Background:Post-mortem and magnetic resonance imaging(MRI)studies of the central sulcus,as an indicator of motor cortex,have shown that in the general population there is greater representation of the dominant compare...Background:Post-mortem and magnetic resonance imaging(MRI)studies of the central sulcus,as an indicator of motor cortex,have shown that in the general population there is greater representation of the dominant compared to the non-dominant hand.Studies of musicians,who are highly skilled in performing complex finger movements,have suggested this dominance is affected by musical training,but methods and findings have been mixed.Objective:In the present study,an automated image analysis pipeline using a 3D mesh approach was applied to measure central sulcus(CS)asymmetry on MR images obtained for a cohort of right-handed pianists and matched controls.Methods:The depth,length,and surface area(SA)of the CS and thickness of the cortical mantle adjacent to the CS were measured in each cerebral hemisphere by applying the BrainVISA Morphologist 2012 software pipeline to 3D T1-weighted MR images of the brain obtained for 15 right-handed pianists and 14 controls,matched with respect to age,sex,and handedness.Asymmetry indices(AIs)were calculated for each parameter and multivariate analysis of covariance(MANCOVA),and post hoc tests were performed to compare differences between the pianist and control groups.Results:A one-way MANCOVA across the four AIs,controlling for age and sex,revealed a significant main effect of group(P=0.04),and post hoc analysis revealed that while SA was significantly greater in the left than the right cerebral hemisphere in controls(P<0.001),there was no significant difference between left and right SA in the pianists(P=0.634).Independent samples t-tests revealed that the SA of right CS was significantly larger in pianists compared to controls(P=0.015),with no between-group differences in left CS.Conclusions:Application of an image analysis pipeline to 3D MR images has provided robust evidence of sig-nificantly increased representation of the non-dominant hand in the brain of pianists compared to age-,sex-,and handedness-matched controls.This finding supports prior research showing structural differences in the central sulcus in musicians and is interpreted to reflect the long-term motor training and high skill level of right-handed pianists in using their left hand.展开更多
CAPTIVATED, the audience focused their attention on the stage, where four American teenagers in red were playing two pianos. As their fingers swept rapidly over the keys, the melody of the Sabre. Dance filled the air ...CAPTIVATED, the audience focused their attention on the stage, where four American teenagers in red were playing two pianos. As their fingers swept rapidly over the keys, the melody of the Sabre. Dance filled the air of the Beijing Concert Hall. Suddenly, two of the young girls raised their hands, each holding a bamboo sword, and beat them together to展开更多
Central European musicians, as a consequence of the efforts of several important figures, have contributed to the development of jazz in the second half of the 20th century. Jazz pianists in Europe were a distinctive ...Central European musicians, as a consequence of the efforts of several important figures, have contributed to the development of jazz in the second half of the 20th century. Jazz pianists in Europe were a distinctive part of the world jazz scene and made significant achievements during the communist era. They were able to master the European classical piano school, becoming virtuoso pianists themselves, as well as acquiring self-taught jazz skills. Semi-isolated from the contemporary music trends abroad, Central European artists nonetheless made remarkable musical accomplishments that deserve to be called the Central European Jazz School. Between 1948 and 1989, the communist ideology controlled every country of Central Europe including East Germany. The careers of jazz pianists in these countries would have developed differently if they had lived under democratic conditions. This is evident in the lives of those who emigrated to Western countries and subsequently found a place in the world jazz scene. Using analysis of the Central European jazz musicians＇ compositions and their professional careers, this paper aims to demonstrate the extent to which the Central European Jazz School has contributed to jazz music in Europe and the wider world.展开更多
MEMBERS of the audience listening to the melodious melody coming from the keyboards were unable to believe that the pianist had studied piano for only two months. The event was a special piano recital held on one June...MEMBERS of the audience listening to the melodious melody coming from the keyboards were unable to believe that the pianist had studied piano for only two months. The event was a special piano recital held on one June Sunday afternoon in the auditorium at the Dongcheng Normal School in Beijing. The pianists, the oldest 61 and the youngest 22, were al adult students at the Bao Huiqiao Piano Center, the first center in the country named after the famed Chinese pianist who serves as chairperson of the board. One performer, 61-year-old He Jiyuan,展开更多
基金Research assistance from Dr.Emma Moore and funding from the European Commission under the Marie Curie Intra-European Fellowship Programme(EC FP7-2010-PEOPLE-IEF 276529)the Marie Curie Action Networks for Initial Training(EC PITN-GA-2009-238157-EBRAMUS)the Society for Education,Music and Psychology Research(SEMPRE)and by the Reid School of Music,Edinburgh College of Art,University of Edinburgh is gratefully acknowledged.
文摘Background:Post-mortem and magnetic resonance imaging(MRI)studies of the central sulcus,as an indicator of motor cortex,have shown that in the general population there is greater representation of the dominant compared to the non-dominant hand.Studies of musicians,who are highly skilled in performing complex finger movements,have suggested this dominance is affected by musical training,but methods and findings have been mixed.Objective:In the present study,an automated image analysis pipeline using a 3D mesh approach was applied to measure central sulcus(CS)asymmetry on MR images obtained for a cohort of right-handed pianists and matched controls.Methods:The depth,length,and surface area(SA)of the CS and thickness of the cortical mantle adjacent to the CS were measured in each cerebral hemisphere by applying the BrainVISA Morphologist 2012 software pipeline to 3D T1-weighted MR images of the brain obtained for 15 right-handed pianists and 14 controls,matched with respect to age,sex,and handedness.Asymmetry indices(AIs)were calculated for each parameter and multivariate analysis of covariance(MANCOVA),and post hoc tests were performed to compare differences between the pianist and control groups.Results:A one-way MANCOVA across the four AIs,controlling for age and sex,revealed a significant main effect of group(P=0.04),and post hoc analysis revealed that while SA was significantly greater in the left than the right cerebral hemisphere in controls(P<0.001),there was no significant difference between left and right SA in the pianists(P=0.634).Independent samples t-tests revealed that the SA of right CS was significantly larger in pianists compared to controls(P=0.015),with no between-group differences in left CS.Conclusions:Application of an image analysis pipeline to 3D MR images has provided robust evidence of sig-nificantly increased representation of the non-dominant hand in the brain of pianists compared to age-,sex-,and handedness-matched controls.This finding supports prior research showing structural differences in the central sulcus in musicians and is interpreted to reflect the long-term motor training and high skill level of right-handed pianists in using their left hand.
文摘CAPTIVATED, the audience focused their attention on the stage, where four American teenagers in red were playing two pianos. As their fingers swept rapidly over the keys, the melody of the Sabre. Dance filled the air of the Beijing Concert Hall. Suddenly, two of the young girls raised their hands, each holding a bamboo sword, and beat them together to
文摘Central European musicians, as a consequence of the efforts of several important figures, have contributed to the development of jazz in the second half of the 20th century. Jazz pianists in Europe were a distinctive part of the world jazz scene and made significant achievements during the communist era. They were able to master the European classical piano school, becoming virtuoso pianists themselves, as well as acquiring self-taught jazz skills. Semi-isolated from the contemporary music trends abroad, Central European artists nonetheless made remarkable musical accomplishments that deserve to be called the Central European Jazz School. Between 1948 and 1989, the communist ideology controlled every country of Central Europe including East Germany. The careers of jazz pianists in these countries would have developed differently if they had lived under democratic conditions. This is evident in the lives of those who emigrated to Western countries and subsequently found a place in the world jazz scene. Using analysis of the Central European jazz musicians＇ compositions and their professional careers, this paper aims to demonstrate the extent to which the Central European Jazz School has contributed to jazz music in Europe and the wider world.
文摘MEMBERS of the audience listening to the melodious melody coming from the keyboards were unable to believe that the pianist had studied piano for only two months. The event was a special piano recital held on one June Sunday afternoon in the auditorium at the Dongcheng Normal School in Beijing. The pianists, the oldest 61 and the youngest 22, were al adult students at the Bao Huiqiao Piano Center, the first center in the country named after the famed Chinese pianist who serves as chairperson of the board. One performer, 61-year-old He Jiyuan,
