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      Complex hand dexterity: a review of biomechanical methods for measuring musical performance

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          Abstract

          Complex hand dexterity is fundamental to our interactions with the physical, social, and cultural environment. Dexterity can be an expression of creativity and precision in a range of activities, including musical performance. Little is understood about complex hand dexterity or how virtuoso expertise is acquired, due to the versatility of movement combinations available to complete any given task. This has historically limited progress of the field because of difficulties in measuring movements of the hand. Recent developments in methods of motion capture and analysis mean it is now possible to explore the intricate movements of the hand and fingers. These methods allow us insights into the neurophysiological mechanisms underpinning complex hand dexterity and motor learning. They also allow investigation into the key factors that contribute to injury, recovery and functional compensation. The application of such analytical techniques within musical performance provides a multidisciplinary framework for purposeful investigation into the process of learning and skill acquisition in instrumental performance. These highly skilled manual and cognitive tasks present the ultimate achievement in complex hand dexterity. This paper will review methods of assessing instrumental performance in music, focusing specifically on biomechanical measurement and the associated technical challenges faced when measuring highly dexterous activities.

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          Most cited references59

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          Brain structures differ between musicians and non-musicians.

          From an early age, musicians learn complex motor and auditory skills (e.g., the translation of visually perceived musical symbols into motor commands with simultaneous auditory monitoring of output), which they practice extensively from childhood throughout their entire careers. Using a voxel-by-voxel morphometric technique, we found gray matter volume differences in motor, auditory, and visual-spatial brain regions when comparing professional musicians (keyboard players) with a matched group of amateur musicians and non-musicians. Although some of these multiregional differences could be attributable to innate predisposition, we believe they may represent structural adaptations in response to long-term skill acquisition and the repetitive rehearsal of those skills. This hypothesis is supported by the strong association we found between structural differences, musician status, and practice intensity, as well as the wealth of supporting animal data showing structural changes in response to long-term motor training. However, only future experiments can determine the relative contribution of predisposition and practice.
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            The musician's brain as a model of neuroplasticity

            Studies of experience-driven neuroplasticity at the behavioural, ensemble, cellular and molecular levels have shown that the structure and significance of the eliciting stimulus can determine the neural changes that result. Studying such effects in humans is difficult, but professional musicians represent an ideal model in which to investigate plastic changes in the human brain. There are two advantages to studying plasticity in musicians: the complexity of the eliciting stimulus music and the extent of their exposure to this stimulus. Here, we focus on the functional and anatomical differences that have been detected in musicians by modern neuroimaging methods.
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              Increased cortical representation of the fingers of the left hand in string players.

              Magnetic source imaging revealed that the cortical representation of the digits of the left hand of string players was larger than that in controls. The effect was smallest for the left thumb, and no such differences were observed for the representations of the right hand digits. The amount of cortical reorganization in the representation of the fingering digits was correlated with the age at which the person had begun to play. These results suggest that the representation of different parts of the body in the primary somatosensory cortex of humans depends on use and changes to conform to the current needs and experiences of the individual.
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                Author and article information

                Contributors
                Journal
                Front Psychol
                Front Psychol
                Front. Psychol.
                Frontiers in Psychology
                Frontiers Media S.A.
                1664-1078
                12 May 2014
                2014
                : 5
                : 414
                Affiliations
                [1] 1Rehabilitation and Health Technologies, Faculty of Health Sciences, University of Southampton Southampton, Hampshire, UK
                [2] 2Music, Faculty of Humanities, University of Southampton Southampton, Hampshire, UK
                [3] 3SCREAM Laboratory, Computer Science and Information Engineering, National Cheng Kung University Tainan, Taiwan
                Author notes

                Edited by: Matthew A. Wyon, University of Wolverhampton, UK

                Reviewed by: Franco Delogu, University of Utrecht, Netherlands; Ray Lee, Princeton University, USA

                *Correspondence: Cheryl D. Metcalf, Rehabilitation and Health Technologies, Faculty of Health Sciences, University of Southampton, Room 0029, Building 45, Burgess Road, Highfield, Southampton, Hampshire, UK e-mail: c.d.metcalf@ 123456soton.ac.uk

                This article was submitted to Cognitive Science, a section of the journal Frontiers in Psychology.

                Article
                10.3389/fpsyg.2014.00414
                4026728
                9afb86d6-55e1-479b-8576-d9e270159889
                Copyright © 2014 Metcalf, Irvine, Sims, Wang, Su and Norris.

                This is an open-access article distributed under the terms of the Creative Commons Attribution License (CC BY). The use, distribution or reproduction in other forums is permitted, provided the original author(s) or licensor are credited and that the original publication in this journal is cited, in accordance with accepted academic practice. No use, distribution or reproduction is permitted which does not comply with these terms.

                History
                : 29 January 2014
                : 21 April 2014
                Page count
                Figures: 1, Tables: 0, Equations: 0, References: 95, Pages: 12, Words: 0
                Categories
                Psychology
                Review Article

                Clinical Psychology & Psychiatry
                musical performance,kinematics,hand,piano,expertise,virtuoso,novice,health
                Clinical Psychology & Psychiatry
                musical performance, kinematics, hand, piano, expertise, virtuoso, novice, health

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