Altenmüller Eckart
University for Music and Drama, Hannover Institute for Music Physiology and Musicians' Medicine, Hohenzollernstr. 47, Hannover D-30161, Germany.
Hand Clin. 2003 Aug;19(3):523-38, xi. doi: 10.1016/s0749-0712(03)00043-x.
This article reviews the neuroanatomic and neurophysiologic foundations of music performance and learning. Music performance is regarded as complex voluntary sensorimotor behavior that becomes automated during extensive practice with auditory feedback. It involves all motor, somatosensory, and auditory areas of the brain. Because of the life-long plasticity of neuronal connections, practicing a musical instrument results first in a temporary and later in a stable increase in the amount of nerve tissue devoted to various component tasks. Motor and somatosensory brain regions corresponding to specific subtasks of music performance are larger in musicians starting younger than age 10 years than in the general population. In rare cases, overuse of movement patterns may induce a degradation of motor memory that results in a loss of voluntary control of movements, called musician's cramp. Specific therapeutic options for this condition are reviewed.
本文回顾了音乐表演和学习的神经解剖学和神经生理学基础。音乐表演被视为一种复杂的自主感觉运动行为，在有听觉反馈的广泛练习过程中会变得自动化。它涉及大脑的所有运动、躯体感觉和听觉区域。由于神经元连接具有终身可塑性，练习乐器首先会导致用于各种组成任务的神经组织量暂时增加，随后稳定增加。与音乐表演特定子任务相对应的运动和躯体感觉脑区，在10岁之前开始学习音乐的音乐家身上比普通人群更大。在罕见情况下，过度使用运动模式可能会导致运动记忆退化，从而导致对运动的自主控制丧失，即所谓的音乐家痉挛。本文还综述了针对这种情况的具体治疗方案。
