Browsing by Subject "muusikot"
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(2005)Previous exploratory studies suggest that pre-attentive auditory processing of musicians differ depending on the strategies they use in music practicing and performance. This study aimed at systematically determining whether there are differences in neural sound processing and behavioral measures between musicians preferring and not-preferring aural strategies including improvising, playing by ear and rehearsing by listening recordings. Participants were assigned into aural (n = 13) and non-aural (n = 11) groups according to how much they employ aural strategies, as determined by a questionnaire. The amplitude, latency, and scalp topography of the memory-related mismatch negativity (MMN) component of the event-related brain potentials were investigated with the so-called ‘optimal’ paradigm probing simple sound feature processing and with the ‘transposed-melody’ paradigm, probing complex sound pattern processing. Further, their behavioral accuracy in sound perception was tested with an attentive discrimination task in the transposed-melody paradigm and with the AMMA musicality test. Results showed that there were group differences both at the pre-attentive and behavioral levels of sound processing. First, in the optimal paradigm, the MMN morphology for the isolated sound features was similar between groups but its MMN amplitude, latency and topography for different sound features differed. Second, in the ‘transposed-melody’ paradigm, MMN was larger for the deviant that changed its contour as compared with the deviant that changed the last tone and thus the interval between the two last tones of the melody. The Contour-MMN amplitude as determined in the beginning of the recordings correlated with the subsequent behavioral discrimination accuracy in attentive condition. However, there were no group differences in the behavioral discrimination both deviants being detected equally well. The Interval-MMN amplitudes decreased especially in the aural group after the attentive condition. Moreover, the Interval-MMN latency in the non-aural group prolonged after the attentive condition as compared to the preceding condition whereas in the aural group the MMN latency shortened. No changes were seen in the Contour-MMN between conditions with either of the groups. Third, the non-aural group outperformed the aural group in the AMMA musicality test (Tonal subtest and Total scores). Additionally, AMMA scores (especially the Rhythm) correlated significantly with the Contour-MMN amplitudes after the attentive condition. Taken together, the present results suggest that practice strategies do not affect musicians' pre-attentive processing of simple sound features but might affect complex sound pattern processing. Complex sound pattern processing related also to the attentive behavioral performance in all musicians. While providing new insights into behavioral and neural differences between musicians preferring different practice strategies, results only partially support previous findings concerning discriminatory accuracy of violation within complex sound pattern learning.
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(2016)The profession of a musician is defined by factors that can expose to specific health related issues. One of the most common ones is performance anxiety that can, in severe cases, cause suffering, impair the ability to function, and even lead to giving up one’s career. The ways of self-treatment might not be efficient or might even be harmful to musician’s health, and therefore professional help is vital in the treatment of music performance anxiety. There is no uniform theoretical view of music performance anxiety neither a common treatment practice, which makes successful treatment more challenging. The aim of this literature review is to form a more coherent view of music performance anxiety and summarize potential interventions studied so far. The literature used was recent research in the field of music performance anxiety. Music performance anxiety can be divided into different, greatly interconnected dimensions such as social, cognitive, and somatic dimensions. It is thought to be developed through a negative cycle, which is affected by for example the social characteristics of the performance situation, the arousal of the performer, and their cognitive appraisal. These can form specific learning experience, which possibly strengthens the negative cycle when repeated. The purpose of the intervention is to stop this negative cycle and help to unlearn the possible debilitating thought and action models behind it. The current research states that the behavioural and cognitive methods have the biggest role in the treatment of music performance anxiety. Methods using relaxing and breathing techniques can help especially with the symptoms caused by heightened arousal in performance situations. Also, medical treatment has proven to be one possible way to alleviate these somatic symptoms. Nevertheless, other kinds of intervention methods are preferable inter alia because of the side effects medication may have. All in all, recent research has broadened the understanding of the multidimensional nature of music performance anxiety. In addition, there are great amount of potential intervention methods for music performance anxiety, although more, higher-quality research is needed to prove their efficiency.
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