Do musicians have different brains?

Research output: Contribution to journal/Conference contribution in journal/Contribution to newspaperJournal articleResearchpeer-review

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Do musicians have different brains? / Stewart, Lauren.

In: Clin Ther, Vol. 8, No. 3, 06.2008, p. 304-8.

Research output: Contribution to journal/Conference contribution in journal/Contribution to newspaperJournal articleResearchpeer-review

Harvard

Stewart, L 2008, 'Do musicians have different brains?', Clin Ther, vol. 8, no. 3, pp. 304-8.

APA

Stewart, L. (2008). Do musicians have different brains? Clin Ther, 8(3), 304-8.

CBE

Stewart L. 2008. Do musicians have different brains?. Clin Ther. 8(3):304-8.

MLA

Stewart, Lauren. "Do musicians have different brains?". Clin Ther. 2008, 8(3). 304-8.

Vancouver

Stewart L. Do musicians have different brains? Clin Ther. 2008 Jun;8(3):304-8.

Author

Stewart, Lauren. / Do musicians have different brains?. In: Clin Ther. 2008 ; Vol. 8, No. 3. pp. 304-8.

Bibtex

@article{eb18692687ff46309d7d58dc92aa6d6a,
title = "Do musicians have different brains?",
abstract = "The search for anatomical correlates of special skills dates from the end of the 19th century, when post-mortem brains of gifted individuals, including musicians, were examined for clues as to origins of their prized abilities. Modern neuroimaging techniques provide the chance to interrogate the brains of living musicians. Structural and functional specialisations have been demonstrated across several sensory, motor and higher order association areas. These specialisations are often instrument- or effector-specific and correlate with aspects of the training history supporting the view that they are the result, rather than the cause, of skill acquisition. Musicians constitute a model, par excellence, for studying the role of experience in sculpting brain processes. A key challenge for the future will be to develop theoretical frameworks within which musicians and other occupationally specialised groups can be studied in order to investigate the nature, scope and limits of neuroplasticity.",
keywords = "Brain, Brain Mapping, Functional Laterality, Humans, Models, Neurological, Motor Skills, Music, Neuronal Plasticity, Pitch Perception",
author = "Lauren Stewart",
year = "2008",
month = "6",
language = "English",
volume = "8",
pages = "304--8",
journal = "Clin Ther",
issn = "1470-2118",
publisher = "Royal College of Physicians",
number = "3",

}

RIS

TY - JOUR

T1 - Do musicians have different brains?

AU - Stewart, Lauren

PY - 2008/6

Y1 - 2008/6

N2 - The search for anatomical correlates of special skills dates from the end of the 19th century, when post-mortem brains of gifted individuals, including musicians, were examined for clues as to origins of their prized abilities. Modern neuroimaging techniques provide the chance to interrogate the brains of living musicians. Structural and functional specialisations have been demonstrated across several sensory, motor and higher order association areas. These specialisations are often instrument- or effector-specific and correlate with aspects of the training history supporting the view that they are the result, rather than the cause, of skill acquisition. Musicians constitute a model, par excellence, for studying the role of experience in sculpting brain processes. A key challenge for the future will be to develop theoretical frameworks within which musicians and other occupationally specialised groups can be studied in order to investigate the nature, scope and limits of neuroplasticity.

AB - The search for anatomical correlates of special skills dates from the end of the 19th century, when post-mortem brains of gifted individuals, including musicians, were examined for clues as to origins of their prized abilities. Modern neuroimaging techniques provide the chance to interrogate the brains of living musicians. Structural and functional specialisations have been demonstrated across several sensory, motor and higher order association areas. These specialisations are often instrument- or effector-specific and correlate with aspects of the training history supporting the view that they are the result, rather than the cause, of skill acquisition. Musicians constitute a model, par excellence, for studying the role of experience in sculpting brain processes. A key challenge for the future will be to develop theoretical frameworks within which musicians and other occupationally specialised groups can be studied in order to investigate the nature, scope and limits of neuroplasticity.

KW - Brain

KW - Brain Mapping

KW - Functional Laterality

KW - Humans

KW - Models, Neurological

KW - Motor Skills

KW - Music

KW - Neuronal Plasticity

KW - Pitch Perception

M3 - Journal article

VL - 8

SP - 304

EP - 308

JO - Clin Ther

JF - Clin Ther

SN - 1470-2118

IS - 3

ER -