Gesture imitation in musicians and non-musicians.
Identifieur interne : 001582 ( Main/Exploration ); précédent : 001581; suivant : 001583Gesture imitation in musicians and non-musicians.
Auteurs : Michael J. Spilka [Canada] ; Christopher J. Steele ; Virginia B. PenhuneSource :
- Experimental brain research [ 1432-1106 ] ; 2010.
Descripteurs français
- KwdFr :
- Adolescent (MeSH), Adulte (MeSH), Aptitudes motrices (physiologie), Bras (physiologie), Comportement d'imitation (physiologie), Femelle (MeSH), Gestes (MeSH), Généralisation de la réponse (physiologie), Humains (MeSH), Jeune adulte (MeSH), Main (physiologie), Mouvement (physiologie), Musique (MeSH), Mâle (MeSH), Performance psychomotrice (MeSH).
- MESH :
- physiologie : Aptitudes motrices, Bras, Comportement d'imitation, Généralisation de la réponse, Main, Mouvement.
- Adolescent, Adulte, Femelle, Gestes, Humains, Jeune adulte, Musique, Mâle, Performance psychomotrice.
English descriptors
- KwdEn :
- Adolescent (MeSH), Adult (MeSH), Arm (physiology), Female (MeSH), Generalization, Response (physiology), Gestures (MeSH), Hand (physiology), Humans (MeSH), Imitative Behavior (physiology), Male (MeSH), Motor Skills (physiology), Movement (physiology), Music (MeSH), Practice, Psychological (MeSH), Psychomotor Performance (MeSH), Young Adult (MeSH).
- MESH :
- physiology : Arm, Generalization, Response, Hand, Imitative Behavior, Motor Skills, Movement.
- Adolescent, Adult, Female, Gestures, Humans, Male, Music, Practice, Psychological, Psychomotor Performance, Young Adult.
Abstract
Imitation plays a crucial role in the learning of many complex motor skills. Recent behavioral and neuroimaging evidence suggests that the ability to imitate is influenced by past experience, such as musical training. To investigate the impact of musical training on motor imitation, musicians and non-musicians were tested on their ability to imitate videoclips of simple and complex two-handed gestures taken from American Sign Language. Participants viewed a set of 30 gestures, one at a time, and imitated them immediately after presentation. Participants' imitations were videotaped and scored off-line by raters blind to participant group. Imitation performance was assessed by a rating of performance accuracy, where the arm, hand, and finger components of the gestures were rated separately on a 5-point scale (1 = unrecognizable; 5 = exact imitation). A global accuracy score (PAglobal) was calculated by summing the three components. Response duration compared to the model (%MTdiff), and reaction time (RT) were also assessed. Results indicated that musicians were able to imitate more accurately than non-musicians, reflected by significantly higher PAglobal and lower %MTdiff scores. Furthermore, the greatest difference in performance was for the fine-motor (finger) gesture component. These findings support the view that the ability to imitate is influenced by experience. This is consistent with generalist theories of motor imitation, which explain imitation in terms of links between perceptual and motor action representations that become strengthened through experience. It is also likely that musical training contributed to the ability to imitate manual gestures by influencing the personal action repertoire of musicians.
DOI: 10.1007/s00221-010-2322-3
PubMed: 20574688
Affiliations:
Links toward previous steps (curation, corpus...)
Le document en format XML
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Spilka</name><affiliation wicri:level="1"><nlm:affiliation>Department of Psychology, Concordia University, 7141 Sherbrooke St. W., Montreal, QC H4B 1R6, Canada. michael.j.spilka@gmail.com</nlm:affiliation><country xml:lang="fr">Canada</country><wicri:regionArea>Department of Psychology, Concordia University, 7141 Sherbrooke St. W., Montreal, QC H4B 1R6</wicri:regionArea><wicri:noRegion>QC H4B 1R6</wicri:noRegion></affiliation></author><author><name sortKey="Steele, Christopher J" sort="Steele, Christopher J" uniqKey="Steele C" first="Christopher J" last="Steele">Christopher J. Steele</name></author><author><name sortKey="Penhune, Virginia B" sort="Penhune, Virginia B" uniqKey="Penhune V" first="Virginia B" last="Penhune">Virginia B. Penhune</name></author></analytic><series><title level="j">Experimental brain research</title><idno type="eISSN">1432-1106</idno><imprint><date when="2010" type="published">2010</date></imprint></series></biblStruct></sourceDesc></fileDesc><profileDesc><textClass><keywords scheme="KwdEn" xml:lang="en"><term>Adolescent (MeSH)</term><term>Adult (MeSH)</term><term>Arm (physiology)</term><term>Female (MeSH)</term><term>Generalization, Response (physiology)</term><term>Gestures (MeSH)</term><term>Hand (physiology)</term><term>Humans (MeSH)</term><term>Imitative Behavior (physiology)</term><term>Male (MeSH)</term><term>Motor Skills (physiology)</term><term>Movement (physiology)</term><term>Music (MeSH)</term><term>Practice, Psychological (MeSH)</term><term>Psychomotor Performance (MeSH)</term><term>Young Adult (MeSH)</term></keywords><keywords scheme="KwdFr" xml:lang="fr"><term>Adolescent (MeSH)</term><term>Adulte (MeSH)</term><term>Aptitudes motrices (physiologie)</term><term>Bras (physiologie)</term><term>Comportement d'imitation (physiologie)</term><term>Femelle (MeSH)</term><term>Gestes (MeSH)</term><term>Généralisation de la réponse (physiologie)</term><term>Humains (MeSH)</term><term>Jeune adulte (MeSH)</term><term>Main (physiologie)</term><term>Mouvement (physiologie)</term><term>Musique (MeSH)</term><term>Mâle (MeSH)</term><term>Performance psychomotrice (MeSH)</term></keywords><keywords scheme="MESH" qualifier="physiologie" xml:lang="fr"><term>Aptitudes motrices</term><term>Bras</term><term>Comportement d'imitation</term><term>Généralisation de la réponse</term><term>Main</term><term>Mouvement</term></keywords><keywords scheme="MESH" qualifier="physiology" xml:lang="en"><term>Arm</term><term>Generalization, Response</term><term>Hand</term><term>Imitative Behavior</term><term>Motor Skills</term><term>Movement</term></keywords><keywords scheme="MESH" xml:lang="en"><term>Adolescent</term><term>Adult</term><term>Female</term><term>Gestures</term><term>Humans</term><term>Male</term><term>Music</term><term>Practice, Psychological</term><term>Psychomotor Performance</term><term>Young Adult</term></keywords><keywords scheme="MESH" xml:lang="fr"><term>Adolescent</term><term>Adulte</term><term>Femelle</term><term>Gestes</term><term>Humains</term><term>Jeune adulte</term><term>Musique</term><term>Mâle</term><term>Performance psychomotrice</term></keywords></textClass></profileDesc></teiHeader><front><div type="abstract" xml:lang="en">Imitation plays a crucial role in the learning of many complex motor skills. Recent behavioral and neuroimaging evidence suggests that the ability to imitate is influenced by past experience, such as musical training. To investigate the impact of musical training on motor imitation, musicians and non-musicians were tested on their ability to imitate videoclips of simple and complex two-handed gestures taken from American Sign Language. Participants viewed a set of 30 gestures, one at a time, and imitated them immediately after presentation. Participants' imitations were videotaped and scored off-line by raters blind to participant group. Imitation performance was assessed by a rating of performance accuracy, where the arm, hand, and finger components of the gestures were rated separately on a 5-point scale (1 = unrecognizable; 5 = exact imitation). A global accuracy score (PAglobal) was calculated by summing the three components. Response duration compared to the model (%MTdiff), and reaction time (RT) were also assessed. Results indicated that musicians were able to imitate more accurately than non-musicians, reflected by significantly higher PAglobal and lower %MTdiff scores. Furthermore, the greatest difference in performance was for the fine-motor (finger) gesture component. These findings support the view that the ability to imitate is influenced by experience. This is consistent with generalist theories of motor imitation, which explain imitation in terms of links between perceptual and motor action representations that become strengthened through experience. It is also likely that musical training contributed to the ability to imitate manual gestures by influencing the personal action repertoire of musicians.</div></front></TEI><pubmed><MedlineCitation Status="MEDLINE" Owner="NLM"><PMID Version="1">20574688</PMID><DateCompleted><Year>2010</Year><Month>12</Month><Day>10</Day></DateCompleted><DateRevised><Year>2019</Year><Month>12</Month><Day>10</Day></DateRevised><Article PubModel="Print-Electronic"><Journal><ISSN IssnType="Electronic">1432-1106</ISSN><JournalIssue CitedMedium="Internet"><Volume>204</Volume><Issue>4</Issue><PubDate><Year>2010</Year><Month>Aug</Month></PubDate></JournalIssue><Title>Experimental brain research</Title><ISOAbbreviation>Exp Brain Res</ISOAbbreviation></Journal><ArticleTitle>Gesture imitation in musicians and non-musicians.</ArticleTitle><Pagination><MedlinePgn>549-58</MedlinePgn></Pagination><ELocationID EIdType="doi" ValidYN="Y">10.1007/s00221-010-2322-3</ELocationID><Abstract><AbstractText>Imitation plays a crucial role in the learning of many complex motor skills. Recent behavioral and neuroimaging evidence suggests that the ability to imitate is influenced by past experience, such as musical training. To investigate the impact of musical training on motor imitation, musicians and non-musicians were tested on their ability to imitate videoclips of simple and complex two-handed gestures taken from American Sign Language. Participants viewed a set of 30 gestures, one at a time, and imitated them immediately after presentation. Participants' imitations were videotaped and scored off-line by raters blind to participant group. Imitation performance was assessed by a rating of performance accuracy, where the arm, hand, and finger components of the gestures were rated separately on a 5-point scale (1 = unrecognizable; 5 = exact imitation). A global accuracy score (PAglobal) was calculated by summing the three components. Response duration compared to the model (%MTdiff), and reaction time (RT) were also assessed. Results indicated that musicians were able to imitate more accurately than non-musicians, reflected by significantly higher PAglobal and lower %MTdiff scores. Furthermore, the greatest difference in performance was for the fine-motor (finger) gesture component. These findings support the view that the ability to imitate is influenced by experience. This is consistent with generalist theories of motor imitation, which explain imitation in terms of links between perceptual and motor action representations that become strengthened through experience. It is also likely that musical training contributed to the ability to imitate manual gestures by influencing the personal action repertoire of musicians.</AbstractText></Abstract><AuthorList CompleteYN="Y"><Author ValidYN="Y"><LastName>Spilka</LastName><ForeName>Michael J</ForeName><Initials>MJ</Initials><AffiliationInfo><Affiliation>Department of Psychology, Concordia University, 7141 Sherbrooke St. W., Montreal, QC H4B 1R6, Canada. michael.j.spilka@gmail.com</Affiliation></AffiliationInfo></Author><Author ValidYN="Y"><LastName>Steele</LastName><ForeName>Christopher J</ForeName><Initials>CJ</Initials></Author><Author ValidYN="Y"><LastName>Penhune</LastName><ForeName>Virginia B</ForeName><Initials>VB</Initials></Author></AuthorList><Language>eng</Language><PublicationTypeList><PublicationType UI="D016428">Journal Article</PublicationType><PublicationType UI="D013485">Research Support, Non-U.S. Gov't</PublicationType></PublicationTypeList><ArticleDate DateType="Electronic"><Year>2010</Year><Month>06</Month><Day>24</Day></ArticleDate></Article><MedlineJournalInfo><Country>Germany</Country><MedlineTA>Exp Brain Res</MedlineTA><NlmUniqueID>0043312</NlmUniqueID><ISSNLinking>0014-4819</ISSNLinking></MedlineJournalInfo><CitationSubset>IM</CitationSubset><MeshHeadingList><MeshHeading><DescriptorName UI="D000293" MajorTopicYN="N">Adolescent</DescriptorName></MeshHeading><MeshHeading><DescriptorName UI="D000328" MajorTopicYN="N">Adult</DescriptorName></MeshHeading><MeshHeading><DescriptorName UI="D001132" MajorTopicYN="N">Arm</DescriptorName><QualifierName UI="Q000502" MajorTopicYN="Y">physiology</QualifierName></MeshHeading><MeshHeading><DescriptorName UI="D005260" MajorTopicYN="N">Female</DescriptorName></MeshHeading><MeshHeading><DescriptorName UI="D005794" MajorTopicYN="N">Generalization, Response</DescriptorName><QualifierName UI="Q000502" MajorTopicYN="N">physiology</QualifierName></MeshHeading><MeshHeading><DescriptorName UI="D005868" 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IdType="pubmed">17698372</ArticleId></ArticleIdList></Reference></ReferenceList></PubmedData></pubmed><affiliations><list><country><li>Canada</li></country></list><tree><noCountry><name sortKey="Penhune, Virginia B" sort="Penhune, Virginia B" uniqKey="Penhune V" first="Virginia B" last="Penhune">Virginia B. Penhune</name><name sortKey="Steele, Christopher J" sort="Steele, Christopher J" uniqKey="Steele C" first="Christopher J" last="Steele">Christopher J. Steele</name></noCountry><country name="Canada"><noRegion><name sortKey="Spilka, Michael J" sort="Spilka, Michael J" uniqKey="Spilka M" first="Michael J" last="Spilka">Michael J. Spilka</name></noRegion></country></tree></affiliations></record>Pour manipuler ce document sous Unix (Dilib)
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