Neuroplasticity beyond Sounds: Neural Adaptations Following Long-Term Musical Aesthetic Experiences.
Identifieur interne : 000D84 ( Main/Exploration ); précédent : 000D83; suivant : 000D85Neuroplasticity beyond Sounds: Neural Adaptations Following Long-Term Musical Aesthetic Experiences.
Auteurs : Mark Reybrouck [Belgique] ; Elvira Brattico [Finlande]Source :
- Brain sciences [ 2076-3425 ] ; 2015.
Abstract
Capitalizing from neuroscience knowledge on how individuals are affected by the sound environment, we propose to adopt a cybernetic and ecological point of view on the musical aesthetic experience, which includes subprocesses, such as feature extraction and integration, early affective reactions and motor actions, style mastering and conceptualization, emotion and proprioception, evaluation and preference. In this perspective, the role of the listener/composer/performer is seen as that of an active "agent" coping in highly individual ways with the sounds. The findings concerning the neural adaptations in musicians, following long-term exposure to music, are then reviewed by keeping in mind the distinct subprocesses of a musical aesthetic experience. We conclude that these neural adaptations can be conceived of as the immediate and lifelong interactions with multisensorial stimuli (having a predominant auditory component), which result in lasting changes of the internal state of the "agent". In a continuous loop, these changes affect, in turn, the subprocesses involved in a musical aesthetic experience, towards the final goal of achieving better perceptual, motor and proprioceptive responses to the immediate demands of the sounding environment. The resulting neural adaptations in musicians closely depend on the duration of the interactions, the starting age, the involvement of attention, the amount of motor practice and the musical genre played.
DOI: 10.3390/brainsci5010069
PubMed: 25807006
PubMed Central: PMC4390792
Affiliations:
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Box 3313, 3000 Leuven, Belgium. Mark.Reybrouck@arts.kuleuven.be.</nlm:affiliation><country xml:lang="fr">Belgique</country><wicri:regionArea>Section of Musicology, Faculty of Arts, KU Leuven-University of Leuven, Blijde-Inkomststraat 21, P.O. Box 3313, 3000 Leuven</wicri:regionArea><placeName><region type="province" nuts="2">Province du Brabant flamand</region><settlement type="city">Louvain</settlement></placeName></affiliation><affiliation wicri:level="3"><nlm:affiliation>Faculty of Psychology and Educational Sciences, Center for Instructional Psychology and Technology, KU Leuven-University of Leuven, Dekenstraat 2, P.O. Box 3773, 3000 Leuven, Belgium. Mark.Reybrouck@arts.kuleuven.be.</nlm:affiliation><country xml:lang="fr">Belgique</country><wicri:regionArea>Faculty of Psychology and Educational Sciences, Center for Instructional Psychology and Technology, KU Leuven-University of Leuven, Dekenstraat 2, P.O. 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Box 4, 00014 Helsinki</wicri:regionArea><orgName type="university">Université d'Helsinki</orgName><placeName><settlement type="city">Helsinki</settlement><region type="région" nuts="2">Uusimaa</region></placeName></affiliation><affiliation wicri:level="1"><nlm:affiliation>Cognitive Brain Research Unit, Institute of Behavioural Sciences, Siltavuorenpenger 1 B, P.O. Box 9, 00014 Helsinki, Finland. Elvira.Brattico@helsinki.fi.</nlm:affiliation><country xml:lang="fr">Finlande</country><wicri:regionArea>Cognitive Brain Research Unit, Institute of Behavioural Sciences, Siltavuorenpenger 1 B, P.O. Box 9, 00014 Helsinki</wicri:regionArea><wicri:noRegion>00014 Helsinki</wicri:noRegion></affiliation></author></analytic><series><title level="j">Brain sciences</title><idno type="ISSN">2076-3425</idno><imprint><date when="2015" type="published">2015</date></imprint></series></biblStruct></sourceDesc></fileDesc><profileDesc><textClass></textClass></profileDesc></teiHeader><front><div type="abstract" xml:lang="en">Capitalizing from neuroscience knowledge on how individuals are affected by the sound environment, we propose to adopt a cybernetic and ecological point of view on the musical aesthetic experience, which includes subprocesses, such as feature extraction and integration, early affective reactions and motor actions, style mastering and conceptualization, emotion and proprioception, evaluation and preference. In this perspective, the role of the listener/composer/performer is seen as that of an active "agent" coping in highly individual ways with the sounds. The findings concerning the neural adaptations in musicians, following long-term exposure to music, are then reviewed by keeping in mind the distinct subprocesses of a musical aesthetic experience. We conclude that these neural adaptations can be conceived of as the immediate and lifelong interactions with multisensorial stimuli (having a predominant auditory component), which result in lasting changes of the internal state of the "agent". In a continuous loop, these changes affect, in turn, the subprocesses involved in a musical aesthetic experience, towards the final goal of achieving better perceptual, motor and proprioceptive responses to the immediate demands of the sounding environment. The resulting neural adaptations in musicians closely depend on the duration of the interactions, the starting age, the involvement of attention, the amount of motor practice and the musical genre played. </div></front></TEI><pubmed><MedlineCitation Status="PubMed-not-MEDLINE" Owner="NLM"><PMID Version="1">25807006</PMID><DateCompleted><Year>2015</Year><Month>03</Month><Day>26</Day></DateCompleted><DateRevised><Year>2020</Year><Month>09</Month><Day>30</Day></DateRevised><Article PubModel="Electronic"><Journal><ISSN IssnType="Print">2076-3425</ISSN><JournalIssue CitedMedium="Print"><Volume>5</Volume><Issue>1</Issue><PubDate><Year>2015</Year><Month>Mar</Month><Day>23</Day></PubDate></JournalIssue><Title>Brain sciences</Title><ISOAbbreviation>Brain Sci</ISOAbbreviation></Journal><ArticleTitle>Neuroplasticity beyond Sounds: Neural Adaptations Following Long-Term Musical Aesthetic Experiences.</ArticleTitle><Pagination><MedlinePgn>69-91</MedlinePgn></Pagination><ELocationID EIdType="doi" ValidYN="Y">10.3390/brainsci5010069</ELocationID><Abstract><AbstractText>Capitalizing from neuroscience knowledge on how individuals are affected by the sound environment, we propose to adopt a cybernetic and ecological point of view on the musical aesthetic experience, which includes subprocesses, such as feature extraction and integration, early affective reactions and motor actions, style mastering and conceptualization, emotion and proprioception, evaluation and preference. In this perspective, the role of the listener/composer/performer is seen as that of an active "agent" coping in highly individual ways with the sounds. The findings concerning the neural adaptations in musicians, following long-term exposure to music, are then reviewed by keeping in mind the distinct subprocesses of a musical aesthetic experience. We conclude that these neural adaptations can be conceived of as the immediate and lifelong interactions with multisensorial stimuli (having a predominant auditory component), which result in lasting changes of the internal state of the "agent". In a continuous loop, these changes affect, in turn, the subprocesses involved in a musical aesthetic experience, towards the final goal of achieving better perceptual, motor and proprioceptive responses to the immediate demands of the sounding environment. The resulting neural adaptations in musicians closely depend on the duration of the interactions, the starting age, the involvement of attention, the amount of motor practice and the musical genre played. </AbstractText></Abstract><AuthorList CompleteYN="Y"><Author ValidYN="Y"><LastName>Reybrouck</LastName><ForeName>Mark</ForeName><Initials>M</Initials><AffiliationInfo><Affiliation>Section of Musicology, Faculty of Arts, KU Leuven-University of Leuven, Blijde-Inkomststraat 21, P.O. Box 3313, 3000 Leuven, Belgium. Mark.Reybrouck@arts.kuleuven.be.</Affiliation></AffiliationInfo><AffiliationInfo><Affiliation>Faculty of Psychology and Educational Sciences, Center for Instructional Psychology and Technology, KU Leuven-University of Leuven, Dekenstraat 2, P.O. Box 3773, 3000 Leuven, Belgium. Mark.Reybrouck@arts.kuleuven.be.</Affiliation></AffiliationInfo></Author><Author ValidYN="Y"><LastName>Brattico</LastName><ForeName>Elvira</ForeName><Initials>E</Initials><AffiliationInfo><Affiliation>Helsinki Collegium for Advanced Studies, University of Helsinki, Fabianinkatu 24, P.O. Box 4, 00014 Helsinki, Finland. Elvira.Brattico@helsinki.fi.</Affiliation></AffiliationInfo><AffiliationInfo><Affiliation>Cognitive Brain Research Unit, Institute of Behavioural Sciences, Siltavuorenpenger 1 B, P.O. Box 9, 00014 Helsinki, Finland. 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flamand</li><li>Uusimaa</li></region><settlement><li>Helsinki</li><li>Louvain</li></settlement><orgName><li>Université d'Helsinki</li></orgName></list><tree><country name="Belgique"><region name="Province du Brabant flamand"><name sortKey="Reybrouck, Mark" sort="Reybrouck, Mark" uniqKey="Reybrouck M" first="Mark" last="Reybrouck">Mark Reybrouck</name></region><name sortKey="Reybrouck, Mark" sort="Reybrouck, Mark" uniqKey="Reybrouck M" first="Mark" last="Reybrouck">Mark Reybrouck</name></country><country name="Finlande"><region name="Uusimaa"><name sortKey="Brattico, Elvira" sort="Brattico, Elvira" uniqKey="Brattico E" first="Elvira" last="Brattico">Elvira Brattico</name></region><name sortKey="Brattico, Elvira" sort="Brattico, Elvira" uniqKey="Brattico E" first="Elvira" last="Brattico">Elvira Brattico</name></country></tree></affiliations></record>Pour manipuler ce document sous Unix (Dilib)
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