The effect of musical expertise on the representation of space.
Identifieur interne : 000F32 ( Main/Exploration ); précédent : 000F31; suivant : 000F33The effect of musical expertise on the representation of space.
Auteurs : Carlotta Lega [Italie] ; Zaira Cattaneo [Italie] ; Lotfi B. Merabet [États-Unis] ; Tomaso Vecchi [Italie] ; Silvia Cucchi [Italie]Source :
- Frontiers in human neuroscience [ 1662-5161 ] ; 2014.
Abstract
Consistent evidence suggests that pitch height may be represented in a spatial format, having both a vertical and a horizontal representation. The spatial representation of pitch height results into response compatibility effects for which high pitch tones are preferentially associated to up-right responses, and low pitch tones are preferentially associated to down-left responses (i.e., the Spatial-Musical Association of Response Codes (SMARC) effect), with the strength of these associations depending on individuals' musical skills. In this study we investigated whether listening to tones of different pitch affects the representation of external space, as assessed in a visual and haptic line bisection paradigm, in musicians and non musicians. Low and high pitch tones affected the bisection performance in musicians differently, both when pitch was relevant and irrelevant for the task, and in both the visual and the haptic modality. No effect of pitch height was observed on the bisection performance of non musicians. Moreover, our data also show that musicians present a (supramodal) rightward bisection bias in both the visual and the haptic modality, extending previous findings limited to the visual modality, and consistent with the idea that intense practice with musical notation and bimanual instrument training affects hemispheric lateralization.
DOI: 10.3389/fnhum.2014.00250
PubMed: 24795605
PubMed Central: PMC4006044
Affiliations:
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Mondino Pavia, Italy.</nlm:affiliation><country xml:lang="fr">Italie</country><wicri:regionArea>Department of Psychology, University of Milano-Bicocca Milano, Italy ; Brain Connectivity Center, National Neurological Institute C. Mondino Pavia</wicri:regionArea><wicri:noRegion>National Neurological Institute C. Mondino Pavia</wicri:noRegion></affiliation></author><author><name sortKey="Merabet, Lotfi B" sort="Merabet, Lotfi B" uniqKey="Merabet L" first="Lotfi B" last="Merabet">Lotfi B. Merabet</name><affiliation wicri:level="2"><nlm:affiliation>The Laboratory for Visual Neuroplasticity, Department of Ophthalmology, Massachusetts Eye and Ear Infirmary, Harvard Medical School Boston, MA, USA.</nlm:affiliation><country xml:lang="fr">États-Unis</country><wicri:regionArea>The Laboratory for Visual Neuroplasticity, Department of Ophthalmology, Massachusetts Eye and Ear Infirmary, Harvard Medical School Boston, MA</wicri:regionArea><placeName><region type="state">Massachusetts</region></placeName></affiliation></author><author><name sortKey="Vecchi, Tomaso" sort="Vecchi, Tomaso" uniqKey="Vecchi T" first="Tomaso" last="Vecchi">Tomaso Vecchi</name><affiliation wicri:level="1"><nlm:affiliation>Brain Connectivity Center, National Neurological Institute C. Mondino Pavia, Italy ; Department of Brain and Behavioural Sciences, University of Pavia Pavia, Italy.</nlm:affiliation><country xml:lang="fr">Italie</country><wicri:regionArea>Brain Connectivity Center, National Neurological Institute C. Mondino Pavia, Italy ; Department of Brain and Behavioural Sciences, University of Pavia Pavia</wicri:regionArea><wicri:noRegion>University of Pavia Pavia</wicri:noRegion></affiliation></author><author><name sortKey="Cucchi, Silvia" sort="Cucchi, Silvia" uniqKey="Cucchi S" first="Silvia" last="Cucchi">Silvia Cucchi</name><affiliation wicri:level="1"><nlm:affiliation>Department of Brain and Behavioural Sciences, University of Pavia Pavia, Italy.</nlm:affiliation><country xml:lang="fr">Italie</country><wicri:regionArea>Department of Brain and Behavioural Sciences, University of Pavia Pavia</wicri:regionArea><wicri:noRegion>University of Pavia Pavia</wicri:noRegion></affiliation></author></analytic><series><title level="j">Frontiers in human neuroscience</title><idno type="ISSN">1662-5161</idno><imprint><date when="2014" type="published">2014</date></imprint></series></biblStruct></sourceDesc></fileDesc><profileDesc><textClass></textClass></profileDesc></teiHeader><front><div type="abstract" xml:lang="en">Consistent evidence suggests that pitch height may be represented in a spatial format, having both a vertical and a horizontal representation. The spatial representation of pitch height results into response compatibility effects for which high pitch tones are preferentially associated to up-right responses, and low pitch tones are preferentially associated to down-left responses (i.e., the Spatial-Musical Association of Response Codes (SMARC) effect), with the strength of these associations depending on individuals' musical skills. In this study we investigated whether listening to tones of different pitch affects the representation of external space, as assessed in a visual and haptic line bisection paradigm, in musicians and non musicians. Low and high pitch tones affected the bisection performance in musicians differently, both when pitch was relevant and irrelevant for the task, and in both the visual and the haptic modality. No effect of pitch height was observed on the bisection performance of non musicians. Moreover, our data also show that musicians present a (supramodal) rightward bisection bias in both the visual and the haptic modality, extending previous findings limited to the visual modality, and consistent with the idea that intense practice with musical notation and bimanual instrument training affects hemispheric lateralization. </div></front></TEI><pubmed><MedlineCitation Status="PubMed-not-MEDLINE" Owner="NLM"><PMID Version="1">24795605</PMID><DateCompleted><Year>2014</Year><Month>05</Month><Day>05</Day></DateCompleted><DateRevised><Year>2020</Year><Month>09</Month><Day>30</Day></DateRevised><Article PubModel="Electronic-eCollection"><Journal><ISSN IssnType="Print">1662-5161</ISSN><JournalIssue CitedMedium="Print"><Volume>8</Volume><PubDate><Year>2014</Year></PubDate></JournalIssue><Title>Frontiers in human neuroscience</Title><ISOAbbreviation>Front Hum Neurosci</ISOAbbreviation></Journal><ArticleTitle>The effect of musical expertise on the representation of space.</ArticleTitle><Pagination><MedlinePgn>250</MedlinePgn></Pagination><ELocationID EIdType="doi" ValidYN="Y">10.3389/fnhum.2014.00250</ELocationID><Abstract><AbstractText>Consistent evidence suggests that pitch height may be represented in a spatial format, having both a vertical and a horizontal representation. The spatial representation of pitch height results into response compatibility effects for which high pitch tones are preferentially associated to up-right responses, and low pitch tones are preferentially associated to down-left responses (i.e., the Spatial-Musical Association of Response Codes (SMARC) effect), with the strength of these associations depending on individuals' musical skills. In this study we investigated whether listening to tones of different pitch affects the representation of external space, as assessed in a visual and haptic line bisection paradigm, in musicians and non musicians. Low and high pitch tones affected the bisection performance in musicians differently, both when pitch was relevant and irrelevant for the task, and in both the visual and the haptic modality. No effect of pitch height was observed on the bisection performance of non musicians. Moreover, our data also show that musicians present a (supramodal) rightward bisection bias in both the visual and the haptic modality, extending previous findings limited to the visual modality, and consistent with the idea that intense practice with musical notation and bimanual instrument training affects hemispheric lateralization. </AbstractText></Abstract><AuthorList CompleteYN="Y"><Author ValidYN="Y"><LastName>Lega</LastName><ForeName>Carlotta</ForeName><Initials>C</Initials><AffiliationInfo><Affiliation>Department of Psychology, University of Milano-Bicocca Milano, Italy.</Affiliation></AffiliationInfo></Author><Author ValidYN="Y"><LastName>Cattaneo</LastName><ForeName>Zaira</ForeName><Initials>Z</Initials><AffiliationInfo><Affiliation>Department of Psychology, University of Milano-Bicocca Milano, Italy ; Brain Connectivity Center, National Neurological Institute C. Mondino Pavia, Italy.</Affiliation></AffiliationInfo></Author><Author ValidYN="Y"><LastName>Merabet</LastName><ForeName>Lotfi B</ForeName><Initials>LB</Initials><AffiliationInfo><Affiliation>The Laboratory for Visual Neuroplasticity, Department of Ophthalmology, Massachusetts Eye and Ear Infirmary, Harvard Medical School Boston, MA, USA.</Affiliation></AffiliationInfo></Author><Author ValidYN="Y"><LastName>Vecchi</LastName><ForeName>Tomaso</ForeName><Initials>T</Initials><AffiliationInfo><Affiliation>Brain Connectivity Center, National Neurological Institute C. Mondino Pavia, Italy ; Department of Brain and Behavioural Sciences, University of Pavia Pavia, Italy.</Affiliation></AffiliationInfo></Author><Author ValidYN="Y"><LastName>Cucchi</LastName><ForeName>Silvia</ForeName><Initials>S</Initials><AffiliationInfo><Affiliation>Department of Brain and Behavioural Sciences, University of Pavia Pavia, Italy.</Affiliation></AffiliationInfo></Author></AuthorList><Language>eng</Language><PublicationTypeList><PublicationType UI="D016428">Journal Article</PublicationType></PublicationTypeList><ArticleDate DateType="Electronic"><Year>2014</Year><Month>04</Month><Day>24</Day></ArticleDate></Article><MedlineJournalInfo><Country>Switzerland</Country><MedlineTA>Front Hum Neurosci</MedlineTA><NlmUniqueID>101477954</NlmUniqueID><ISSNLinking>1662-5161</ISSNLinking></MedlineJournalInfo><KeywordList Owner="NOTNLM"><Keyword MajorTopicYN="N">line bisection</Keyword><Keyword MajorTopicYN="N">musicians</Keyword><Keyword MajorTopicYN="N">pitch</Keyword><Keyword 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