

We know that evidence of music has been confirmed in every civilisation

throughout history

Chailley 1964

104Friday 18 November 11

Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology

(egGardner 1983)

Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful

musical experience

105Friday 18 November 11

History of Neuroscience in Music

One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)

106Friday 18 November 11

Supporting Areas

bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology

107Friday 18 November 11

Ways (Tools) of neuroscientific Rsc

bullMagnetic Resonance Imaging (MRI)

bullfunctional MRI

bullElectroencephalography (EEG)

bullEvent Related Potentials (ERPs)

bullTranscranial magnetic Stimulation (TMS)

bullMagnetoencephalography (MEG)

bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target

108Friday 18 November 11

Research Areas in Music

bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors

109Friday 18 November 11

Perception and Cognition -Musical Performance

Your Opinionhellip

Group Discussion

110Friday 18 November 11

Perception in Meuromusic

Perception (in music) is based on the sensory information that is

gathered by the brain regarding onersquos external and internal

environment

111Friday 18 November 11

Perception in Neuromusic

PitchRhythm

112Friday 18 November 11

We donrsquot know yet wether musical cognition and perception is

(a) specifically localised to distinct neural networks

(b) made up of shared neural networks that are associated with other brain processes

(c) a bit of both

113Friday 18 November 11

Musical Performance

Motor Learning and Instrumental Training

the act of making music is physically

intensivea pianist may bimanually

coordinate and lsquoscrutinisersquo up to 1800 notes per minute

114Friday 18 November 11

Musical Performance

3 parts of the brain are involved

bullthe sensorimotor cortex (interpretation of stimuli control of muscles)

bullthe basal ganglia (muscles in cooperative functions)

bullthe cerebellum (fine-tuning of motor movements stores motor patterns)

115Friday 18 November 11

Growth and Development proceed from general to specific

116Friday 18 November 11

Musicians appear to process new incoming stimuli more effectively

compared to non-musicians

117Friday 18 November 11

Meaning

if you practise more your brain learns to work more effectively

118Friday 18 November 11

lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop

brain cells and neurons

makes us even more effective

119Friday 18 November 11

It is evident that musicians have different brain structure than

non-musiciansAmunts et al 1997Schlaug et al 1995b

enhanced if training has started earlier in life

120Friday 18 November 11

For musical training there is this concept of lsquodeliberate practicersquo

motivation resources and attention determine the amount and quality of practice undertaken

121Friday 18 November 11

In Neuroscience scientists uncovered evidence showing a close association

between practice and expertisehellip

hours of deliberate practice

level of expertise

Lehmann and Gruber 2006

122Friday 18 November 11

implications to Musical performance and Training

1How to practise is best learned by practising

2Start early but not to early with playing an instrument

3Breaks and sleep is essential for motor learning and memory

4Use the human lsquomirror systemrsquo

123Friday 18 November 11

Examples of practisinghellip

124Friday 18 November 11

Neuroscience and Emotion in Music

Largely overlapping networks required for the processing of both

general and music-specific emotions

125Friday 18 November 11

Whether the neural basis of emotional appraisal of music is

innate or rather acquired through enculturation is subject

to ongoing discussion

Peretz and Sloboda 2005

126Friday 18 November 11

Nature vs NurtureProblem

127Friday 18 November 11

Howeverrecognition of emotions appears independent of musical

training

howhellipfamily environment possibly

128Friday 18 November 11

Recognising from Experiencing musical emotion is different

129Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

How the Brain looks like

96Friday 18 November 11

97Friday 18 November 11

98Friday 18 November 11

lsquoBrain Voyagerrsquo Pictures

99Friday 18 November 11

bull The structure of the brain alters continuously

throughout our lives

bull This happens via experiences stimuli studies a walk in the parkby playing a musical

instrument

100Friday 18 November 11

The change of the brain structure we call it - Plasticity -

lsquoexperience-driven brain plasticityrsquo

101Friday 18 November 11

Why is it important to know about lsquoPlasticityrsquo

By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos

saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political

version of schooling

102Friday 18 November 11

A bit of History

ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt

almost 5000 years agohelliprdquo

Minagar Ragheb and Kelley 2003

103Friday 18 November 11

A Musical Fact

We know that evidence of music has been confirmed in every civilisation

throughout history

Chailley 1964

104Friday 18 November 11

Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology

(egGardner 1983)

Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful

musical experience

105Friday 18 November 11

History of Neuroscience in Music

One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)

106Friday 18 November 11

Supporting Areas

bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology

107Friday 18 November 11

Ways (Tools) of neuroscientific Rsc

bullMagnetic Resonance Imaging (MRI)

bullfunctional MRI

bullElectroencephalography (EEG)

bullEvent Related Potentials (ERPs)

bullTranscranial magnetic Stimulation (TMS)

bullMagnetoencephalography (MEG)

bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target

108Friday 18 November 11

Research Areas in Music

bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors

109Friday 18 November 11

Perception and Cognition -Musical Performance

Your Opinionhellip

Group Discussion

110Friday 18 November 11

Perception in Meuromusic

Perception (in music) is based on the sensory information that is

gathered by the brain regarding onersquos external and internal

environment

111Friday 18 November 11

Perception in Neuromusic

PitchRhythm

112Friday 18 November 11

We donrsquot know yet wether musical cognition and perception is

(a) specifically localised to distinct neural networks

(b) made up of shared neural networks that are associated with other brain processes

(c) a bit of both

113Friday 18 November 11

Musical Performance

Motor Learning and Instrumental Training

the act of making music is physically

intensivea pianist may bimanually

coordinate and lsquoscrutinisersquo up to 1800 notes per minute

114Friday 18 November 11

Musical Performance

3 parts of the brain are involved

bullthe sensorimotor cortex (interpretation of stimuli control of muscles)

bullthe basal ganglia (muscles in cooperative functions)

bullthe cerebellum (fine-tuning of motor movements stores motor patterns)

115Friday 18 November 11

Growth and Development proceed from general to specific

116Friday 18 November 11

Musicians appear to process new incoming stimuli more effectively

compared to non-musicians

117Friday 18 November 11

Meaning

if you practise more your brain learns to work more effectively

118Friday 18 November 11

lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop

brain cells and neurons

makes us even more effective

119Friday 18 November 11

It is evident that musicians have different brain structure than

non-musiciansAmunts et al 1997Schlaug et al 1995b

enhanced if training has started earlier in life

120Friday 18 November 11

For musical training there is this concept of lsquodeliberate practicersquo

motivation resources and attention determine the amount and quality of practice undertaken

121Friday 18 November 11

In Neuroscience scientists uncovered evidence showing a close association

between practice and expertisehellip

hours of deliberate practice

level of expertise

Lehmann and Gruber 2006

122Friday 18 November 11

implications to Musical performance and Training

1How to practise is best learned by practising

2Start early but not to early with playing an instrument

3Breaks and sleep is essential for motor learning and memory

4Use the human lsquomirror systemrsquo

123Friday 18 November 11

Examples of practisinghellip

124Friday 18 November 11

Neuroscience and Emotion in Music

Largely overlapping networks required for the processing of both

general and music-specific emotions

125Friday 18 November 11

Whether the neural basis of emotional appraisal of music is

innate or rather acquired through enculturation is subject

to ongoing discussion

Peretz and Sloboda 2005

126Friday 18 November 11

Nature vs NurtureProblem

127Friday 18 November 11

Howeverrecognition of emotions appears independent of musical

training

howhellipfamily environment possibly

128Friday 18 November 11

Recognising from Experiencing musical emotion is different

129Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

97Friday 18 November 11

98Friday 18 November 11

lsquoBrain Voyagerrsquo Pictures

99Friday 18 November 11

bull The structure of the brain alters continuously

throughout our lives

bull This happens via experiences stimuli studies a walk in the parkby playing a musical

instrument

100Friday 18 November 11

The change of the brain structure we call it - Plasticity -

lsquoexperience-driven brain plasticityrsquo

101Friday 18 November 11

Why is it important to know about lsquoPlasticityrsquo

By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos

saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political

version of schooling

102Friday 18 November 11

A bit of History

ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt

almost 5000 years agohelliprdquo

Minagar Ragheb and Kelley 2003

103Friday 18 November 11

A Musical Fact

We know that evidence of music has been confirmed in every civilisation

throughout history

Chailley 1964

104Friday 18 November 11

Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology

(egGardner 1983)

Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful

musical experience

105Friday 18 November 11

History of Neuroscience in Music

One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)

106Friday 18 November 11

Supporting Areas

bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology

107Friday 18 November 11

Ways (Tools) of neuroscientific Rsc

bullMagnetic Resonance Imaging (MRI)

bullfunctional MRI

bullElectroencephalography (EEG)

bullEvent Related Potentials (ERPs)

bullTranscranial magnetic Stimulation (TMS)

bullMagnetoencephalography (MEG)

bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target

108Friday 18 November 11

Research Areas in Music

bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors

109Friday 18 November 11

Perception and Cognition -Musical Performance

Your Opinionhellip

Group Discussion

110Friday 18 November 11

Perception in Meuromusic

Perception (in music) is based on the sensory information that is

gathered by the brain regarding onersquos external and internal

environment

111Friday 18 November 11

Perception in Neuromusic

PitchRhythm

112Friday 18 November 11

We donrsquot know yet wether musical cognition and perception is

(a) specifically localised to distinct neural networks

(b) made up of shared neural networks that are associated with other brain processes

(c) a bit of both

113Friday 18 November 11

Musical Performance

Motor Learning and Instrumental Training

the act of making music is physically

intensivea pianist may bimanually

coordinate and lsquoscrutinisersquo up to 1800 notes per minute

114Friday 18 November 11

Musical Performance

3 parts of the brain are involved

bullthe sensorimotor cortex (interpretation of stimuli control of muscles)

bullthe basal ganglia (muscles in cooperative functions)

bullthe cerebellum (fine-tuning of motor movements stores motor patterns)

115Friday 18 November 11

Growth and Development proceed from general to specific

116Friday 18 November 11

Musicians appear to process new incoming stimuli more effectively

compared to non-musicians

117Friday 18 November 11

Meaning

if you practise more your brain learns to work more effectively

118Friday 18 November 11

lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop

brain cells and neurons

makes us even more effective

119Friday 18 November 11

It is evident that musicians have different brain structure than

non-musiciansAmunts et al 1997Schlaug et al 1995b

enhanced if training has started earlier in life

120Friday 18 November 11

For musical training there is this concept of lsquodeliberate practicersquo

motivation resources and attention determine the amount and quality of practice undertaken

121Friday 18 November 11

In Neuroscience scientists uncovered evidence showing a close association

between practice and expertisehellip

hours of deliberate practice

level of expertise

Lehmann and Gruber 2006

122Friday 18 November 11

implications to Musical performance and Training

1How to practise is best learned by practising

2Start early but not to early with playing an instrument

3Breaks and sleep is essential for motor learning and memory

4Use the human lsquomirror systemrsquo

123Friday 18 November 11

Examples of practisinghellip

124Friday 18 November 11

Neuroscience and Emotion in Music

Largely overlapping networks required for the processing of both

general and music-specific emotions

125Friday 18 November 11

Whether the neural basis of emotional appraisal of music is

innate or rather acquired through enculturation is subject

to ongoing discussion

Peretz and Sloboda 2005

126Friday 18 November 11

Nature vs NurtureProblem

127Friday 18 November 11

Howeverrecognition of emotions appears independent of musical

training

howhellipfamily environment possibly

128Friday 18 November 11

Recognising from Experiencing musical emotion is different

129Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

98Friday 18 November 11

lsquoBrain Voyagerrsquo Pictures

99Friday 18 November 11

bull The structure of the brain alters continuously

throughout our lives

bull This happens via experiences stimuli studies a walk in the parkby playing a musical

instrument

100Friday 18 November 11

The change of the brain structure we call it - Plasticity -

lsquoexperience-driven brain plasticityrsquo

101Friday 18 November 11

Why is it important to know about lsquoPlasticityrsquo

By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos

saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political

version of schooling

102Friday 18 November 11

A bit of History

ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt

almost 5000 years agohelliprdquo

Minagar Ragheb and Kelley 2003

103Friday 18 November 11

A Musical Fact

We know that evidence of music has been confirmed in every civilisation

throughout history

Chailley 1964

104Friday 18 November 11

Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology

(egGardner 1983)

Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful

musical experience

105Friday 18 November 11

History of Neuroscience in Music

One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)

106Friday 18 November 11

Supporting Areas

bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology

107Friday 18 November 11

Ways (Tools) of neuroscientific Rsc

bullMagnetic Resonance Imaging (MRI)

bullfunctional MRI

bullElectroencephalography (EEG)

bullEvent Related Potentials (ERPs)

bullTranscranial magnetic Stimulation (TMS)

bullMagnetoencephalography (MEG)

bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target

108Friday 18 November 11

Research Areas in Music

bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors

109Friday 18 November 11

Perception and Cognition -Musical Performance

Your Opinionhellip

Group Discussion

110Friday 18 November 11

Perception in Meuromusic

Perception (in music) is based on the sensory information that is

gathered by the brain regarding onersquos external and internal

environment

111Friday 18 November 11

Perception in Neuromusic

PitchRhythm

112Friday 18 November 11

We donrsquot know yet wether musical cognition and perception is

(a) specifically localised to distinct neural networks

(b) made up of shared neural networks that are associated with other brain processes

(c) a bit of both

113Friday 18 November 11

Musical Performance

Motor Learning and Instrumental Training

the act of making music is physically

intensivea pianist may bimanually

coordinate and lsquoscrutinisersquo up to 1800 notes per minute

114Friday 18 November 11

Musical Performance

3 parts of the brain are involved

bullthe sensorimotor cortex (interpretation of stimuli control of muscles)

bullthe basal ganglia (muscles in cooperative functions)

bullthe cerebellum (fine-tuning of motor movements stores motor patterns)

115Friday 18 November 11

Growth and Development proceed from general to specific

116Friday 18 November 11

Musicians appear to process new incoming stimuli more effectively

compared to non-musicians

117Friday 18 November 11

Meaning

if you practise more your brain learns to work more effectively

118Friday 18 November 11

lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop

brain cells and neurons

makes us even more effective

119Friday 18 November 11

It is evident that musicians have different brain structure than

non-musiciansAmunts et al 1997Schlaug et al 1995b

enhanced if training has started earlier in life

120Friday 18 November 11

For musical training there is this concept of lsquodeliberate practicersquo

motivation resources and attention determine the amount and quality of practice undertaken

121Friday 18 November 11

In Neuroscience scientists uncovered evidence showing a close association

between practice and expertisehellip

hours of deliberate practice

level of expertise

Lehmann and Gruber 2006

122Friday 18 November 11

implications to Musical performance and Training

1How to practise is best learned by practising

2Start early but not to early with playing an instrument

3Breaks and sleep is essential for motor learning and memory

4Use the human lsquomirror systemrsquo

123Friday 18 November 11

Examples of practisinghellip

124Friday 18 November 11

Neuroscience and Emotion in Music

Largely overlapping networks required for the processing of both

general and music-specific emotions

125Friday 18 November 11

Whether the neural basis of emotional appraisal of music is

innate or rather acquired through enculturation is subject

to ongoing discussion

Peretz and Sloboda 2005

126Friday 18 November 11

Nature vs NurtureProblem

127Friday 18 November 11

Howeverrecognition of emotions appears independent of musical

training

howhellipfamily environment possibly

128Friday 18 November 11

Recognising from Experiencing musical emotion is different

129Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

lsquoBrain Voyagerrsquo Pictures

99Friday 18 November 11

bull The structure of the brain alters continuously

throughout our lives

bull This happens via experiences stimuli studies a walk in the parkby playing a musical

instrument

100Friday 18 November 11

The change of the brain structure we call it - Plasticity -

lsquoexperience-driven brain plasticityrsquo

101Friday 18 November 11

Why is it important to know about lsquoPlasticityrsquo

By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos

saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political

version of schooling

102Friday 18 November 11

A bit of History

ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt

almost 5000 years agohelliprdquo

Minagar Ragheb and Kelley 2003

103Friday 18 November 11

A Musical Fact

We know that evidence of music has been confirmed in every civilisation

throughout history

Chailley 1964

104Friday 18 November 11

Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology

(egGardner 1983)

Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful

musical experience

105Friday 18 November 11

History of Neuroscience in Music

One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)

106Friday 18 November 11

Supporting Areas

bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology

107Friday 18 November 11

Ways (Tools) of neuroscientific Rsc

bullMagnetic Resonance Imaging (MRI)

bullfunctional MRI

bullElectroencephalography (EEG)

bullEvent Related Potentials (ERPs)

bullTranscranial magnetic Stimulation (TMS)

bullMagnetoencephalography (MEG)

bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target

108Friday 18 November 11

Research Areas in Music

bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors

109Friday 18 November 11

Perception and Cognition -Musical Performance

Your Opinionhellip

Group Discussion

110Friday 18 November 11

Perception in Meuromusic

Perception (in music) is based on the sensory information that is

gathered by the brain regarding onersquos external and internal

environment

111Friday 18 November 11

Perception in Neuromusic

PitchRhythm

112Friday 18 November 11

We donrsquot know yet wether musical cognition and perception is

(a) specifically localised to distinct neural networks

(b) made up of shared neural networks that are associated with other brain processes

(c) a bit of both

113Friday 18 November 11

Musical Performance

Motor Learning and Instrumental Training

the act of making music is physically

intensivea pianist may bimanually

coordinate and lsquoscrutinisersquo up to 1800 notes per minute

114Friday 18 November 11

Musical Performance

3 parts of the brain are involved

bullthe sensorimotor cortex (interpretation of stimuli control of muscles)

bullthe basal ganglia (muscles in cooperative functions)

bullthe cerebellum (fine-tuning of motor movements stores motor patterns)

115Friday 18 November 11

Growth and Development proceed from general to specific

116Friday 18 November 11

Musicians appear to process new incoming stimuli more effectively

compared to non-musicians

117Friday 18 November 11

Meaning

if you practise more your brain learns to work more effectively

118Friday 18 November 11

lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop

brain cells and neurons

makes us even more effective

119Friday 18 November 11

It is evident that musicians have different brain structure than

non-musiciansAmunts et al 1997Schlaug et al 1995b

enhanced if training has started earlier in life

120Friday 18 November 11

For musical training there is this concept of lsquodeliberate practicersquo

motivation resources and attention determine the amount and quality of practice undertaken

121Friday 18 November 11

In Neuroscience scientists uncovered evidence showing a close association

between practice and expertisehellip

hours of deliberate practice

level of expertise

Lehmann and Gruber 2006

122Friday 18 November 11

implications to Musical performance and Training

1How to practise is best learned by practising

2Start early but not to early with playing an instrument

3Breaks and sleep is essential for motor learning and memory

4Use the human lsquomirror systemrsquo

123Friday 18 November 11

Examples of practisinghellip

124Friday 18 November 11

Neuroscience and Emotion in Music

Largely overlapping networks required for the processing of both

general and music-specific emotions

125Friday 18 November 11

Whether the neural basis of emotional appraisal of music is

innate or rather acquired through enculturation is subject

to ongoing discussion

Peretz and Sloboda 2005

126Friday 18 November 11

Nature vs NurtureProblem

127Friday 18 November 11

Howeverrecognition of emotions appears independent of musical

training

howhellipfamily environment possibly

128Friday 18 November 11

Recognising from Experiencing musical emotion is different

129Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

bull The structure of the brain alters continuously

throughout our lives

bull This happens via experiences stimuli studies a walk in the parkby playing a musical

instrument

100Friday 18 November 11

The change of the brain structure we call it - Plasticity -

lsquoexperience-driven brain plasticityrsquo

101Friday 18 November 11

Why is it important to know about lsquoPlasticityrsquo

By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos

saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political

version of schooling

102Friday 18 November 11

A bit of History

ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt

almost 5000 years agohelliprdquo

Minagar Ragheb and Kelley 2003

103Friday 18 November 11

A Musical Fact

We know that evidence of music has been confirmed in every civilisation

throughout history

Chailley 1964

104Friday 18 November 11

Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology

(egGardner 1983)

Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful

musical experience

105Friday 18 November 11

History of Neuroscience in Music

One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)

106Friday 18 November 11

Supporting Areas

bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology

107Friday 18 November 11

Ways (Tools) of neuroscientific Rsc

bullMagnetic Resonance Imaging (MRI)

bullfunctional MRI

bullElectroencephalography (EEG)

bullEvent Related Potentials (ERPs)

bullTranscranial magnetic Stimulation (TMS)

bullMagnetoencephalography (MEG)

bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target

108Friday 18 November 11

Research Areas in Music

bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors

109Friday 18 November 11

Perception and Cognition -Musical Performance

Your Opinionhellip

Group Discussion

110Friday 18 November 11

Perception in Meuromusic

Perception (in music) is based on the sensory information that is

gathered by the brain regarding onersquos external and internal

environment

111Friday 18 November 11

Perception in Neuromusic

PitchRhythm

112Friday 18 November 11

We donrsquot know yet wether musical cognition and perception is

(a) specifically localised to distinct neural networks

(b) made up of shared neural networks that are associated with other brain processes

(c) a bit of both

113Friday 18 November 11

Musical Performance

Motor Learning and Instrumental Training

the act of making music is physically

intensivea pianist may bimanually

coordinate and lsquoscrutinisersquo up to 1800 notes per minute

114Friday 18 November 11

Musical Performance

3 parts of the brain are involved

bullthe sensorimotor cortex (interpretation of stimuli control of muscles)

bullthe basal ganglia (muscles in cooperative functions)

bullthe cerebellum (fine-tuning of motor movements stores motor patterns)

115Friday 18 November 11

Growth and Development proceed from general to specific

116Friday 18 November 11

Musicians appear to process new incoming stimuli more effectively

compared to non-musicians

117Friday 18 November 11

Meaning

if you practise more your brain learns to work more effectively

118Friday 18 November 11

lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop

brain cells and neurons

makes us even more effective

119Friday 18 November 11

It is evident that musicians have different brain structure than

non-musiciansAmunts et al 1997Schlaug et al 1995b

enhanced if training has started earlier in life

120Friday 18 November 11

For musical training there is this concept of lsquodeliberate practicersquo

motivation resources and attention determine the amount and quality of practice undertaken

121Friday 18 November 11

In Neuroscience scientists uncovered evidence showing a close association

between practice and expertisehellip

hours of deliberate practice

level of expertise

Lehmann and Gruber 2006

122Friday 18 November 11

implications to Musical performance and Training

1How to practise is best learned by practising

2Start early but not to early with playing an instrument

3Breaks and sleep is essential for motor learning and memory

4Use the human lsquomirror systemrsquo

123Friday 18 November 11

Examples of practisinghellip

124Friday 18 November 11

Neuroscience and Emotion in Music

Largely overlapping networks required for the processing of both

general and music-specific emotions

125Friday 18 November 11

Whether the neural basis of emotional appraisal of music is

innate or rather acquired through enculturation is subject

to ongoing discussion

Peretz and Sloboda 2005

126Friday 18 November 11

Nature vs NurtureProblem

127Friday 18 November 11

Howeverrecognition of emotions appears independent of musical

training

howhellipfamily environment possibly

128Friday 18 November 11

Recognising from Experiencing musical emotion is different

129Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

The change of the brain structure we call it - Plasticity -

lsquoexperience-driven brain plasticityrsquo

101Friday 18 November 11

Why is it important to know about lsquoPlasticityrsquo

By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos

saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political

version of schooling

102Friday 18 November 11

A bit of History

ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt

almost 5000 years agohelliprdquo

Minagar Ragheb and Kelley 2003

103Friday 18 November 11

A Musical Fact

We know that evidence of music has been confirmed in every civilisation

throughout history

Chailley 1964

104Friday 18 November 11

Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology

(egGardner 1983)

Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful

musical experience

105Friday 18 November 11

History of Neuroscience in Music

One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)

106Friday 18 November 11

Supporting Areas

bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology

107Friday 18 November 11

Ways (Tools) of neuroscientific Rsc

bullMagnetic Resonance Imaging (MRI)

bullfunctional MRI

bullElectroencephalography (EEG)

bullEvent Related Potentials (ERPs)

bullTranscranial magnetic Stimulation (TMS)

bullMagnetoencephalography (MEG)

bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target

108Friday 18 November 11

Research Areas in Music

bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors

109Friday 18 November 11

Perception and Cognition -Musical Performance

Your Opinionhellip

Group Discussion

110Friday 18 November 11

Perception in Meuromusic

Perception (in music) is based on the sensory information that is

gathered by the brain regarding onersquos external and internal

environment

111Friday 18 November 11

Perception in Neuromusic

PitchRhythm

112Friday 18 November 11

We donrsquot know yet wether musical cognition and perception is

(a) specifically localised to distinct neural networks

(b) made up of shared neural networks that are associated with other brain processes

(c) a bit of both

113Friday 18 November 11

Musical Performance

Motor Learning and Instrumental Training

the act of making music is physically

intensivea pianist may bimanually

coordinate and lsquoscrutinisersquo up to 1800 notes per minute

114Friday 18 November 11

Musical Performance

3 parts of the brain are involved

bullthe sensorimotor cortex (interpretation of stimuli control of muscles)

bullthe basal ganglia (muscles in cooperative functions)

bullthe cerebellum (fine-tuning of motor movements stores motor patterns)

115Friday 18 November 11

Growth and Development proceed from general to specific

116Friday 18 November 11

Musicians appear to process new incoming stimuli more effectively

compared to non-musicians

117Friday 18 November 11

Meaning

if you practise more your brain learns to work more effectively

118Friday 18 November 11

lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop

brain cells and neurons

makes us even more effective

119Friday 18 November 11

It is evident that musicians have different brain structure than

non-musiciansAmunts et al 1997Schlaug et al 1995b

enhanced if training has started earlier in life

120Friday 18 November 11

For musical training there is this concept of lsquodeliberate practicersquo

motivation resources and attention determine the amount and quality of practice undertaken

121Friday 18 November 11

In Neuroscience scientists uncovered evidence showing a close association

between practice and expertisehellip

hours of deliberate practice

level of expertise

Lehmann and Gruber 2006

122Friday 18 November 11

implications to Musical performance and Training

1How to practise is best learned by practising

2Start early but not to early with playing an instrument

3Breaks and sleep is essential for motor learning and memory

4Use the human lsquomirror systemrsquo

123Friday 18 November 11

Examples of practisinghellip

124Friday 18 November 11

Neuroscience and Emotion in Music

Largely overlapping networks required for the processing of both

general and music-specific emotions

125Friday 18 November 11

Whether the neural basis of emotional appraisal of music is

innate or rather acquired through enculturation is subject

to ongoing discussion

Peretz and Sloboda 2005

126Friday 18 November 11

Nature vs NurtureProblem

127Friday 18 November 11

Howeverrecognition of emotions appears independent of musical

training

howhellipfamily environment possibly

128Friday 18 November 11

Recognising from Experiencing musical emotion is different

129Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

Why is it important to know about lsquoPlasticityrsquo

By studying and understanding lsquoplasticityrsquo we may be able to adjustletrsquos

saythe curriculumto the mental conditions of learning instead of adjusting our approaches and lsquohabitsrsquo to a political

version of schooling

102Friday 18 November 11

A bit of History

ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt

almost 5000 years agohelliprdquo

Minagar Ragheb and Kelley 2003

103Friday 18 November 11

A Musical Fact

We know that evidence of music has been confirmed in every civilisation

throughout history

Chailley 1964

104Friday 18 November 11

Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology

(egGardner 1983)

Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful

musical experience

105Friday 18 November 11

History of Neuroscience in Music

One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)

106Friday 18 November 11

Supporting Areas

bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology

107Friday 18 November 11

Ways (Tools) of neuroscientific Rsc

bullMagnetic Resonance Imaging (MRI)

bullfunctional MRI

bullElectroencephalography (EEG)

bullEvent Related Potentials (ERPs)

bullTranscranial magnetic Stimulation (TMS)

bullMagnetoencephalography (MEG)

bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target

108Friday 18 November 11

Research Areas in Music

bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors

109Friday 18 November 11

Perception and Cognition -Musical Performance

Your Opinionhellip

Group Discussion

110Friday 18 November 11

Perception in Meuromusic

Perception (in music) is based on the sensory information that is

gathered by the brain regarding onersquos external and internal

environment

111Friday 18 November 11

Perception in Neuromusic

PitchRhythm

112Friday 18 November 11

We donrsquot know yet wether musical cognition and perception is

(a) specifically localised to distinct neural networks

(b) made up of shared neural networks that are associated with other brain processes

(c) a bit of both

113Friday 18 November 11

Musical Performance

Motor Learning and Instrumental Training

the act of making music is physically

intensivea pianist may bimanually

coordinate and lsquoscrutinisersquo up to 1800 notes per minute

114Friday 18 November 11

Musical Performance

3 parts of the brain are involved

bullthe sensorimotor cortex (interpretation of stimuli control of muscles)

bullthe basal ganglia (muscles in cooperative functions)

bullthe cerebellum (fine-tuning of motor movements stores motor patterns)

115Friday 18 November 11

Growth and Development proceed from general to specific

116Friday 18 November 11

Musicians appear to process new incoming stimuli more effectively

compared to non-musicians

117Friday 18 November 11

Meaning

if you practise more your brain learns to work more effectively

118Friday 18 November 11

lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop

brain cells and neurons

makes us even more effective

119Friday 18 November 11

It is evident that musicians have different brain structure than

non-musiciansAmunts et al 1997Schlaug et al 1995b

enhanced if training has started earlier in life

120Friday 18 November 11

For musical training there is this concept of lsquodeliberate practicersquo

motivation resources and attention determine the amount and quality of practice undertaken

121Friday 18 November 11

In Neuroscience scientists uncovered evidence showing a close association

between practice and expertisehellip

hours of deliberate practice

level of expertise

Lehmann and Gruber 2006

122Friday 18 November 11

implications to Musical performance and Training

1How to practise is best learned by practising

2Start early but not to early with playing an instrument

3Breaks and sleep is essential for motor learning and memory

4Use the human lsquomirror systemrsquo

123Friday 18 November 11

Examples of practisinghellip

124Friday 18 November 11

Neuroscience and Emotion in Music

Largely overlapping networks required for the processing of both

general and music-specific emotions

125Friday 18 November 11

Whether the neural basis of emotional appraisal of music is

innate or rather acquired through enculturation is subject

to ongoing discussion

Peretz and Sloboda 2005

126Friday 18 November 11

Nature vs NurtureProblem

127Friday 18 November 11

Howeverrecognition of emotions appears independent of musical

training

howhellipfamily environment possibly

128Friday 18 November 11

Recognising from Experiencing musical emotion is different

129Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

A bit of History

ldquoThe oldest brain map on record was being drawn upon papyrus in Egypt

almost 5000 years agohelliprdquo

Minagar Ragheb and Kelley 2003

103Friday 18 November 11

A Musical Fact

We know that evidence of music has been confirmed in every civilisation

throughout history

Chailley 1964

104Friday 18 November 11

Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology

(egGardner 1983)

Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful

musical experience

105Friday 18 November 11

History of Neuroscience in Music

One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)

106Friday 18 November 11

Supporting Areas

bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology

107Friday 18 November 11

Ways (Tools) of neuroscientific Rsc

bullMagnetic Resonance Imaging (MRI)

bullfunctional MRI

bullElectroencephalography (EEG)

bullEvent Related Potentials (ERPs)

bullTranscranial magnetic Stimulation (TMS)

bullMagnetoencephalography (MEG)

bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target

108Friday 18 November 11

Research Areas in Music

bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors

109Friday 18 November 11

Perception and Cognition -Musical Performance

Your Opinionhellip

Group Discussion

110Friday 18 November 11

Perception in Meuromusic

Perception (in music) is based on the sensory information that is

gathered by the brain regarding onersquos external and internal

environment

111Friday 18 November 11

Perception in Neuromusic

PitchRhythm

112Friday 18 November 11

We donrsquot know yet wether musical cognition and perception is

(a) specifically localised to distinct neural networks

(b) made up of shared neural networks that are associated with other brain processes

(c) a bit of both

113Friday 18 November 11

Musical Performance

Motor Learning and Instrumental Training

the act of making music is physically

intensivea pianist may bimanually

coordinate and lsquoscrutinisersquo up to 1800 notes per minute

114Friday 18 November 11

Musical Performance

3 parts of the brain are involved

bullthe sensorimotor cortex (interpretation of stimuli control of muscles)

bullthe basal ganglia (muscles in cooperative functions)

bullthe cerebellum (fine-tuning of motor movements stores motor patterns)

115Friday 18 November 11

Growth and Development proceed from general to specific

116Friday 18 November 11

Musicians appear to process new incoming stimuli more effectively

compared to non-musicians

117Friday 18 November 11

Meaning

if you practise more your brain learns to work more effectively

118Friday 18 November 11

lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop

brain cells and neurons

makes us even more effective

119Friday 18 November 11

It is evident that musicians have different brain structure than

non-musiciansAmunts et al 1997Schlaug et al 1995b

enhanced if training has started earlier in life

120Friday 18 November 11

For musical training there is this concept of lsquodeliberate practicersquo

motivation resources and attention determine the amount and quality of practice undertaken

121Friday 18 November 11

In Neuroscience scientists uncovered evidence showing a close association

between practice and expertisehellip

hours of deliberate practice

level of expertise

Lehmann and Gruber 2006

122Friday 18 November 11

implications to Musical performance and Training

1How to practise is best learned by practising

2Start early but not to early with playing an instrument

3Breaks and sleep is essential for motor learning and memory

4Use the human lsquomirror systemrsquo

123Friday 18 November 11

Examples of practisinghellip

124Friday 18 November 11

Neuroscience and Emotion in Music

Largely overlapping networks required for the processing of both

general and music-specific emotions

125Friday 18 November 11

Whether the neural basis of emotional appraisal of music is

innate or rather acquired through enculturation is subject

to ongoing discussion

Peretz and Sloboda 2005

126Friday 18 November 11

Nature vs NurtureProblem

127Friday 18 November 11

Howeverrecognition of emotions appears independent of musical

training

howhellipfamily environment possibly

128Friday 18 November 11

Recognising from Experiencing musical emotion is different

129Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

A Musical Fact

We know that evidence of music has been confirmed in every civilisation

throughout history

Chailley 1964

104Friday 18 November 11

Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology

(egGardner 1983)

Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful

musical experience

105Friday 18 November 11

History of Neuroscience in Music

One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)

106Friday 18 November 11

Supporting Areas

bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology

107Friday 18 November 11

Ways (Tools) of neuroscientific Rsc

bullMagnetic Resonance Imaging (MRI)

bullfunctional MRI

bullElectroencephalography (EEG)

bullEvent Related Potentials (ERPs)

bullTranscranial magnetic Stimulation (TMS)

bullMagnetoencephalography (MEG)

bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target

108Friday 18 November 11

Research Areas in Music

bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors

109Friday 18 November 11

Perception and Cognition -Musical Performance

Your Opinionhellip

Group Discussion

110Friday 18 November 11

Perception in Meuromusic

Perception (in music) is based on the sensory information that is

gathered by the brain regarding onersquos external and internal

environment

111Friday 18 November 11

Perception in Neuromusic

PitchRhythm

112Friday 18 November 11

We donrsquot know yet wether musical cognition and perception is

(a) specifically localised to distinct neural networks

(b) made up of shared neural networks that are associated with other brain processes

(c) a bit of both

113Friday 18 November 11

Musical Performance

Motor Learning and Instrumental Training

the act of making music is physically

intensivea pianist may bimanually

coordinate and lsquoscrutinisersquo up to 1800 notes per minute

114Friday 18 November 11

Musical Performance

3 parts of the brain are involved

bullthe sensorimotor cortex (interpretation of stimuli control of muscles)

bullthe basal ganglia (muscles in cooperative functions)

bullthe cerebellum (fine-tuning of motor movements stores motor patterns)

115Friday 18 November 11

Growth and Development proceed from general to specific

116Friday 18 November 11

Musicians appear to process new incoming stimuli more effectively

compared to non-musicians

117Friday 18 November 11

Meaning

if you practise more your brain learns to work more effectively

118Friday 18 November 11

lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop

brain cells and neurons

makes us even more effective

119Friday 18 November 11

It is evident that musicians have different brain structure than

non-musiciansAmunts et al 1997Schlaug et al 1995b

enhanced if training has started earlier in life

120Friday 18 November 11

For musical training there is this concept of lsquodeliberate practicersquo

motivation resources and attention determine the amount and quality of practice undertaken

121Friday 18 November 11

In Neuroscience scientists uncovered evidence showing a close association

between practice and expertisehellip

hours of deliberate practice

level of expertise

Lehmann and Gruber 2006

122Friday 18 November 11

implications to Musical performance and Training

1How to practise is best learned by practising

2Start early but not to early with playing an instrument

3Breaks and sleep is essential for motor learning and memory

4Use the human lsquomirror systemrsquo

123Friday 18 November 11

Examples of practisinghellip

124Friday 18 November 11

Neuroscience and Emotion in Music

Largely overlapping networks required for the processing of both

general and music-specific emotions

125Friday 18 November 11

Whether the neural basis of emotional appraisal of music is

innate or rather acquired through enculturation is subject

to ongoing discussion

Peretz and Sloboda 2005

126Friday 18 November 11

Nature vs NurtureProblem

127Friday 18 November 11

Howeverrecognition of emotions appears independent of musical

training

howhellipfamily environment possibly

128Friday 18 November 11

Recognising from Experiencing musical emotion is different

129Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

Combined Research in anthropology (eg Merriam 1964) in ethnomusicology (eg Blacking 1964) and psychology

(egGardner 1983)

Strong evidence to suggest that not only music is a cultural invariant but also that every person is born with the potential for some form of meaningful

musical experience

105Friday 18 November 11

History of Neuroscience in Music

One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)

106Friday 18 November 11

Supporting Areas

bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology

107Friday 18 November 11

Ways (Tools) of neuroscientific Rsc

bullMagnetic Resonance Imaging (MRI)

bullfunctional MRI

bullElectroencephalography (EEG)

bullEvent Related Potentials (ERPs)

bullTranscranial magnetic Stimulation (TMS)

bullMagnetoencephalography (MEG)

bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target

108Friday 18 November 11

Research Areas in Music

bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors

109Friday 18 November 11

Perception and Cognition -Musical Performance

Your Opinionhellip

Group Discussion

110Friday 18 November 11

Perception in Meuromusic

Perception (in music) is based on the sensory information that is

gathered by the brain regarding onersquos external and internal

environment

111Friday 18 November 11

Perception in Neuromusic

PitchRhythm

112Friday 18 November 11

We donrsquot know yet wether musical cognition and perception is

(a) specifically localised to distinct neural networks

(b) made up of shared neural networks that are associated with other brain processes

(c) a bit of both

113Friday 18 November 11

Musical Performance

Motor Learning and Instrumental Training

the act of making music is physically

intensivea pianist may bimanually

coordinate and lsquoscrutinisersquo up to 1800 notes per minute

114Friday 18 November 11

Musical Performance

3 parts of the brain are involved

bullthe sensorimotor cortex (interpretation of stimuli control of muscles)

bullthe basal ganglia (muscles in cooperative functions)

bullthe cerebellum (fine-tuning of motor movements stores motor patterns)

115Friday 18 November 11

Growth and Development proceed from general to specific

116Friday 18 November 11

Musicians appear to process new incoming stimuli more effectively

compared to non-musicians

117Friday 18 November 11

Meaning

if you practise more your brain learns to work more effectively

118Friday 18 November 11

lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop

brain cells and neurons

makes us even more effective

119Friday 18 November 11

It is evident that musicians have different brain structure than

non-musiciansAmunts et al 1997Schlaug et al 1995b

enhanced if training has started earlier in life

120Friday 18 November 11

For musical training there is this concept of lsquodeliberate practicersquo

motivation resources and attention determine the amount and quality of practice undertaken

121Friday 18 November 11

In Neuroscience scientists uncovered evidence showing a close association

between practice and expertisehellip

hours of deliberate practice

level of expertise

Lehmann and Gruber 2006

122Friday 18 November 11

implications to Musical performance and Training

1How to practise is best learned by practising

2Start early but not to early with playing an instrument

3Breaks and sleep is essential for motor learning and memory

4Use the human lsquomirror systemrsquo

123Friday 18 November 11

Examples of practisinghellip

124Friday 18 November 11

Neuroscience and Emotion in Music

Largely overlapping networks required for the processing of both

general and music-specific emotions

125Friday 18 November 11

Whether the neural basis of emotional appraisal of music is

innate or rather acquired through enculturation is subject

to ongoing discussion

Peretz and Sloboda 2005

126Friday 18 November 11

Nature vs NurtureProblem

127Friday 18 November 11

Howeverrecognition of emotions appears independent of musical

training

howhellipfamily environment possibly

128Friday 18 November 11

Recognising from Experiencing musical emotion is different

129Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

History of Neuroscience in Music

One of the earliest if not the first comprehensive reviews of music and brain research was published in 1977 (Critchley and Henson 1977)

106Friday 18 November 11

Supporting Areas

bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology

107Friday 18 November 11

Ways (Tools) of neuroscientific Rsc

bullMagnetic Resonance Imaging (MRI)

bullfunctional MRI

bullElectroencephalography (EEG)

bullEvent Related Potentials (ERPs)

bullTranscranial magnetic Stimulation (TMS)

bullMagnetoencephalography (MEG)

bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target

108Friday 18 November 11

Research Areas in Music

bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors

109Friday 18 November 11

Perception and Cognition -Musical Performance

Your Opinionhellip

Group Discussion

110Friday 18 November 11

Perception in Meuromusic

Perception (in music) is based on the sensory information that is

gathered by the brain regarding onersquos external and internal

environment

111Friday 18 November 11

Perception in Neuromusic

PitchRhythm

112Friday 18 November 11

We donrsquot know yet wether musical cognition and perception is

(a) specifically localised to distinct neural networks

(b) made up of shared neural networks that are associated with other brain processes

(c) a bit of both

113Friday 18 November 11

Musical Performance

Motor Learning and Instrumental Training

the act of making music is physically

intensivea pianist may bimanually

coordinate and lsquoscrutinisersquo up to 1800 notes per minute

114Friday 18 November 11

Musical Performance

3 parts of the brain are involved

bullthe sensorimotor cortex (interpretation of stimuli control of muscles)

bullthe basal ganglia (muscles in cooperative functions)

bullthe cerebellum (fine-tuning of motor movements stores motor patterns)

115Friday 18 November 11

Growth and Development proceed from general to specific

116Friday 18 November 11

Musicians appear to process new incoming stimuli more effectively

compared to non-musicians

117Friday 18 November 11

Meaning

if you practise more your brain learns to work more effectively

118Friday 18 November 11

lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop

brain cells and neurons

makes us even more effective

119Friday 18 November 11

It is evident that musicians have different brain structure than

non-musiciansAmunts et al 1997Schlaug et al 1995b

enhanced if training has started earlier in life

120Friday 18 November 11

For musical training there is this concept of lsquodeliberate practicersquo

motivation resources and attention determine the amount and quality of practice undertaken

121Friday 18 November 11

In Neuroscience scientists uncovered evidence showing a close association

between practice and expertisehellip

hours of deliberate practice

level of expertise

Lehmann and Gruber 2006

122Friday 18 November 11

implications to Musical performance and Training

1How to practise is best learned by practising

2Start early but not to early with playing an instrument

3Breaks and sleep is essential for motor learning and memory

4Use the human lsquomirror systemrsquo

123Friday 18 November 11

Examples of practisinghellip

124Friday 18 November 11

Neuroscience and Emotion in Music

Largely overlapping networks required for the processing of both

general and music-specific emotions

125Friday 18 November 11

Whether the neural basis of emotional appraisal of music is

innate or rather acquired through enculturation is subject

to ongoing discussion

Peretz and Sloboda 2005

126Friday 18 November 11

Nature vs NurtureProblem

127Friday 18 November 11

Howeverrecognition of emotions appears independent of musical

training

howhellipfamily environment possibly

128Friday 18 November 11

Recognising from Experiencing musical emotion is different

129Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

Supporting Areas

bullAnthropologybullEthnomusicologybullEthology (science for nature sounds)bullMusic Psychology

107Friday 18 November 11

Ways (Tools) of neuroscientific Rsc

bullMagnetic Resonance Imaging (MRI)

bullfunctional MRI

bullElectroencephalography (EEG)

bullEvent Related Potentials (ERPs)

bullTranscranial magnetic Stimulation (TMS)

bullMagnetoencephalography (MEG)

bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target

108Friday 18 November 11

Research Areas in Music

bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors

109Friday 18 November 11

Perception and Cognition -Musical Performance

Your Opinionhellip

Group Discussion

110Friday 18 November 11

Perception in Meuromusic

Perception (in music) is based on the sensory information that is

gathered by the brain regarding onersquos external and internal

environment

111Friday 18 November 11

Perception in Neuromusic

PitchRhythm

112Friday 18 November 11

We donrsquot know yet wether musical cognition and perception is

(a) specifically localised to distinct neural networks

(b) made up of shared neural networks that are associated with other brain processes

(c) a bit of both

113Friday 18 November 11

Musical Performance

Motor Learning and Instrumental Training

the act of making music is physically

intensivea pianist may bimanually

coordinate and lsquoscrutinisersquo up to 1800 notes per minute

114Friday 18 November 11

Musical Performance

3 parts of the brain are involved

bullthe sensorimotor cortex (interpretation of stimuli control of muscles)

bullthe basal ganglia (muscles in cooperative functions)

bullthe cerebellum (fine-tuning of motor movements stores motor patterns)

115Friday 18 November 11

Growth and Development proceed from general to specific

116Friday 18 November 11

Musicians appear to process new incoming stimuli more effectively

compared to non-musicians

117Friday 18 November 11

Meaning

if you practise more your brain learns to work more effectively

118Friday 18 November 11

lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop

brain cells and neurons

makes us even more effective

119Friday 18 November 11

It is evident that musicians have different brain structure than

non-musiciansAmunts et al 1997Schlaug et al 1995b

enhanced if training has started earlier in life

120Friday 18 November 11

For musical training there is this concept of lsquodeliberate practicersquo

motivation resources and attention determine the amount and quality of practice undertaken

121Friday 18 November 11

In Neuroscience scientists uncovered evidence showing a close association

between practice and expertisehellip

hours of deliberate practice

level of expertise

Lehmann and Gruber 2006

122Friday 18 November 11

implications to Musical performance and Training

1How to practise is best learned by practising

2Start early but not to early with playing an instrument

3Breaks and sleep is essential for motor learning and memory

4Use the human lsquomirror systemrsquo

123Friday 18 November 11

Examples of practisinghellip

124Friday 18 November 11

Neuroscience and Emotion in Music

Largely overlapping networks required for the processing of both

general and music-specific emotions

125Friday 18 November 11

Whether the neural basis of emotional appraisal of music is

innate or rather acquired through enculturation is subject

to ongoing discussion

Peretz and Sloboda 2005

126Friday 18 November 11

Nature vs NurtureProblem

127Friday 18 November 11

Howeverrecognition of emotions appears independent of musical

training

howhellipfamily environment possibly

128Friday 18 November 11

Recognising from Experiencing musical emotion is different

129Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

Ways (Tools) of neuroscientific Rsc

bullMagnetic Resonance Imaging (MRI)

bullfunctional MRI

bullElectroencephalography (EEG)

bullEvent Related Potentials (ERPs)

bullTranscranial magnetic Stimulation (TMS)

bullMagnetoencephalography (MEG)

bullDiffusion Tensor Imaging (DTI)weaknesses and strengths according to research target

108Friday 18 November 11

Research Areas in Music

bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors

109Friday 18 November 11

Perception and Cognition -Musical Performance

Your Opinionhellip

Group Discussion

110Friday 18 November 11

Perception in Meuromusic

Perception (in music) is based on the sensory information that is

gathered by the brain regarding onersquos external and internal

environment

111Friday 18 November 11

Perception in Neuromusic

PitchRhythm

112Friday 18 November 11

We donrsquot know yet wether musical cognition and perception is

(a) specifically localised to distinct neural networks

(b) made up of shared neural networks that are associated with other brain processes

(c) a bit of both

113Friday 18 November 11

Musical Performance

Motor Learning and Instrumental Training

the act of making music is physically

intensivea pianist may bimanually

coordinate and lsquoscrutinisersquo up to 1800 notes per minute

114Friday 18 November 11

Musical Performance

3 parts of the brain are involved

bullthe sensorimotor cortex (interpretation of stimuli control of muscles)

bullthe basal ganglia (muscles in cooperative functions)

bullthe cerebellum (fine-tuning of motor movements stores motor patterns)

115Friday 18 November 11

Growth and Development proceed from general to specific

116Friday 18 November 11

Musicians appear to process new incoming stimuli more effectively

compared to non-musicians

117Friday 18 November 11

Meaning

if you practise more your brain learns to work more effectively

118Friday 18 November 11

lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop

brain cells and neurons

makes us even more effective

119Friday 18 November 11

It is evident that musicians have different brain structure than

non-musiciansAmunts et al 1997Schlaug et al 1995b

enhanced if training has started earlier in life

120Friday 18 November 11

For musical training there is this concept of lsquodeliberate practicersquo

motivation resources and attention determine the amount and quality of practice undertaken

121Friday 18 November 11

In Neuroscience scientists uncovered evidence showing a close association

between practice and expertisehellip

hours of deliberate practice

level of expertise

Lehmann and Gruber 2006

122Friday 18 November 11

implications to Musical performance and Training

1How to practise is best learned by practising

2Start early but not to early with playing an instrument

3Breaks and sleep is essential for motor learning and memory

4Use the human lsquomirror systemrsquo

123Friday 18 November 11

Examples of practisinghellip

124Friday 18 November 11

Neuroscience and Emotion in Music

Largely overlapping networks required for the processing of both

general and music-specific emotions

125Friday 18 November 11

Whether the neural basis of emotional appraisal of music is

innate or rather acquired through enculturation is subject

to ongoing discussion

Peretz and Sloboda 2005

126Friday 18 November 11

Nature vs NurtureProblem

127Friday 18 November 11

Howeverrecognition of emotions appears independent of musical

training

howhellipfamily environment possibly

128Friday 18 November 11

Recognising from Experiencing musical emotion is different

129Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

Research Areas in Music

bullPerception and CognitionbullMusical PerformancebullPitch PerceptionbullRhythm PerceptionbullAffective Responses (emotions)bullNeural Pruning and PlasticitybullLearningbullMemorybullGenetic Factors

109Friday 18 November 11

Perception and Cognition -Musical Performance

Your Opinionhellip

Group Discussion

110Friday 18 November 11

Perception in Meuromusic

Perception (in music) is based on the sensory information that is

gathered by the brain regarding onersquos external and internal

environment

111Friday 18 November 11

Perception in Neuromusic

PitchRhythm

112Friday 18 November 11

We donrsquot know yet wether musical cognition and perception is

(a) specifically localised to distinct neural networks

(b) made up of shared neural networks that are associated with other brain processes

(c) a bit of both

113Friday 18 November 11

Musical Performance

Motor Learning and Instrumental Training

the act of making music is physically

intensivea pianist may bimanually

coordinate and lsquoscrutinisersquo up to 1800 notes per minute

114Friday 18 November 11

Musical Performance

3 parts of the brain are involved

bullthe sensorimotor cortex (interpretation of stimuli control of muscles)

bullthe basal ganglia (muscles in cooperative functions)

bullthe cerebellum (fine-tuning of motor movements stores motor patterns)

115Friday 18 November 11

Growth and Development proceed from general to specific

116Friday 18 November 11

Musicians appear to process new incoming stimuli more effectively

compared to non-musicians

117Friday 18 November 11

Meaning

if you practise more your brain learns to work more effectively

118Friday 18 November 11

lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop

brain cells and neurons

makes us even more effective

119Friday 18 November 11

It is evident that musicians have different brain structure than

non-musiciansAmunts et al 1997Schlaug et al 1995b

enhanced if training has started earlier in life

120Friday 18 November 11

For musical training there is this concept of lsquodeliberate practicersquo

motivation resources and attention determine the amount and quality of practice undertaken

121Friday 18 November 11

In Neuroscience scientists uncovered evidence showing a close association

between practice and expertisehellip

hours of deliberate practice

level of expertise

Lehmann and Gruber 2006

122Friday 18 November 11

implications to Musical performance and Training

1How to practise is best learned by practising

2Start early but not to early with playing an instrument

3Breaks and sleep is essential for motor learning and memory

4Use the human lsquomirror systemrsquo

123Friday 18 November 11

Examples of practisinghellip

124Friday 18 November 11

Neuroscience and Emotion in Music

Largely overlapping networks required for the processing of both

general and music-specific emotions

125Friday 18 November 11

Whether the neural basis of emotional appraisal of music is

innate or rather acquired through enculturation is subject

to ongoing discussion

Peretz and Sloboda 2005

126Friday 18 November 11

Nature vs NurtureProblem

127Friday 18 November 11

Howeverrecognition of emotions appears independent of musical

training

howhellipfamily environment possibly

128Friday 18 November 11

Recognising from Experiencing musical emotion is different

129Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

Perception and Cognition -Musical Performance

Your Opinionhellip

Group Discussion

110Friday 18 November 11

Perception in Meuromusic

Perception (in music) is based on the sensory information that is

gathered by the brain regarding onersquos external and internal

environment

111Friday 18 November 11

Perception in Neuromusic

PitchRhythm

112Friday 18 November 11

We donrsquot know yet wether musical cognition and perception is

(a) specifically localised to distinct neural networks

(b) made up of shared neural networks that are associated with other brain processes

(c) a bit of both

113Friday 18 November 11

Musical Performance

Motor Learning and Instrumental Training

the act of making music is physically

intensivea pianist may bimanually

coordinate and lsquoscrutinisersquo up to 1800 notes per minute

114Friday 18 November 11

Musical Performance

3 parts of the brain are involved

bullthe sensorimotor cortex (interpretation of stimuli control of muscles)

bullthe basal ganglia (muscles in cooperative functions)

bullthe cerebellum (fine-tuning of motor movements stores motor patterns)

115Friday 18 November 11

Growth and Development proceed from general to specific

116Friday 18 November 11

Musicians appear to process new incoming stimuli more effectively

compared to non-musicians

117Friday 18 November 11

Meaning

if you practise more your brain learns to work more effectively

118Friday 18 November 11

lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop

brain cells and neurons

makes us even more effective

119Friday 18 November 11

It is evident that musicians have different brain structure than

non-musiciansAmunts et al 1997Schlaug et al 1995b

enhanced if training has started earlier in life

120Friday 18 November 11

For musical training there is this concept of lsquodeliberate practicersquo

motivation resources and attention determine the amount and quality of practice undertaken

121Friday 18 November 11

In Neuroscience scientists uncovered evidence showing a close association

between practice and expertisehellip

hours of deliberate practice

level of expertise

Lehmann and Gruber 2006

122Friday 18 November 11

implications to Musical performance and Training

1How to practise is best learned by practising

2Start early but not to early with playing an instrument

3Breaks and sleep is essential for motor learning and memory

4Use the human lsquomirror systemrsquo

123Friday 18 November 11

Examples of practisinghellip

124Friday 18 November 11

Neuroscience and Emotion in Music

Largely overlapping networks required for the processing of both

general and music-specific emotions

125Friday 18 November 11

Whether the neural basis of emotional appraisal of music is

innate or rather acquired through enculturation is subject

to ongoing discussion

Peretz and Sloboda 2005

126Friday 18 November 11

Nature vs NurtureProblem

127Friday 18 November 11

Howeverrecognition of emotions appears independent of musical

training

howhellipfamily environment possibly

128Friday 18 November 11

Recognising from Experiencing musical emotion is different

129Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

Perception in Meuromusic

Perception (in music) is based on the sensory information that is

gathered by the brain regarding onersquos external and internal

environment

111Friday 18 November 11

Perception in Neuromusic

PitchRhythm

112Friday 18 November 11

We donrsquot know yet wether musical cognition and perception is

(a) specifically localised to distinct neural networks

(b) made up of shared neural networks that are associated with other brain processes

(c) a bit of both

113Friday 18 November 11

Musical Performance

Motor Learning and Instrumental Training

the act of making music is physically

intensivea pianist may bimanually

coordinate and lsquoscrutinisersquo up to 1800 notes per minute

114Friday 18 November 11

Musical Performance

3 parts of the brain are involved

bullthe sensorimotor cortex (interpretation of stimuli control of muscles)

bullthe basal ganglia (muscles in cooperative functions)

bullthe cerebellum (fine-tuning of motor movements stores motor patterns)

115Friday 18 November 11

Growth and Development proceed from general to specific

116Friday 18 November 11

Musicians appear to process new incoming stimuli more effectively

compared to non-musicians

117Friday 18 November 11

Meaning

if you practise more your brain learns to work more effectively

118Friday 18 November 11

lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop

brain cells and neurons

makes us even more effective

119Friday 18 November 11

It is evident that musicians have different brain structure than

non-musiciansAmunts et al 1997Schlaug et al 1995b

enhanced if training has started earlier in life

120Friday 18 November 11

For musical training there is this concept of lsquodeliberate practicersquo

motivation resources and attention determine the amount and quality of practice undertaken

121Friday 18 November 11

In Neuroscience scientists uncovered evidence showing a close association

between practice and expertisehellip

hours of deliberate practice

level of expertise

Lehmann and Gruber 2006

122Friday 18 November 11

implications to Musical performance and Training

1How to practise is best learned by practising

2Start early but not to early with playing an instrument

3Breaks and sleep is essential for motor learning and memory

4Use the human lsquomirror systemrsquo

123Friday 18 November 11

Examples of practisinghellip

124Friday 18 November 11

Neuroscience and Emotion in Music

Largely overlapping networks required for the processing of both

general and music-specific emotions

125Friday 18 November 11

Whether the neural basis of emotional appraisal of music is

innate or rather acquired through enculturation is subject

to ongoing discussion

Peretz and Sloboda 2005

126Friday 18 November 11

Nature vs NurtureProblem

127Friday 18 November 11

Howeverrecognition of emotions appears independent of musical

training

howhellipfamily environment possibly

128Friday 18 November 11

Recognising from Experiencing musical emotion is different

129Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

Perception in Neuromusic

PitchRhythm

112Friday 18 November 11

We donrsquot know yet wether musical cognition and perception is

(a) specifically localised to distinct neural networks

(b) made up of shared neural networks that are associated with other brain processes

(c) a bit of both

113Friday 18 November 11

Musical Performance

Motor Learning and Instrumental Training

the act of making music is physically

intensivea pianist may bimanually

coordinate and lsquoscrutinisersquo up to 1800 notes per minute

114Friday 18 November 11

Musical Performance

3 parts of the brain are involved

bullthe sensorimotor cortex (interpretation of stimuli control of muscles)

bullthe basal ganglia (muscles in cooperative functions)

bullthe cerebellum (fine-tuning of motor movements stores motor patterns)

115Friday 18 November 11

Growth and Development proceed from general to specific

116Friday 18 November 11

Musicians appear to process new incoming stimuli more effectively

compared to non-musicians

117Friday 18 November 11

Meaning

if you practise more your brain learns to work more effectively

118Friday 18 November 11

lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop

brain cells and neurons

makes us even more effective

119Friday 18 November 11

It is evident that musicians have different brain structure than

non-musiciansAmunts et al 1997Schlaug et al 1995b

enhanced if training has started earlier in life

120Friday 18 November 11

For musical training there is this concept of lsquodeliberate practicersquo

motivation resources and attention determine the amount and quality of practice undertaken

121Friday 18 November 11

In Neuroscience scientists uncovered evidence showing a close association

between practice and expertisehellip

hours of deliberate practice

level of expertise

Lehmann and Gruber 2006

122Friday 18 November 11

implications to Musical performance and Training

1How to practise is best learned by practising

2Start early but not to early with playing an instrument

3Breaks and sleep is essential for motor learning and memory

4Use the human lsquomirror systemrsquo

123Friday 18 November 11

Examples of practisinghellip

124Friday 18 November 11

Neuroscience and Emotion in Music

Largely overlapping networks required for the processing of both

general and music-specific emotions

125Friday 18 November 11

Whether the neural basis of emotional appraisal of music is

innate or rather acquired through enculturation is subject

to ongoing discussion

Peretz and Sloboda 2005

126Friday 18 November 11

Nature vs NurtureProblem

127Friday 18 November 11

Howeverrecognition of emotions appears independent of musical

training

howhellipfamily environment possibly

128Friday 18 November 11

Recognising from Experiencing musical emotion is different

129Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

We donrsquot know yet wether musical cognition and perception is

(a) specifically localised to distinct neural networks

(b) made up of shared neural networks that are associated with other brain processes

(c) a bit of both

113Friday 18 November 11

Musical Performance

Motor Learning and Instrumental Training

the act of making music is physically

intensivea pianist may bimanually

coordinate and lsquoscrutinisersquo up to 1800 notes per minute

114Friday 18 November 11

Musical Performance

3 parts of the brain are involved

bullthe sensorimotor cortex (interpretation of stimuli control of muscles)

bullthe basal ganglia (muscles in cooperative functions)

bullthe cerebellum (fine-tuning of motor movements stores motor patterns)

115Friday 18 November 11

Growth and Development proceed from general to specific

116Friday 18 November 11

Musicians appear to process new incoming stimuli more effectively

compared to non-musicians

117Friday 18 November 11

Meaning

if you practise more your brain learns to work more effectively

118Friday 18 November 11

lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop

brain cells and neurons

makes us even more effective

119Friday 18 November 11

It is evident that musicians have different brain structure than

non-musiciansAmunts et al 1997Schlaug et al 1995b

enhanced if training has started earlier in life

120Friday 18 November 11

For musical training there is this concept of lsquodeliberate practicersquo

motivation resources and attention determine the amount and quality of practice undertaken

121Friday 18 November 11

In Neuroscience scientists uncovered evidence showing a close association

between practice and expertisehellip

hours of deliberate practice

level of expertise

Lehmann and Gruber 2006

122Friday 18 November 11

implications to Musical performance and Training

1How to practise is best learned by practising

2Start early but not to early with playing an instrument

3Breaks and sleep is essential for motor learning and memory

4Use the human lsquomirror systemrsquo

123Friday 18 November 11

Examples of practisinghellip

124Friday 18 November 11

Neuroscience and Emotion in Music

Largely overlapping networks required for the processing of both

general and music-specific emotions

125Friday 18 November 11

Whether the neural basis of emotional appraisal of music is

innate or rather acquired through enculturation is subject

to ongoing discussion

Peretz and Sloboda 2005

126Friday 18 November 11

Nature vs NurtureProblem

127Friday 18 November 11

Howeverrecognition of emotions appears independent of musical

training

howhellipfamily environment possibly

128Friday 18 November 11

Recognising from Experiencing musical emotion is different

129Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

Musical Performance

Motor Learning and Instrumental Training

the act of making music is physically

intensivea pianist may bimanually

coordinate and lsquoscrutinisersquo up to 1800 notes per minute

114Friday 18 November 11

Musical Performance

3 parts of the brain are involved

bullthe sensorimotor cortex (interpretation of stimuli control of muscles)

bullthe basal ganglia (muscles in cooperative functions)

bullthe cerebellum (fine-tuning of motor movements stores motor patterns)

115Friday 18 November 11

Growth and Development proceed from general to specific

116Friday 18 November 11

Musicians appear to process new incoming stimuli more effectively

compared to non-musicians

117Friday 18 November 11

Meaning

if you practise more your brain learns to work more effectively

118Friday 18 November 11

lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop

brain cells and neurons

makes us even more effective

119Friday 18 November 11

It is evident that musicians have different brain structure than

non-musiciansAmunts et al 1997Schlaug et al 1995b

enhanced if training has started earlier in life

120Friday 18 November 11

For musical training there is this concept of lsquodeliberate practicersquo

motivation resources and attention determine the amount and quality of practice undertaken

121Friday 18 November 11

In Neuroscience scientists uncovered evidence showing a close association

between practice and expertisehellip

hours of deliberate practice

level of expertise

Lehmann and Gruber 2006

122Friday 18 November 11

implications to Musical performance and Training

1How to practise is best learned by practising

2Start early but not to early with playing an instrument

3Breaks and sleep is essential for motor learning and memory

4Use the human lsquomirror systemrsquo

123Friday 18 November 11

Examples of practisinghellip

124Friday 18 November 11

Neuroscience and Emotion in Music

Largely overlapping networks required for the processing of both

general and music-specific emotions

125Friday 18 November 11

Whether the neural basis of emotional appraisal of music is

innate or rather acquired through enculturation is subject

to ongoing discussion

Peretz and Sloboda 2005

126Friday 18 November 11

Nature vs NurtureProblem

127Friday 18 November 11

Howeverrecognition of emotions appears independent of musical

training

howhellipfamily environment possibly

128Friday 18 November 11

Recognising from Experiencing musical emotion is different

129Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

Musical Performance

3 parts of the brain are involved

bullthe sensorimotor cortex (interpretation of stimuli control of muscles)

bullthe basal ganglia (muscles in cooperative functions)

bullthe cerebellum (fine-tuning of motor movements stores motor patterns)

115Friday 18 November 11

Growth and Development proceed from general to specific

116Friday 18 November 11

Musicians appear to process new incoming stimuli more effectively

compared to non-musicians

117Friday 18 November 11

Meaning

if you practise more your brain learns to work more effectively

118Friday 18 November 11

lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop

brain cells and neurons

makes us even more effective

119Friday 18 November 11

It is evident that musicians have different brain structure than

non-musiciansAmunts et al 1997Schlaug et al 1995b

enhanced if training has started earlier in life

120Friday 18 November 11

For musical training there is this concept of lsquodeliberate practicersquo

motivation resources and attention determine the amount and quality of practice undertaken

121Friday 18 November 11

In Neuroscience scientists uncovered evidence showing a close association

between practice and expertisehellip

hours of deliberate practice

level of expertise

Lehmann and Gruber 2006

122Friday 18 November 11

implications to Musical performance and Training

1How to practise is best learned by practising

2Start early but not to early with playing an instrument

3Breaks and sleep is essential for motor learning and memory

4Use the human lsquomirror systemrsquo

123Friday 18 November 11

Examples of practisinghellip

124Friday 18 November 11

Neuroscience and Emotion in Music

Largely overlapping networks required for the processing of both

general and music-specific emotions

125Friday 18 November 11

Whether the neural basis of emotional appraisal of music is

innate or rather acquired through enculturation is subject

to ongoing discussion

Peretz and Sloboda 2005

126Friday 18 November 11

Nature vs NurtureProblem

127Friday 18 November 11

Howeverrecognition of emotions appears independent of musical

training

howhellipfamily environment possibly

128Friday 18 November 11

Recognising from Experiencing musical emotion is different

129Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

Growth and Development proceed from general to specific

116Friday 18 November 11

Musicians appear to process new incoming stimuli more effectively

compared to non-musicians

117Friday 18 November 11

Meaning

if you practise more your brain learns to work more effectively

118Friday 18 November 11

lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop

brain cells and neurons

makes us even more effective

119Friday 18 November 11

It is evident that musicians have different brain structure than

non-musiciansAmunts et al 1997Schlaug et al 1995b

enhanced if training has started earlier in life

120Friday 18 November 11

For musical training there is this concept of lsquodeliberate practicersquo

motivation resources and attention determine the amount and quality of practice undertaken

121Friday 18 November 11

In Neuroscience scientists uncovered evidence showing a close association

between practice and expertisehellip

hours of deliberate practice

level of expertise

Lehmann and Gruber 2006

122Friday 18 November 11

implications to Musical performance and Training

1How to practise is best learned by practising

2Start early but not to early with playing an instrument

3Breaks and sleep is essential for motor learning and memory

4Use the human lsquomirror systemrsquo

123Friday 18 November 11

Examples of practisinghellip

124Friday 18 November 11

Neuroscience and Emotion in Music

Largely overlapping networks required for the processing of both

general and music-specific emotions

125Friday 18 November 11

Whether the neural basis of emotional appraisal of music is

innate or rather acquired through enculturation is subject

to ongoing discussion

Peretz and Sloboda 2005

126Friday 18 November 11

Nature vs NurtureProblem

127Friday 18 November 11

Howeverrecognition of emotions appears independent of musical

training

howhellipfamily environment possibly

128Friday 18 November 11

Recognising from Experiencing musical emotion is different

129Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

Musicians appear to process new incoming stimuli more effectively

compared to non-musicians

117Friday 18 November 11

Meaning

if you practise more your brain learns to work more effectively

118Friday 18 November 11

lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop

brain cells and neurons

makes us even more effective

119Friday 18 November 11

It is evident that musicians have different brain structure than

non-musiciansAmunts et al 1997Schlaug et al 1995b

enhanced if training has started earlier in life

120Friday 18 November 11

For musical training there is this concept of lsquodeliberate practicersquo

motivation resources and attention determine the amount and quality of practice undertaken

121Friday 18 November 11

In Neuroscience scientists uncovered evidence showing a close association

between practice and expertisehellip

hours of deliberate practice

level of expertise

Lehmann and Gruber 2006

122Friday 18 November 11

implications to Musical performance and Training

1How to practise is best learned by practising

2Start early but not to early with playing an instrument

3Breaks and sleep is essential for motor learning and memory

4Use the human lsquomirror systemrsquo

123Friday 18 November 11

Examples of practisinghellip

124Friday 18 November 11

Neuroscience and Emotion in Music

Largely overlapping networks required for the processing of both

general and music-specific emotions

125Friday 18 November 11

Whether the neural basis of emotional appraisal of music is

innate or rather acquired through enculturation is subject

to ongoing discussion

Peretz and Sloboda 2005

126Friday 18 November 11

Nature vs NurtureProblem

127Friday 18 November 11

Howeverrecognition of emotions appears independent of musical

training

howhellipfamily environment possibly

128Friday 18 November 11

Recognising from Experiencing musical emotion is different

129Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

Meaning

if you practise more your brain learns to work more effectively

118Friday 18 November 11

lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop

brain cells and neurons

makes us even more effective

119Friday 18 November 11

It is evident that musicians have different brain structure than

non-musiciansAmunts et al 1997Schlaug et al 1995b

enhanced if training has started earlier in life

120Friday 18 November 11

For musical training there is this concept of lsquodeliberate practicersquo

motivation resources and attention determine the amount and quality of practice undertaken

121Friday 18 November 11

In Neuroscience scientists uncovered evidence showing a close association

between practice and expertisehellip

hours of deliberate practice

level of expertise

Lehmann and Gruber 2006

122Friday 18 November 11

implications to Musical performance and Training

1How to practise is best learned by practising

2Start early but not to early with playing an instrument

3Breaks and sleep is essential for motor learning and memory

4Use the human lsquomirror systemrsquo

123Friday 18 November 11

Examples of practisinghellip

124Friday 18 November 11

Neuroscience and Emotion in Music

Largely overlapping networks required for the processing of both

general and music-specific emotions

125Friday 18 November 11

Whether the neural basis of emotional appraisal of music is

innate or rather acquired through enculturation is subject

to ongoing discussion

Peretz and Sloboda 2005

126Friday 18 November 11

Nature vs NurtureProblem

127Friday 18 November 11

Howeverrecognition of emotions appears independent of musical

training

howhellipfamily environment possibly

128Friday 18 November 11

Recognising from Experiencing musical emotion is different

129Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

lsquoMore effectivelyrsquo means less activationthus more lsquoroomrsquo to develop

brain cells and neurons

makes us even more effective

119Friday 18 November 11

It is evident that musicians have different brain structure than

non-musiciansAmunts et al 1997Schlaug et al 1995b

enhanced if training has started earlier in life

120Friday 18 November 11

For musical training there is this concept of lsquodeliberate practicersquo

motivation resources and attention determine the amount and quality of practice undertaken

121Friday 18 November 11

In Neuroscience scientists uncovered evidence showing a close association

between practice and expertisehellip

hours of deliberate practice

level of expertise

Lehmann and Gruber 2006

122Friday 18 November 11

implications to Musical performance and Training

1How to practise is best learned by practising

2Start early but not to early with playing an instrument

3Breaks and sleep is essential for motor learning and memory

4Use the human lsquomirror systemrsquo

123Friday 18 November 11

Examples of practisinghellip

124Friday 18 November 11

Neuroscience and Emotion in Music

Largely overlapping networks required for the processing of both

general and music-specific emotions

125Friday 18 November 11

Whether the neural basis of emotional appraisal of music is

innate or rather acquired through enculturation is subject

to ongoing discussion

Peretz and Sloboda 2005

126Friday 18 November 11

Nature vs NurtureProblem

127Friday 18 November 11

Howeverrecognition of emotions appears independent of musical

training

howhellipfamily environment possibly

128Friday 18 November 11

Recognising from Experiencing musical emotion is different

129Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

It is evident that musicians have different brain structure than

non-musiciansAmunts et al 1997Schlaug et al 1995b

enhanced if training has started earlier in life

120Friday 18 November 11

For musical training there is this concept of lsquodeliberate practicersquo

motivation resources and attention determine the amount and quality of practice undertaken

121Friday 18 November 11

In Neuroscience scientists uncovered evidence showing a close association

between practice and expertisehellip

hours of deliberate practice

level of expertise

Lehmann and Gruber 2006

122Friday 18 November 11

implications to Musical performance and Training

1How to practise is best learned by practising

2Start early but not to early with playing an instrument

3Breaks and sleep is essential for motor learning and memory

4Use the human lsquomirror systemrsquo

123Friday 18 November 11

Examples of practisinghellip

124Friday 18 November 11

Neuroscience and Emotion in Music

Largely overlapping networks required for the processing of both

general and music-specific emotions

125Friday 18 November 11

Whether the neural basis of emotional appraisal of music is

innate or rather acquired through enculturation is subject

to ongoing discussion

Peretz and Sloboda 2005

126Friday 18 November 11

Nature vs NurtureProblem

127Friday 18 November 11

Howeverrecognition of emotions appears independent of musical

training

howhellipfamily environment possibly

128Friday 18 November 11

Recognising from Experiencing musical emotion is different

129Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

For musical training there is this concept of lsquodeliberate practicersquo

motivation resources and attention determine the amount and quality of practice undertaken

121Friday 18 November 11

In Neuroscience scientists uncovered evidence showing a close association

between practice and expertisehellip

hours of deliberate practice

level of expertise

Lehmann and Gruber 2006

122Friday 18 November 11

implications to Musical performance and Training

1How to practise is best learned by practising

2Start early but not to early with playing an instrument

3Breaks and sleep is essential for motor learning and memory

4Use the human lsquomirror systemrsquo

123Friday 18 November 11

Examples of practisinghellip

124Friday 18 November 11

Neuroscience and Emotion in Music

Largely overlapping networks required for the processing of both

general and music-specific emotions

125Friday 18 November 11

Whether the neural basis of emotional appraisal of music is

innate or rather acquired through enculturation is subject

to ongoing discussion

Peretz and Sloboda 2005

126Friday 18 November 11

Nature vs NurtureProblem

127Friday 18 November 11

Howeverrecognition of emotions appears independent of musical

training

howhellipfamily environment possibly

128Friday 18 November 11

Recognising from Experiencing musical emotion is different

129Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

In Neuroscience scientists uncovered evidence showing a close association

between practice and expertisehellip

hours of deliberate practice

level of expertise

Lehmann and Gruber 2006

122Friday 18 November 11

implications to Musical performance and Training

1How to practise is best learned by practising

2Start early but not to early with playing an instrument

3Breaks and sleep is essential for motor learning and memory

4Use the human lsquomirror systemrsquo

123Friday 18 November 11

Examples of practisinghellip

124Friday 18 November 11

Neuroscience and Emotion in Music

Largely overlapping networks required for the processing of both

general and music-specific emotions

125Friday 18 November 11

Whether the neural basis of emotional appraisal of music is

innate or rather acquired through enculturation is subject

to ongoing discussion

Peretz and Sloboda 2005

126Friday 18 November 11

Nature vs NurtureProblem

127Friday 18 November 11

Howeverrecognition of emotions appears independent of musical

training

howhellipfamily environment possibly

128Friday 18 November 11

Recognising from Experiencing musical emotion is different

129Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

implications to Musical performance and Training

1How to practise is best learned by practising

2Start early but not to early with playing an instrument

3Breaks and sleep is essential for motor learning and memory

4Use the human lsquomirror systemrsquo

123Friday 18 November 11

Examples of practisinghellip

124Friday 18 November 11

Neuroscience and Emotion in Music

Largely overlapping networks required for the processing of both

general and music-specific emotions

125Friday 18 November 11

Whether the neural basis of emotional appraisal of music is

innate or rather acquired through enculturation is subject

to ongoing discussion

Peretz and Sloboda 2005

126Friday 18 November 11

Nature vs NurtureProblem

127Friday 18 November 11

Howeverrecognition of emotions appears independent of musical

training

howhellipfamily environment possibly

128Friday 18 November 11

Recognising from Experiencing musical emotion is different

129Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

Examples of practisinghellip

124Friday 18 November 11

Neuroscience and Emotion in Music

Largely overlapping networks required for the processing of both

general and music-specific emotions

125Friday 18 November 11

Whether the neural basis of emotional appraisal of music is

innate or rather acquired through enculturation is subject

to ongoing discussion

Peretz and Sloboda 2005

126Friday 18 November 11

Nature vs NurtureProblem

127Friday 18 November 11

Howeverrecognition of emotions appears independent of musical

training

howhellipfamily environment possibly

128Friday 18 November 11

Recognising from Experiencing musical emotion is different

129Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

Neuroscience and Emotion in Music

Largely overlapping networks required for the processing of both

general and music-specific emotions

125Friday 18 November 11

Whether the neural basis of emotional appraisal of music is

innate or rather acquired through enculturation is subject

to ongoing discussion

Peretz and Sloboda 2005

126Friday 18 November 11

Nature vs NurtureProblem

127Friday 18 November 11

Howeverrecognition of emotions appears independent of musical

training

howhellipfamily environment possibly

128Friday 18 November 11

Recognising from Experiencing musical emotion is different

129Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

Whether the neural basis of emotional appraisal of music is

innate or rather acquired through enculturation is subject

to ongoing discussion

Peretz and Sloboda 2005

126Friday 18 November 11

Nature vs NurtureProblem

127Friday 18 November 11

Howeverrecognition of emotions appears independent of musical

training

howhellipfamily environment possibly

128Friday 18 November 11

Recognising from Experiencing musical emotion is different

129Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

Nature vs NurtureProblem

127Friday 18 November 11

Howeverrecognition of emotions appears independent of musical

training

howhellipfamily environment possibly

128Friday 18 November 11

Recognising from Experiencing musical emotion is different

129Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

Howeverrecognition of emotions appears independent of musical

training

howhellipfamily environment possibly

128Friday 18 November 11

Recognising from Experiencing musical emotion is different

129Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

Recognising from Experiencing musical emotion is different

129Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

It has been shown that the structural cues in musical scores that reflect the intentions of the composer interact with the cues that are under the control of the

performer to shape the emotional expression that is communicated to

the listenerhellip

slow tempo by the composerarticulation of timing by the performer

130Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

Neural Correlates of Emotion Processing

bullHemispheric Differences

bullDistinction between high-level cortical structures and deeper-level limbic structures

131Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

Howevercognition and emotion is not always separated

132Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

Emotions differ with respect to

their valance (negative-positive)their arousal potential (low-high)

133Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

Emotions when Performing

What happens with our emotions when we perform

134Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

Emotions when Performing

Emotions are not processed (in neuroscientific terms) in the same way as

when we listen to music

135Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

Assumption 1

Cognitive processes interfere with emotional processes at both pre-

attentive and attentive level

this may reduce the intensity of emotional experience

example a lsquocadenzarsquo

136Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

Assumption 2

Perceptual and cognitive processes enhance emotional experiences during

performance

movements partially convey emotional information

137Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

There should exist balance between emotional and cognitive reactions

when performing

138Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

end part III

139Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

Neuroscience in Music Learning

At birth brain has almost most of its neurons in place

hellipneurogenesis will eventually follow

140Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

The parts of the brain

141Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

Neurogenesis is activated by environmental stimulation and

learning

meaning thatwe alter and perhaps increase the brainrsquos

functional capacity

You can keep your brain lsquoaliversquo if you never stop

learning

142Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

Howeverdifferent brain systems do not mature in parallel and in the

same speed

eg prefrontal cortex develops until the age of 20 years or

older

143Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

The biological advantage is that the brain can optimally adapt to the environment in

which the individual is raised in order to develop

behavioural skills and strategieshellip

144Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

NATURE vs NURTURE

the old dispute

145Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

the keyboard player example

146Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

In timeand starting at birth the balance between exogenous factors

shifts towards environmental influences that gradually gain more

influence on genetic programming

147Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

Two windows of huge brain (wiring) development

bull4-6 yearsbullDuring pubertyadolescence (prefrontal and limbic brain regions)

148Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

The Neuro-modelhelliphow neurons develop

bullAxonbullDendrites

bullDendritesbullAxon

Sending Neuron

Receiving Neuron

electric currents

149Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

150Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

In the main soma of neuron the electrical signal transforms into a

chemical signal

This chemical reaction forms the lsquoneurotransmitterrsquotriggers genetic and

molecular events which change the neuronrsquos growth and organisation in

relation to other neurons

151Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

During neurogenesis there is the lsquoWar of Neuronsrsquo (which one will

survive)for emotionmovementfor everything

Maternal behaviour can stimulate synaptogenesis

Weaver et al 2002 chapter 2 fill in list

152Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

Learning and Neuroscience

What is learning and what happens during learning

153Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

Innate lsquodrive to learnrsquo in humans

Successful learning induces a strong feeling of reward

lsquoDrugs of rewardrsquohellip

bulldopaminebullserotoninebullnoradrenalin

Modulate arousal and mood

154Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

Soemotional commitment is absolutely essential for higher

associative learning

155Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

Why

learning when connected to emotion induces electrical chemical and

structural changes in the neuronal networks

156Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

Be carefulhellip

- Not talking about an encyclopaedia of factshellip

- Butabout a lsquogrammarrsquo of thinking (concepts and behavioural strategieshellip+

emotional lsquogrammarrsquo)

157Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

Thinking lsquogrammarrsquo Emotional lsquogrammarrsquo

These determine learning

158Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

Memory and Neuroscience

Here comesMEMORY

159Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

How do we Remember

Retrieval of memories is not a passive phenomenon

NOT DOWNLOADING

160Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

Memory

bullReinforcement or alteration of stored informationhellip

bullWe consolidate memory slowlyover timehellip

bullInitially memories are fragilesensitive to disruption

161Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

Memory

When retrieving we do not use identical copies of stored

informationwe reconstruct them again and again

Optimal time-frame for memory consolidation is within 24 hours

bullShort- to long-term memorybullIf notstored memories lsquoover-writtenrsquo

162Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

Memory Emotions

bull Contribution of emotions for learning

bull Contribution of emotions for memory

bull Learning cannot be evoked from outside just by instruction and presentation of meaningless collections of facts

bull Learning is an active and holistic process - different parts and regions are simultaneously activated (like an orchestrahellip)

Important Facts for Learning I

163Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

bull Effective teaching and learning comes not from didacticsbut from attention stimulated motivation and enthusiasm (mild stress is beneficialhellip)

bull We need to be lsquoturned onrsquohellip(ie dopamine)

bull Early start helps optimisation of functions

bull Howeverwe are all individuals and there is no identical learning situation

Important Facts for Learning II

164Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

165Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

SoMusical talent (giftedness) cannot be seen in isolation but as a part of a complex organisation of the whole

individual (chapter VIII Hassler Mand Miller LK)

166Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

We say this becausehellipLearning alters brain structure

167Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

For lsquogiftedrsquo musicians (having outstanding musical ability) it has been

argued that an increased leftward cortical asymmetry exists

Slaug 2001 chapter VIII

168Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

An imaginable person described by the outcome could be

1) a man or a woman with exceptional musical capacities who shows atypical brain organisation for verbal and non-verbal materials

2) who possesses a very fine ear for music and attends pre-consciously to musical materials

3) heshe reacts to music as a stressor (increased heart rate andor hormone production)

4) the person is likely to be not right-handed

5) may be vulnerable to atopic diseases especially if male

Summary of Neuro-Research on Musical talent

169Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

6) she is psychologically and physiologically androgynous (meaningtestosterone levels are lower - males - or higher - females

7) the brain reflects early training by enlarged structures in the corpus callosum planum temporale and cerebellum as well as enlarged representations (of specific body parts)

8) musical talent is accompanied by above average spatial abilities

170Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

When Nature exaggerates

Musical Savantshellip (+ mental disability)

171Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

We discuss of a musical savant if

(a) musical lsquoproductsrsquo are sufficiently like those of gifted musicians without disability

(b) musical savants need to be strongly emotionally interested in music

172Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

Some times there are also developmental disabilities among music savantshellip (blindness and

autism)

173Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

Savant skills are often associated with ASD (Autism Spectrum Disorders)

174Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

Example of a Musical Savant

175Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

These people understand their environment in a completely different wayhellipWe just need to find a functional

way to communicate with themhellip

176Friday 18 November 11

end part IV

177Friday 18 November 11

end part IV

177Friday 18 November 11