musica y cerebro

Msica y Cerebro

3 ed

Msica y Cerebro: ndice 1. Exposicin de Razones

2. Definicin

3. Percepcin de la Msica

4. Produccin musical

5. Alteraciones

6. Implante Coclear

7. Terapia

Torelax To lnflusnoa For Todance For To staymood emotional professlonal awakJ~

satisfaction purposes

'lobehappy

Q

;.J.Q

.~. 60~

o NH subiects BCI subjeictsD UCI subjects

80

Why do you listen to music?100

Fig., 1,. The x-axis describes the variousreasons why a person would listen to rnu-. " the "~I ,'., the ,... t ....., ,f", ..~SlC;, ....e y=ax.l,sIS ..e percell. age 0 yes an=swers for the NH" BCI and UCI subjects,

Comparis'o,n ,of Mlusic: P'er,cepUo,n in BII,at,eraland Unilat,er,al C.o"chle,ar Ilmp,l,ant,Users and N'ormal ..He,arin'Q Subjec,ts. K.Veekmans a, b l.Re;ssel c J. MlueUerd MI.Vischer f ,S.J.Br'oc:kmeier. Audi,ol,ogy '& Neur,ot"o,l,ogy, 2'0'09:;14::315,...32'6,.June 2'0,0,8

Por qu escuchamos msica?

Veekmas, K., Ressel, L., Mueller, J., Vischer, M., & Brockmeier, S. (2009). Comparison of Music Perception in Bilateral and Unilateral Cochlear Implant Users and Normal-Hearing Subjects. Audio Neurotol , 14, 315-326.

Exposicion de Razones

Estudio de redes neurales implicada Organizacin de la corteza auditiva

La percepcin musical es una operacin compleja a nivel perceptivo y cognitivo

Funciones superiores

Modelo de neuroplasticidad

Ifs on Obsession Not QHobby

Qu es la Msica?

Qu es la Msica?

del griego: [] mousik [tchn] "el arte de las musas

Objetivo

Social

Organizacin

Agradable

Sheet Arranged By wo.tum

Let It BeRichard Claydennan

Forma de las ondas de dos sonidos con elmismo tono pero distinto timbre

DO RIO 1"11FA ~lIj LA S1 DO

Anlisis de la Msica

Cualidad del sonido Permite identificar el emisor (piano, guitarra, flauta, voz)

Tono

Ritmo

Timbre

PODCA

A

MiddleEar Inner Earr. 1Outer Ear

Percepcin de la Msica

RadioLab -Season 2 Episode 2 Sound as Touch

G"L,2l

l c.a.se:221 ca.se,23

-t

-+1easelS'1 case, dllJlfilrngrecovery19N~S~:20

C",N~and 'G.,LIO11..IR"u1Hl.,Vro12

IHIJ ~1.3l c.ase1.4IK'..Ii') 1.5'-'[IiDI1

Percepcin de la Msica Modularidad

Modularity of music processing Isabelle Peretz & Max Coltheart Nature

Am

usia A

dq

uirid

a/ A

mu

sia Co

ngen

ita A

gno

sia V

erbal

Percepcin de la Msica Modularidad Input Acstico

Organizacin del Tono Organizacin Temporal

Canto Tamborileo Habla

Anlisis Acstico

Anlisis de la Expresin Emocional

Lxico Fonolgico

Memoria Asociativa

Planificacin de la Elaboracin

Vocal

Lxico Musical

Anlisis del intervalo

Anlisis del Contorno

Conversin Acstico-

Fonolgica

Codificacin del Tono

Anlisis del Ritmo

Anlisis del Comps

Hungarian Dance o. lOin E Major

Schubert12 German Dances/5 Ecossaises

D. ~20/J29

Gerrm.n Danwe I:~ ~:':':w'2iW:!;!! Pf (iUJrJ I J-:i I ,rT11,..,

:t ~ - I .J.J 1i J J 1t 4 ~ I j ;. ;.1/)' ~ I.IP~ ~ I~ ...~ I" II Ia=::!t ~'i!f:;!iIN r=

~'OVgG='d![rE I.. ---- ---=-~ -

I~' I IdJl1 HI. ULtJ J I I I~....I I.

Percepcin de la Msica HiperMusia

RadioLab -Shorts A 4-Track Mind

Percepcin de la Msica Percepcin Tonal

Giro de Heschl

Zatorre, R. J. (June de 2001). Neural Specializations for Tonal Processing. Ann N Y Acad Sci , 193-210.

No

!;~r;~~1Pit'chDifference Direction of Pitch Change

150

Group

I::o~.s N 100EI'C _..~-c~_g~~c s....C])B- 50C])s....u,

Percepcin de la Msica Percepcin Tonal

Media de frecuencia de umbral de discriminacin de tonos, en pacientes con excisin de lbulo temporal derecho (RT) o izquierdo (LT), extendindose al rea del Giro de Hecshl (A) o evitando sta zona (a).

La simple discriminacin no fue diferente. Los umbrales de cambio-en-direccin-del-tono fueron ms altos que en los dems grupos.

Zatorre, R. J. (June de 2001). Neural Specializations for Tonal Processing. Ann N Y Acad Sci , 193-210.

F:igureJ. 52ch:Jtct _ mise - S1_ch:J[!, _ roise contr.ast. The sagittal cuts.t0. the left 0ftbeHgureindi Methe loration ohhe ~DJonaIcutstnthe right. Q, Inf:!ri.or portionotthe left rniddl efronta Igyru-s, nearthe r0].l8.1 b:order of area g a nd partlyTn the inferTDrfrontal 5uku5, h, c,A [l'and ofHctiv.ity a-fang area 8 0f the.right mJddjeJron!al gyrus, do' The junction of the right poste.riofmiddle fronta I gyrus and '$up.etior PLf2centra I sui:cus, :conespondin g to rostral area .6/(3 udal 8.,

Percepcin de la Msica Percepcin Tonal Bermudez, P., & Zatorre, R. J. (2005). Conditional Associative

Memory for Musical Stimuli in Nonmusicians: Implications for Absolute Pitch. Journal of Neuroscience , 25 (34), 7718-7723.

Percepcin de la Msica Percepcin del Ritmo

En los msicos se da una mayor activacin del rea perisilviana del Hemisferio Izquierdo

En los no msicos se da una mayor activacin del Hemisferio Derecho

Limb, C. J. (2006). Structural and Functional Neural Correlates of

Music Perception. THE ANATOMICAL RECORD PART A , 435-446.

Slow-IMajor S~ow-M~noro

feeil, mnglsoP@n:eptions

Percepcin de la Msica Emociny Msica

Percepcin de la Emocin de la msica the distinction between feeling and perceiving emotions when listening to music is primarily one of quantity (or intensity) rather than one of quality, and that listeners feelings are mediated by their perceptions. This does not mean that feelings induced by music will always be in-line with perceptions of the emotion conveyed by the music

Hunter, P. G., Schellenberg, G., & Schimmack, U. (2010). Feelings and Perceptions of Happiness and Sadness Induced by Music: Similarities, Differences, and Mixed Emotions. Psychology of Aestethics, Creativity, and the Arts , 4 (1), 47-56.

Efecto Mozart Emocin, Percepcin y Msica

Figure 3. Highest activated brain regions in healthy controls compared with participants with AS. (a) Favorite+ standard> control stimuli within happy (red) and sad (blue). (b)Favorite> standard within happy (red) and sad (blue). PMC = premotor cortex. SMA = supplementary motor area. R = right.

Percepcin de la Msica Emocin, Msica y Autismo

Cortexprefron tal(ventral)

Corteza motora

Produccin Musical

Produccin Musical Prctica

Al aprender una nueva tarea motora, los msicos experimentan un aumento del ~25% en la actividad del corteza motora primaria.

Al escuchar msica (de piano) se activan reas, similares a cuando se interpreta, en la corteza sensoriomotriz.

Haueisen, J. & Knosche, T. R. Involuntary motor activity in pianists evoked by music perception. J. Cogn. Neurosci. 13, 786792 (2001).

'Cit.iliti'CUlr: LIlflflb OJ, if:Ira!lJinAIH: (2000.) lNIe!lJJral5iJlbsml'~e5 of 5pont

Da:~ in Table 1. am s:h01JVIl in mean +standard deviation, with two-railsd paired t-tast results,dbi:1'0..13 7l~ QU rnal.pone.OD:m: 619..W01

tl.076

O,,~7

787 (T'84..7}

~4.~!jl (1.1:6)

755.,n (2Q.76)-

2Jo1B [@J'2:p149.11(1.4.7)

~3.53 {~):,lf))

348'.6,7 '(] .03)

'41i;~ tp':Q~)

Number of .nates [mean :(51.,0.)]

W!ei:gh1ed .eli$trib:utibll Q'f notes IJ:fl ~an'~s.cl\JJ

JazzStale,

Q.6;6

n.11

'Table 1,.MIDI' plano data obtained durinq control and lrnprovlserlon conditions. for Scale and Jazz paradlqms,

Cmln7

Jaulmprov (exempTs)JazzCtrl

."

J T J I . I ' I

Scalelmprov (example)

C"'1IjQt

I~t .! r

I~ J I

ScaleCtrl

improvisedover-learned

Produccin Musical Improvisacin

Figure 2. Axial slice renderings of mean activations (rec:llyellowscale bar) and deactivations (blue/green scale bar) associated withimprovisation during Scale and Jazz paradigms. In both paradigms, spontaneous improvisation was associated with widespread deactivationin prefrontal cortex throughout DLPFC and LOFer combined with fucal activation in MPFC In addition, increases in sensorimotor activity anddecreases in limbic activity were seen in both paradigms. Activations were identified through inclusive masking of the contrast for [Improv-Control]with the contrast fur [lmprov-RestJr and deactivations were identified through inclusive masking of the contrast for [Control-Improv] with thecontrast for [Rest-Improv] fur both Scale and Jazz paradigms. The scale bar shows t-score values and the sagittal section shows an anatomicalrepresentation of slice locatio n; both scale bar and sagittal slice insets apply equally to Scale and Jazz data. Labels refer to axial slice z-plane inTalairach space.doi:1 0.1371 /journal.pone.OOO 1679 .g002

Figure 3. Three-dimensional surface projection of activationsand deactivations associated with improvisation during th eJazz paradigm. Medial prefrontal cortex activatio n, dorsolateralprefrontal cortex deactlvaticn, and sensorimotor activation can beseen. The scale bar shows the range of t-scores: the axes demonstrateanatomic orientation. Abbreviations: a, anterior; p, posterior; d, dorsal; v,ventral; R, right; t, left.doi:10.1371/journal.pone.0001679.g003


Limb, C. J., & Braun, A. R. (2008). Neural Substrates of Spontaneous Musical Performance: An fMRI Study of Jazz Improvisation. PLoS One , 3 (2), e1679.


05:45

Alteraciones Positivas

Alucinaciones musicales

Epilepsia musicognica

Distona de msico

Alteraciones Positivas Epilepsia Musicognica

Rol dominante del Lbulo Temporal Derecho

SPECT Ictal hiperperfusin L.T. derecho

SPECT interictal sin perfusin focal

SPECT postictal hipoperfusin L.T. derecho

Gen, B., Gen, C., Tastekin, G., & Iihan, N. (2001). Musicogenic epilepsy with ictal single photon emission computed tomography (SPECT): could these cases contribute to our knowledge of music processing? European Journal of Neurology , 8, 191-194.

R L

R L

R L

Post

Post

Post

I.... .....t _ ... _ "-_.~. I_::-

--- -------------------..;.. - .

----- ------------------

Alteraciones Positivas Epilepsia Musicognica

Corte axial de ataque musicognico

Kaplan, P. W. (2003). Musicogenic epilepsy and epileptic music: a seizure's song. Epilepsy & Behavior , 4, 464-473.

, ., - - I' ~ ,

- -.,~ > It --=- l ;,t; l:_ J......___. ..~ >- ,

Alteraciones Positivas Distona de Msico

Ratio Hombres/Mujeres : 3/1

Instrumentos Tipo de Distona Viento-Metales Distona Bocal

Teclados, instrumentos de punteo Unilateral - Mano Derecha

Instrumentos de Arco Unilateral Mano Izquierda

Viento-Madera (lengeta simple), teclados Bilateral

Soci,6!l111 cons-ora ints(e.g ,.da5.sjcal i'JIiliJJsics. ja~zI pop)

Worki()ad 'of respective body P'8lrtCompleixity of m,r)vement::;

con stita']nts{~,9. !~ V.~',!lS'ht n~l"!dIif! \!ie;!ini!ib.;

'dass.~ i1IlijSlCii:S. ,u./ I)r)PJ'

Spati~1 sensertmotorCOliil~mrnilnb

(elg. tiJ!ihSl:il1ngs, ViS. ow 5'tfingii)

/ . 1

MIanii'festarti on,0,'Musid'an"'s;Dy;s;tonia

Extriiinslc bi'gg'erlng factors

Predisposiitionl - SUSlcep,tibiillllitya) male '9,enderb) helFleditarycomponent

Eni~rin5icb"iggenilng factors

I)emc~tlinwnlMbibJtJ1'm scha n lsms

ltoca I pal~ltillj'Inlt'ensi'fi'edi:~omilt'(l'5'e.!i!IOOrvinput(ibt~I,Im,;iI, f1Ii).'lI!W e\l'lt~pm~f1It:..

O''f.'~IiU~C')

P'erf~ct~(Hii5m.An i

Alteraciones Positivas Distona de Msico Cambios en el cerebro en la D.M.

-Alteracin en la representacin de la mano

desorganizacin

Garraux, G., Bauer, A., Hanakawa, T., Wu, T., Kansaku, K., & Hallett, M. (2004). Changes in Brain Anatomy in Focal Hand Dystonia. Ann Neurol , 55, 736-739.

Distona Focal La enfermedad del Msico

LeftRigh

J f _ , -J I j ,_ ' J It- - -

- - I" >. _- .Jt> /It 1,;r 1.1. __ I .~,....,..~.. ~ ~ -



Tratamiento:

Farmacolgico: Trihexyphenidyl Anti-colinrgico

Inyeccin: Toxina Botulinica-A

Programas de Re-entrenamiento

Ergonoma del instrumento Jabusch, H.-C., & Altenmller, E. (2006). Focal dystonia in musicians: From phenomenology to therapy. Advances in Cognitive Psychology , 2 (2-3), 207-220.

Patients' rating of treatment results. Black bars: deterioration of dystonic symptoms. Grey bars: no change of dystonic symp-toms. White bars: alleviation of dystonic symptoms. Hatched bars; no answer.Trihexyphenidyl (Trhx): results are given separately for all patients who received Trhx vs. for those who received Tmx form ore than two mon ths.Botulinum toxin (BT): results are given separately for all patients who received BT vs. for those who received more than oneinjection (from Jebusch et al./"2005).

non-specificexercises

pedagogicalre raining

BT > injection erqonornicchanges

Trhx > 2 months sr suTrhx all

5o

SO45

40

3530

2520

15


Jabusch, H.-C., & Altenmller, E. (2006). Focal dystonia in musicians: From phenomenology to therapy. Advances in Cognitive Psychology , 2 (2-3), 207-220.

Alteraciones Negativas

Amusia Amusia Congnita & Amusia Adquirida

Amusia al Tono Amusia al Ritmo Amusia Oral-Expresiva Amusia Instrumental / Apraxia Agrafia Musical

o Amusia Coclear?

Simultagnosia Sordera / Implantes Cocleares

Alteraciones Negativas Amusia

Trastorno en la percepcin de la msica http://www.brams.umontreal.ca/amusia-general/

The Montreal Battery of Evaluation of Amusia

IGeywords;fjong,enU,21[ amUSLtIShort-term memoryP'itchTimbreWo["ds(jontourAudItory scene ,tlntl.lys is

ConJg,eillitaJ~amusia refers W a ~~fe~onJgd,rnsorderof musk (li['O[,essrnng,and, is ~rnn~edto pirnl[h-p,m,[,e'ssrnn,gd,ef-rndts. lfh~ present StILUJl.yrnnv,e'strn,gat,~d,mng,~nrnta~amusics' short-term memory f'Ortones, musical 'trnmbr,s,and,words . Sequences of five events (tones, timbres or words) w~r,~ presented mnPiarnrsand p'arlkrnplan'tshad to mndkaJt,~whether lh~ sequences wer,~ lh,~ same or drnfr~r'~nt The perfermsnce of o[[InJg,~nmta~amu-sics '[Onfi[ffio[\d ,a memory d!i1=.fidlfor tone sequences, but showi1=.dnormal pertcnnance for wordsequences, For tmmbr,~sequences, amusics' m~mory p'~rf'Orman[,~ was mmp',arnr,edmncomparison to matchedcomrols, O'\J,~ra~~l~mbf~ pi~dbrman[,~ was found W be mrr,~bt'i1=.dWIDthm,~~odk contour processing (asassessed by the Montr,~a~ B,aU@fYof IEv,a~uationof Amusia). The p'r,~s'~ntfindings show that amusks' d~f-kmts '~xt~nd to rnl:on-v,erba~sound maJt'~r~,a~other than p'rnt,[h,mnthis ,[aSl~'lmmbr'~',whrn~'~not ,an:~,('tmnJgrnern-ory f'Or '\J,~rba~m.at~rrn,a~.This ~s mn ~mni1=.WIDthprevious suggestions about dh.'~ dom,amn-sp'~dfi,dty .ofmn,g'~nrnt.a~,amlLlsrn,a.

Arddle ,hist,~'rY':A[)[\epitied "] August ,JIJOHAvtlHtlhle onliue '],6 September 2009

A1B,STR,ACTAR,T~C1E ~Nf'O

a Uir~lw.ers[ U1,(Ilt,n~de B'eril'~[!rd l.)I',~'n ", N,euri~'sdenlc,es SenS,~'r!ieUeS'C:~'ir~]~::mrt;ement ,C@gnlrion ,(MRS- UMR 511,2\D~,fF.R: :~.9" l.y;~,r~ Frtlu.ae'b Un iv'ersrtj,l' O~"~c:ge ,~!L~'m.tl~)n,UeV',e~'prnent,[!'~(;(ilgn irive Nre[ir,)lJl'sdenc,eUn it" Jnsth:ute ,fJ!,(hlid H.eiCi"th~,Im1d,~'n"UKc/NSERM U,S2'~, ,~FR :m" ,l.y,~nl.,Fruuced ,CertIlJ'. fN,R'S-UMR 554.9., Un['versrte fi:[!ul S,[!bCi'der, ~~'[~i,~'[,~se, .Fri[!'I'llc.e

Barbara Tillmann ,a"*,,, Katrin Schulze ,a"b" jessica M.,Foxton c.d

Congenital amusia: A short-term memory deficit for non-verbal,but not verbal sounds

Alteraciones Negativas Amusia

Amusia: Problema de memoria?

Alteraciones Negativas Maurice Ravel

Demecia o Afasia?

IDEASWORTHSPREADING

Implante Coclear

Msica como Terapia

Cncer: Reduce el malestar, las nuseas y el tiempo que recibe quimioterapia.

La msica reduce la ansiedad y respuestas de estrs.

Redujo el estrs preoperatorio y los das de ingreso despus de una intervencin.

Sujetos con depresin mejoran sus puntuaciones en escalas de depresin y se reduce su sintomatologa.

En sujetos diagnosticados con cncer terminal, reportan una mejor calidad de vida.

Qu es la musicoterapia?

------~-~-

~females-rnaJes

a 16-X

i~ 10-f! s-a.mJ.!"0

l-5-----------------------------silence IftJslc

Preparation condition

-5---------------------------------------------silence nusicPreparation condlion

15-'l"Q..a-10->-.dill.2:11! 5-G

'!1:: 0-----m~

(b)

------~-~--

~females_males

silence musicPreparation condition

------~-

E2'2Z?J females_males

(e)

15-~.itU~ 10-

flC 5-cfaGJ>t; 0-CDl5'=en -5-

(a)

r.& 'III, I It

,8 ._ - X >_' I r I 1Msica como terapia

Estrs en presencia de Msica

Tarea: Preparar una presentacin

Knight, W. E., & Rickard, N. S. (2001). Relaxin Music Prevents Stress-Induced Increases in Subjetctive Anxiety, Systolic Blood Preasure, and Heart Rate un Healthy Males and Females. Journal of Music Therapy , XXXVIII (4), 254-272.

Musicoterapia ?

Msica como Terapia NeuroPlasticidad

Cambios estructurales en los cerebros de msicos

corteza motora primaria

plano temporal

parte anterior del C.C.

Msica como Terapia Demencia

Reduce:

Agitacin Agresin Apata Ansiedad

Mejora:

Comunicacin Expresin

emocional

Actividad

Fischer-Terworth, C., & Probst, P. (2011). Evaluation of a TEACCH- and Music Therapy-Based Psychological Intervention in Mild to Moderate Dementia. GeroPsyc , 24 (2), 93-101.

Conclusiones

La msica es un elemento importante, no slo socialmente, sino tambin neurolgicamente.

Forma una forma de estimulacin compleja.

Puede ser utilizada como apoyo o terapia.

En estudios, no debemos olvidar, que la msica tambin tiene un contenido social.

Bibliografa Revisiones

Anatoma de la Msica:

Andrade, P. E., & Bhattacharya, J. (2003). Brain tuned to music. Journal or the Royal Society of Medicine , 96, 284-287.

Limb, C. J. (2006). Structural and Functional Neural Correlates of Music Perception. THE ANATOMICAL RECORD PART A , 435-446.

Investigacin en general:

Soria-Urios, G., Duque, P., & Garca-Moreno, J. M. (2011). Msica y cerebro: fundamentos neurocientficos y trastornos musicales. Rev Neurol , 52 (1), 45-55.

Soria-Urios, G., Duque, P., & Graca-Moreno, J. M. (2011). Msica y cerebro (II): evidencias cerebrales del entrenamiento musical. Rev Neurol , 53 (12), 739-746.

Bibliografa Bermudez, P., & Zatorre, R. J. (2005). Conditional Associative Memory for Musical Stimuli in

Nonmusicians: Implications for Absolute Pitch. Journal of Neuroscience , 25 (34), 7718-7723.

Ciara, A., Venuti, P., & de Falco, S. (2011). Functional and Dysfunctional Brain Circuits Underlying Emotional Processing of Music in Autism Spectrum Disorders. Cerebral Cortex , 21, 2838-2849.

Coutinho, E., & Cangelosi, A. (2011). Musical Emotions: Predicting Second-by-Second Subjective Feelings of Emotion From Low-Level Psychoacoustic Features and Physiological Measurements. Emotion , 11 (4), 921-937.

Fischer-Terworth, C., & Probst, P. (2011). Evaluation of a TEACCH- and Music Therapy-Based Psychological Intervention in Mild to Moderate Dementia. GeroPsyc , 24 (2), 93-101.

Fritz, T., Jentschke, S., Gosselin, N., Sammler, D., Peretz, I., Turner, R., et al. (2009). Universal Recognition of Three Basic Emotions in Music. Current Biology , 19, 573-576.

Garraux, G., Bauer, A., Hanakawa, T., Wu, T., Kansaku, K., & Hallett, M. (2004). Changes in Brain Anatomy in Focal Hand Dystonia. Ann Neurol , 55, 736-739.

Gen, B., Gen, C., Tastekin, G., & Iihan, N. (2001). Musicogenic epilepsy with ictal single photon emission computed tomography (SPECT): could these cases contribute to our knowledge of music processing? European Journal of Neurology , 8, 191-194.

Hilliard, R. E. (2003). The Effects of Music Therapy on the Quality and Length of Life of People Diagnosed with Terminal Cancer. Journal of Music Therapy , 11 (2), 113-137.

Bibliografa Hunter, P. G., Schellenberg, G., & Schimmack, U. (2010). Feelings and Perceptions of Happiness

and Sadness Induced by Music: Similarities, Differences, and Mixed Emotions. Psychology of Aestethics, Creativity, and the Arts , 4 (1), 47-56.

Jabusch, H.-C., & Altenmller, E. (2006). Focal dystonia in musicians: From phenomenology to therapy. Advances in Cognitive Psychology , 2 (2-3), 207-220.

Kaplan, P. W. (2003). Musicogenic epilepsy and epileptic music: a seizure's song. Epilepsy & Behavior , 4, 464-473.

Knight, W. E., & Rickard, N. S. (2001). Relaxin Music Prevents Stress-Induced Increases in Subjetctive Anxiety, Systolic Blood Preasure, and Heart Rate un Healthy Males and Females. Journal of Music Therapy , XXXVIII (4), 254-272.

Limb, C. J., & Braun, A. R. (2008). Neural Substrates of Spontaneous Musical Performance: An fMRI Study of Jazz Improvisation. PLoS One , 3 (2), e1679.

Limb, C. J., Kemeney, S., Ortigoza, E. B., Rouhani, S., & Braun, A. R. (2006). Left Hemispheric Lateralization of Brain Activity During Passive Rhythm Perception in Musicians. THE ANATOMICAL RECORD PART A , 382-389.

Mnte, T. F., Altenmller, E., & Jncke, L. (202). The musicians brain as a model of neuroplasticity. Nature Reviews , 3, 473-478.

Bibliografa Pujol, J., Roset-Llobet, J., Rosins-Cubells, D., Deus, J., Naberhaus, B., Valls-Sol, J., et al. (2000).

Brain Cortical Activation during Guitar-Induced Hand Dystonia Studied by Functional MRI. NeuroImage , 12, 257-267.

Punkanen, M., Eerola, T., & Erkkil, J. (2011). Biased emotional recognition in depression: Perception of emotions in music by depressed patients. Journal of Affective Disorders , 130, 118-126.

Tillman, B., Katrin, S., & Foxton, J. M. (2009). Congenital amusia: A short-term memory deficit for non-verbal, but not verbal sounds. Brain and Cognition , 71, 259-264.

Veekmas, K., Ressel, L., Mueller, J., Vischer, M., & Brockmeier, S. (2009). Comparison of Music Perception in Bilateral and Unilateral Cochlear Implant Users and Normal-Hearing Subjects. Audio Neurotol , 14, 315-326.

Yung, P. M., Kam, S. C., Lau, B. W., & Chan, T. M. (2003). The Effect of Music in Managing Preoperative Stress for Chinese Surgical Patients in the Operating Room Holding Area: A Controlled Trial. International Journal of Stress Management , 10 (1), 67-74.

Zatorre, R. J. (2001, June). Neural Specializations for Tonal Processing. Ann N Y Acad Sci , 193-210.

musica y cerebro

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