Musica Y Cerebro
Transcript of Musica Y Cerebro
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Msica y Cerebro
3 ed
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Msica y Cerebro: ndice 1. Exposicin de Razones
2. Definicin
3. Percepcin de la Msica
4. Produccin musical
5. Alteraciones
6. Implante Coclear
7. Terapia
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Torelax To lnflusnoa For Todance For To staymood emotional professlonal awakJ~
satisfaction purposes
'lobehappy
Q
;.J.Q
.~. 60~
o NH subiects BCI subjeictsD UCI subjects
80
Why do you listen to music?100
Fig., 1,. The x-axis describes the variousreasons why a person would listen to rnu-. " the "~I ,'., the ,... t ....., ,f", ..~SlC;, ....e y=ax.l,sIS ..e percell. age 0 yes an=swers for the NH" BCI and UCI subjects,
Comparis'o,n ,of Mlusic: P'er,cepUo,n in BII,at,eraland Unilat,er,al C.o"chle,ar Ilmp,l,ant,Users and N'ormal ..He,arin'Q Subjec,ts. K.Veekmans a, b l.Re;ssel c J. MlueUerd MI.Vischer f ,S.J.Br'oc:kmeier. Audi,ol,ogy '& Neur,ot"o,l,ogy, 2'0'09:;14::315,...32'6,.June 2'0,0,8
Por qu escuchamos msica?
Veekmas, K., Ressel, L., Mueller, J., Vischer, M., & Brockmeier, S. (2009). Comparison of Music Perception in Bilateral and Unilateral Cochlear Implant Users and Normal-Hearing Subjects. Audio Neurotol , 14, 315-326.
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Exposicion de Razones
Estudio de redes neurales implicada Organizacin de la corteza auditiva
La percepcin musical es una operacin compleja a nivel perceptivo y cognitivo
Funciones superiores
Modelo de neuroplasticidad
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Ifs on Obsession Not QHobby
Qu es la Msica?
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Qu es la Msica?
del griego: [] mousik [tchn] "el arte de las musas
Objetivo
Social
Organizacin
Agradable
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Sheet Arranged By wo.tum
Let It BeRichard Claydennan
Forma de las ondas de dos sonidos con elmismo tono pero distinto timbre
DO RIO 1"11FA ~lIj LA S1 DO
Anlisis de la Msica
Cualidad del sonido Permite identificar el emisor (piano, guitarra, flauta, voz)
Tono
Ritmo
Timbre
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PODCA
A
MiddleEar Inner Earr. 1Outer Ear
Percepcin de la Msica
RadioLab -Season 2 Episode 2 Sound as Touch
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G"L,2l
l c.a.se:221 ca.se,23
-t
-+1easelS'1 case, dllJlfilrngrecovery19N~S~:20
C",N~and 'G.,LIO11..IR"u1Hl.,Vro12
IHIJ ~1.3l c.ase1.4IK'..Ii') 1.5'-'[IiDI1
Percepcin de la Msica Modularidad
Modularity of music processing Isabelle Peretz & Max Coltheart Nature
Am
usia A
dq
uirid
a/ A
mu
sia Co
ngen
ita A
gno
sia V
erbal
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Percepcin de la Msica Modularidad Input Acstico
Organizacin del Tono Organizacin Temporal
Canto Tamborileo Habla
Anlisis Acstico
Anlisis de la Expresin Emocional
Lxico Fonolgico
Memoria Asociativa
Planificacin de la Elaboracin
Vocal
Lxico Musical
Anlisis del intervalo
Anlisis del Contorno
Conversin Acstico-
Fonolgica
Codificacin del Tono
Anlisis del Ritmo
Anlisis del Comps
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Hungarian Dance o. lOin E Major
Schubert12 German Dances/5 Ecossaises
D. ~20/J29
Gerrm.n Danwe I:~ ~:':':w'2iW:!;!! Pf (iUJrJ I J-:i I ,rT11,..,
:t ~ - I .J.J 1i J J 1t 4 ~ I j ;. ;.1/)' ~ I.IP~ ~ I~ ...~ I" II Ia=::!t ~'i!f:;!iIN r=
~'OVgG='d![rE I.. ---- ---=-~ -
I~' I IdJl1 HI. ULtJ J I I I~....I I.
Percepcin de la Msica HiperMusia
RadioLab -Shorts A 4-Track Mind
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Percepcin de la Msica Percepcin Tonal
Giro de Heschl
Zatorre, R. J. (June de 2001). Neural Specializations for Tonal Processing. Ann N Y Acad Sci , 193-210.
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No
!;~r;~~1Pit'chDifference Direction of Pitch Change
150
Group
I::o~.s N 100EI'C _..~-c~_g~~c s....C])B- 50C])s....u,
Percepcin de la Msica Percepcin Tonal
Media de frecuencia de umbral de discriminacin de tonos, en pacientes con excisin de lbulo temporal derecho (RT) o izquierdo (LT), extendindose al rea del Giro de Hecshl (A) o evitando sta zona (a).
La simple discriminacin no fue diferente. Los umbrales de cambio-en-direccin-del-tono fueron ms altos que en los dems grupos.
Zatorre, R. J. (June de 2001). Neural Specializations for Tonal Processing. Ann N Y Acad Sci , 193-210.
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F:igureJ. 52ch:Jtct _ mise - S1_ch:J[!, _ roise contr.ast. The sagittal cuts.t0. the left 0ftbeHgureindi Methe loration ohhe ~DJonaIcutstnthe right. Q, Inf:!ri.or portionotthe left rniddl efronta Igyru-s, nearthe r0].l8.1 b:order of area g a nd partlyTn the inferTDrfrontal 5uku5, h, c,A [l'and ofHctiv.ity a-fang area 8 0f the.right mJddjeJron!al gyrus, do' The junction of the right poste.riofmiddle fronta I gyrus and '$up.etior PLf2centra I sui:cus, :conespondin g to rostral area .6/(3 udal 8.,
Percepcin de la Msica Percepcin Tonal Bermudez, P., & Zatorre, R. J. (2005). Conditional Associative
Memory for Musical Stimuli in Nonmusicians: Implications for Absolute Pitch. Journal of Neuroscience , 25 (34), 7718-7723.
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Percepcin de la Msica Percepcin del Ritmo
En los msicos se da una mayor activacin del rea perisilviana del Hemisferio Izquierdo
En los no msicos se da una mayor activacin del Hemisferio Derecho
Limb, C. J. (2006). Structural and Functional Neural Correlates of
Music Perception. THE ANATOMICAL RECORD PART A , 435-446.
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Slow-IMajor S~ow-M~noro
feeil, mnglsoP@n:eptions
Percepcin de la Msica Emociny Msica
Percepcin de la Emocin de la msica the distinction between feeling and perceiving emotions when listening to music is primarily one of quantity (or intensity) rather than one of quality, and that listeners feelings are mediated by their perceptions. This does not mean that feelings induced by music will always be in-line with perceptions of the emotion conveyed by the music
Hunter, P. G., Schellenberg, G., & Schimmack, U. (2010). Feelings and Perceptions of Happiness and Sadness Induced by Music: Similarities, Differences, and Mixed Emotions. Psychology of Aestethics, Creativity, and the Arts , 4 (1), 47-56.
Efecto Mozart Emocin, Percepcin y Msica
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Figure 3. Highest activated brain regions in healthy controls compared with participants with AS. (a) Favorite+ standard> control stimuli within happy (red) and sad (blue). (b)Favorite> standard within happy (red) and sad (blue). PMC = premotor cortex. SMA = supplementary motor area. R = right.
Percepcin de la Msica Emocin, Msica y Autismo
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Cortexprefron tal(ventral)
Corteza motora
Produccin Musical
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Produccin Musical Prctica
Al aprender una nueva tarea motora, los msicos experimentan un aumento del ~25% en la actividad del corteza motora primaria.
Al escuchar msica (de piano) se activan reas, similares a cuando se interpreta, en la corteza sensoriomotriz.
Haueisen, J. & Knosche, T. R. Involuntary motor activity in pianists evoked by music perception. J. Cogn. Neurosci. 13, 786792 (2001).
- 'Cit.iliti'CUlr: LIlflflb OJ, if:Ira!lJinAIH: (2000.) lNIe!lJJral5iJlbsml'~e5 of 5pont
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Da:~ in Table 1. am s:h01JVIl in mean +standard deviation, with two-railsd paired t-tast results,dbi:1'0..13 7l~ QU rnal.pone.OD:m: 619..W01
tl.076
O,,~7
787 (T'84..7}
~4.~!jl (1.1:6)
755.,n (2Q.76)-
2Jo1B [@J'2:p149.11(1.4.7)
~3.53 {~):,lf))
348'.6,7 '(] .03)
'41i;~ tp':Q~)
Number of .nates [mean :(51.,0.)]
W!ei:gh1ed .eli$trib:utibll Q'f notes IJ:fl ~an'~s.cl\JJ
JazzStale,
Q.6;6
n.11
'Table 1,.MIDI' plano data obtained durinq control and lrnprovlserlon conditions. for Scale and Jazz paradlqms,
Cmln7
Jaulmprov (exempTs)JazzCtrl
."
J T J I . I ' I
Scalelmprov (example)
C"'1IjQt
I~t .! r
I~ J I
ScaleCtrl
improvisedover-learned
Produccin Musical Improvisacin
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Figure 2. Axial slice renderings of mean activations (rec:llyellowscale bar) and deactivations (blue/green scale bar) associated withimprovisation during Scale and Jazz paradigms. In both paradigms, spontaneous improvisation was associated with widespread deactivationin prefrontal cortex throughout DLPFC and LOFer combined with fucal activation in MPFC In addition, increases in sensorimotor activity anddecreases in limbic activity were seen in both paradigms. Activations were identified through inclusive masking of the contrast for [Improv-Control]with the contrast fur [lmprov-RestJr and deactivations were identified through inclusive masking of the contrast for [Control-Improv] with thecontrast for [Rest-Improv] fur both Scale and Jazz paradigms. The scale bar shows t-score values and the sagittal section shows an anatomicalrepresentation of slice locatio n; both scale bar and sagittal slice insets apply equally to Scale and Jazz data. Labels refer to axial slice z-plane inTalairach space.doi:1 0.1371 /journal.pone.OOO 1679 .g002
Figure 3. Three-dimensional surface projection of activationsand deactivations associated with improvisation during th eJazz paradigm. Medial prefrontal cortex activatio n, dorsolateralprefrontal cortex deactlvaticn, and sensorimotor activation can beseen. The scale bar shows the range of t-scores: the axes demonstrateanatomic orientation. Abbreviations: a, anterior; p, posterior; d, dorsal; v,ventral; R, right; t, left.doi:10.1371/journal.pone.0001679.g003
Produccin Musical Improvisacin
Limb, C. J., & Braun, A. R. (2008). Neural Substrates of Spontaneous Musical Performance: An fMRI Study of Jazz Improvisation. PLoS One , 3 (2), e1679.
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Produccin Musical Improvisacin
05:45
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Alteraciones Positivas
Alucinaciones musicales
Epilepsia musicognica
Distona de msico
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Alteraciones Positivas Epilepsia Musicognica
Rol dominante del Lbulo Temporal Derecho
SPECT Ictal hiperperfusin L.T. derecho
SPECT interictal sin perfusin focal
SPECT postictal hipoperfusin L.T. derecho
Gen, B., Gen, C., Tastekin, G., & Iihan, N. (2001). Musicogenic epilepsy with ictal single photon emission computed tomography (SPECT): could these cases contribute to our knowledge of music processing? European Journal of Neurology , 8, 191-194.
R L
R L
R L
Post
Post
Post
-
I.... .....t _ ... _ "-_.~. I_::-
--- -------------------..;.. - .
----- ------------------
Alteraciones Positivas Epilepsia Musicognica
Corte axial de ataque musicognico
Kaplan, P. W. (2003). Musicogenic epilepsy and epileptic music: a seizure's song. Epilepsy & Behavior , 4, 464-473.
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, ., - - I' ~ ,
- -.,~ > It --=- l ;,t; l:_ J......___. ..~ >- ,
Alteraciones Positivas Distona de Msico
Ratio Hombres/Mujeres : 3/1
Instrumentos Tipo de Distona Viento-Metales Distona Bocal
Teclados, instrumentos de punteo Unilateral - Mano Derecha
Instrumentos de Arco Unilateral Mano Izquierda
Viento-Madera (lengeta simple), teclados Bilateral
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Soci,6!l111 cons-ora ints(e.g ,.da5.sjcal i'JIiliJJsics. ja~zI pop)
Worki()ad 'of respective body P'8lrtCompleixity of m,r)vement::;
con stita']nts{~,9. !~ V.~',!lS'ht n~l"!dIif! \!ie;!ini!ib.;
'dass.~ i1IlijSlCii:S. ,u./ I)r)PJ'
Spati~1 sensertmotorCOliil~mrnilnb
(elg. tiJ!ihSl:il1ngs, ViS. ow 5'tfingii)
/ . 1
MIanii'festarti on,0,'Musid'an"'s;Dy;s;tonia
Extriiinslc bi'gg'erlng factors
Predisposiitionl - SUSlcep,tibiillllitya) male '9,enderb) helFleditarycomponent
Eni~rin5icb"iggenilng factors
I)emc~tlinwnlMbibJtJ1'm scha n lsms
ltoca I pal~ltillj'Inlt'ensi'fi'edi:~omilt'(l'5'e.!i!IOOrvinput(ibt~I,Im,;iI, f1Ii).'lI!W e\l'lt~pm~f1It:..
O''f.'~IiU~C')
P'erf~ct~(Hii5m.An i
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Alteraciones Positivas Distona de Msico Cambios en el cerebro en la D.M.
-Alteracin en la representacin de la mano
desorganizacin
Garraux, G., Bauer, A., Hanakawa, T., Wu, T., Kansaku, K., & Hallett, M. (2004). Changes in Brain Anatomy in Focal Hand Dystonia. Ann Neurol , 55, 736-739.
Distona Focal La enfermedad del Msico
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LeftRigh
J f _ , -J I j ,_ ' J It- - -
- - I" >. _- .Jt> /It 1,;r 1.1. __ I .~,....,..~.. ~ ~ -
Alteraciones Positivas Distona de Msico
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Alteraciones Positivas Distona de Msico
Tratamiento:
Farmacolgico: Trihexyphenidyl Anti-colinrgico
Inyeccin: Toxina Botulinica-A
Programas de Re-entrenamiento
Ergonoma del instrumento Jabusch, H.-C., & Altenmller, E. (2006). Focal dystonia in musicians: From phenomenology to therapy. Advances in Cognitive Psychology , 2 (2-3), 207-220.
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Patients' rating of treatment results. Black bars: deterioration of dystonic symptoms. Grey bars: no change of dystonic symp-toms. White bars: alleviation of dystonic symptoms. Hatched bars; no answer.Trihexyphenidyl (Trhx): results are given separately for all patients who received Trhx vs. for those who received Tmx form ore than two mon ths.Botulinum toxin (BT): results are given separately for all patients who received BT vs. for those who received more than oneinjection (from Jebusch et al./"2005).
non-specificexercises
pedagogicalre raining
BT > injection erqonornicchanges
Trhx > 2 months sr suTrhx all
5o
SO45
40
3530
2520
15
Alteraciones Positivas Distona de Msico
Jabusch, H.-C., & Altenmller, E. (2006). Focal dystonia in musicians: From phenomenology to therapy. Advances in Cognitive Psychology , 2 (2-3), 207-220.
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Alteraciones Negativas
Amusia Amusia Congnita & Amusia Adquirida
Amusia al Tono Amusia al Ritmo Amusia Oral-Expresiva Amusia Instrumental / Apraxia Agrafia Musical
o Amusia Coclear?
Simultagnosia Sordera / Implantes Cocleares
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Alteraciones Negativas Amusia
Trastorno en la percepcin de la msica http://www.brams.umontreal.ca/amusia-general/
The Montreal Battery of Evaluation of Amusia
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IGeywords;fjong,enU,21[ amUSLtIShort-term memoryP'itchTimbreWo["ds(jontourAudItory scene ,tlntl.lys is
ConJg,eillitaJ~amusia refers W a ~~fe~onJgd,rnsorderof musk (li['O[,essrnng,and, is ~rnn~edto pirnl[h-p,m,[,e'ssrnn,gd,ef-rndts. lfh~ present StILUJl.yrnnv,e'strn,gat,~d,mng,~nrnta~amusics' short-term memory f'Ortones, musical 'trnmbr,s,and,words . Sequences of five events (tones, timbres or words) w~r,~ presented mnPiarnrsand p'arlkrnplan'tshad to mndkaJt,~whether lh~ sequences wer,~ lh,~ same or drnfr~r'~nt The perfermsnce of o[[InJg,~nmta~amu-sics '[Onfi[ffio[\d ,a memory d!i1=.fidlfor tone sequences, but showi1=.dnormal pertcnnance for wordsequences, For tmmbr,~sequences, amusics' m~mory p'~rf'Orman[,~ was mmp',arnr,edmncomparison to matchedcomrols, O'\J,~ra~~l~mbf~ pi~dbrman[,~ was found W be mrr,~bt'i1=.dWIDthm,~~odk contour processing (asassessed by the Montr,~a~ B,aU@fYof IEv,a~uationof Amusia). The p'r,~s'~ntfindings show that amusks' d~f-kmts '~xt~nd to rnl:on-v,erba~sound maJt'~r~,a~other than p'rnt,[h,mnthis ,[aSl~'lmmbr'~',whrn~'~not ,an:~,('tmnJgrnern-ory f'Or '\J,~rba~m.at~rrn,a~.This ~s mn ~mni1=.WIDthprevious suggestions about dh.'~ dom,amn-sp'~dfi,dty .ofmn,g'~nrnt.a~,amlLlsrn,a.
Arddle ,hist,~'rY':A[)[\epitied "] August ,JIJOHAvtlHtlhle onliue '],6 September 2009
A1B,STR,ACTAR,T~C1E ~Nf'O
a Uir~lw.ers[ U1,(Ilt,n~de B'eril'~[!rd l.)I',~'n ", N,euri~'sdenlc,es SenS,~'r!ieUeS'C:~'ir~]~::mrt;ement ,C@gnlrion ,(MRS- UMR 511,2\D~,fF.R: :~.9" l.y;~,r~ Frtlu.ae'b Un iv'ersrtj,l' O~"~c:ge ,~!L~'m.tl~)n,UeV',e~'prnent,[!'~(;(ilgn irive Nre[ir,)lJl'sdenc,eUn it" Jnsth:ute ,fJ!,(hlid H.eiCi"th~,Im1d,~'n"UKc/NSERM U,S2'~, ,~FR :m" ,l.y,~nl.,Fruuced ,CertIlJ'. fN,R'S-UMR 554.9., Un['versrte fi:[!ul S,[!bCi'der, ~~'[~i,~'[,~se, .Fri[!'I'llc.e
Barbara Tillmann ,a"*,,, Katrin Schulze ,a"b" jessica M.,Foxton c.d
Congenital amusia: A short-term memory deficit for non-verbal,but not verbal sounds
Alteraciones Negativas Amusia
Amusia: Problema de memoria?
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Alteraciones Negativas Maurice Ravel
Demecia o Afasia?
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IDEASWORTHSPREADING
Implante Coclear
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Msica como Terapia
Cncer: Reduce el malestar, las nuseas y el tiempo que recibe quimioterapia.
La msica reduce la ansiedad y respuestas de estrs.
Redujo el estrs preoperatorio y los das de ingreso despus de una intervencin.
Sujetos con depresin mejoran sus puntuaciones en escalas de depresin y se reduce su sintomatologa.
En sujetos diagnosticados con cncer terminal, reportan una mejor calidad de vida.
Qu es la musicoterapia?
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------~-~-
~females-rnaJes
a 16-X
i~ 10-f! s-a.mJ.!"0
l-5-----------------------------silence IftJslc
Preparation condition
-5---------------------------------------------silence nusicPreparation condlion
15-'l"Q..a-10->-.dill.2:11! 5-G
'!1:: 0-----m~
(b)
------~-~--
~females_males
silence musicPreparation condition
------~-
E2'2Z?J females_males
(e)
15-~.itU~ 10-
flC 5-cfaGJ>t; 0-CDl5'=en -5-
(a)
r.& 'III, I It
,8 ._ - X >_' I r I 1Msica como terapia
Estrs en presencia de Msica
Tarea: Preparar una presentacin
Knight, W. E., & Rickard, N. S. (2001). Relaxin Music Prevents Stress-Induced Increases in Subjetctive Anxiety, Systolic Blood Preasure, and Heart Rate un Healthy Males and Females. Journal of Music Therapy , XXXVIII (4), 254-272.
Musicoterapia ?
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Msica como Terapia NeuroPlasticidad
Cambios estructurales en los cerebros de msicos
corteza motora primaria
plano temporal
parte anterior del C.C.
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Msica como Terapia Demencia
Reduce:
Agitacin Agresin Apata Ansiedad
Mejora:
Comunicacin Expresin
emocional
Actividad
Fischer-Terworth, C., & Probst, P. (2011). Evaluation of a TEACCH- and Music Therapy-Based Psychological Intervention in Mild to Moderate Dementia. GeroPsyc , 24 (2), 93-101.
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Conclusiones
La msica es un elemento importante, no slo socialmente, sino tambin neurolgicamente.
Forma una forma de estimulacin compleja.
Puede ser utilizada como apoyo o terapia.
En estudios, no debemos olvidar, que la msica tambin tiene un contenido social.
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Bibliografa Revisiones
Anatoma de la Msica:
Andrade, P. E., & Bhattacharya, J. (2003). Brain tuned to music. Journal or the Royal Society of Medicine , 96, 284-287.
Limb, C. J. (2006). Structural and Functional Neural Correlates of Music Perception. THE ANATOMICAL RECORD PART A , 435-446.
Investigacin en general:
Soria-Urios, G., Duque, P., & Garca-Moreno, J. M. (2011). Msica y cerebro: fundamentos neurocientficos y trastornos musicales. Rev Neurol , 52 (1), 45-55.
Soria-Urios, G., Duque, P., & Graca-Moreno, J. M. (2011). Msica y cerebro (II): evidencias cerebrales del entrenamiento musical. Rev Neurol , 53 (12), 739-746.
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Bibliografa Bermudez, P., & Zatorre, R. J. (2005). Conditional Associative Memory for Musical Stimuli in
Nonmusicians: Implications for Absolute Pitch. Journal of Neuroscience , 25 (34), 7718-7723.
Ciara, A., Venuti, P., & de Falco, S. (2011). Functional and Dysfunctional Brain Circuits Underlying Emotional Processing of Music in Autism Spectrum Disorders. Cerebral Cortex , 21, 2838-2849.
Coutinho, E., & Cangelosi, A. (2011). Musical Emotions: Predicting Second-by-Second Subjective Feelings of Emotion From Low-Level Psychoacoustic Features and Physiological Measurements. Emotion , 11 (4), 921-937.
Fischer-Terworth, C., & Probst, P. (2011). Evaluation of a TEACCH- and Music Therapy-Based Psychological Intervention in Mild to Moderate Dementia. GeroPsyc , 24 (2), 93-101.
Fritz, T., Jentschke, S., Gosselin, N., Sammler, D., Peretz, I., Turner, R., et al. (2009). Universal Recognition of Three Basic Emotions in Music. Current Biology , 19, 573-576.
Garraux, G., Bauer, A., Hanakawa, T., Wu, T., Kansaku, K., & Hallett, M. (2004). Changes in Brain Anatomy in Focal Hand Dystonia. Ann Neurol , 55, 736-739.
Gen, B., Gen, C., Tastekin, G., & Iihan, N. (2001). Musicogenic epilepsy with ictal single photon emission computed tomography (SPECT): could these cases contribute to our knowledge of music processing? European Journal of Neurology , 8, 191-194.
Hilliard, R. E. (2003). The Effects of Music Therapy on the Quality and Length of Life of People Diagnosed with Terminal Cancer. Journal of Music Therapy , 11 (2), 113-137.
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Bibliografa Hunter, P. G., Schellenberg, G., & Schimmack, U. (2010). Feelings and Perceptions of Happiness
and Sadness Induced by Music: Similarities, Differences, and Mixed Emotions. Psychology of Aestethics, Creativity, and the Arts , 4 (1), 47-56.
Jabusch, H.-C., & Altenmller, E. (2006). Focal dystonia in musicians: From phenomenology to therapy. Advances in Cognitive Psychology , 2 (2-3), 207-220.
Kaplan, P. W. (2003). Musicogenic epilepsy and epileptic music: a seizure's song. Epilepsy & Behavior , 4, 464-473.
Knight, W. E., & Rickard, N. S. (2001). Relaxin Music Prevents Stress-Induced Increases in Subjetctive Anxiety, Systolic Blood Preasure, and Heart Rate un Healthy Males and Females. Journal of Music Therapy , XXXVIII (4), 254-272.
Limb, C. J., & Braun, A. R. (2008). Neural Substrates of Spontaneous Musical Performance: An fMRI Study of Jazz Improvisation. PLoS One , 3 (2), e1679.
Limb, C. J., Kemeney, S., Ortigoza, E. B., Rouhani, S., & Braun, A. R. (2006). Left Hemispheric Lateralization of Brain Activity During Passive Rhythm Perception in Musicians. THE ANATOMICAL RECORD PART A , 382-389.
Mnte, T. F., Altenmller, E., & Jncke, L. (202). The musicians brain as a model of neuroplasticity. Nature Reviews , 3, 473-478.
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Bibliografa Pujol, J., Roset-Llobet, J., Rosins-Cubells, D., Deus, J., Naberhaus, B., Valls-Sol, J., et al. (2000).
Brain Cortical Activation during Guitar-Induced Hand Dystonia Studied by Functional MRI. NeuroImage , 12, 257-267.
Punkanen, M., Eerola, T., & Erkkil, J. (2011). Biased emotional recognition in depression: Perception of emotions in music by depressed patients. Journal of Affective Disorders , 130, 118-126.
Tillman, B., Katrin, S., & Foxton, J. M. (2009). Congenital amusia: A short-term memory deficit for non-verbal, but not verbal sounds. Brain and Cognition , 71, 259-264.
Veekmas, K., Ressel, L., Mueller, J., Vischer, M., & Brockmeier, S. (2009). Comparison of Music Perception in Bilateral and Unilateral Cochlear Implant Users and Normal-Hearing Subjects. Audio Neurotol , 14, 315-326.
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