The importance of observing the master's hand: Action Observation Training promotes the acquisition of new musical skills.

mirror mechanism motor learning motor similarity music pedagogy musical training

Journal

Frontiers in neurology
ISSN: 1664-2295
Titre abrégé: Front Neurol
Pays: Switzerland
ID NLM: 101546899

Informations de publication

Date de publication:
2024
Historique:
received: 06 02 2024
accepted: 15 05 2024
medline: 14 6 2024
pubmed: 14 6 2024
entrez: 14 6 2024
Statut: epublish

Résumé

Via mirror mechanism, motor training approaches based on the alternation of action observation and execution (i.e., Action Observation Training-AOT) promote the acquisition of motor abilities. Previous studies showed that both visual and auditory stimuli may elicit a common motor representation of music-related gestures; however, the potentialities of AOT for the acquisition of musical skills are still underexplored. Twenty-one music-naïve participants underwent two blocks of training: AOT and Key-light Observation Training (KOT). AOT consisted of the observation of a melodic sequence played on a keyboard with the right hand by an expert model, followed by participant's imitation. Observation and execution were repeated six consecutive times (T1-T6). KOT followed the same procedure, except for the visual content of the stimulus, depicting the sequential highlighting of the piano keys corresponding to the melody. The rate of correct notes (C), the trainee-model similarity of key-pressure strength (S), and the trainee-model consistency of note duration (R) were collected across T1-T6. Both AOT and KOT improved musical performance. Noteworthy, AOT showed a higher learning magnitude relative to KOT in terms of C and S. Action Observation Training promotes the acquisition of key elements of melodic sequences, encompassing not only the accurate sequencing of notes but also their expressive characteristics, such as key-pressure dynamics. The convergence of listening and observation of actions onto a shared motor representation not only explains several pedagogical approaches applied in all musical cultures worldwide, but also enhances the potential efficacy of current procedures for music training.

Identifiants

pubmed: 38872813
doi: 10.3389/fneur.2024.1383053
pmc: PMC11169796
doi:

Types de publication

Journal Article

Langues

eng

Pagination

1383053

Informations de copyright

Copyright © 2024 Paolini, Bazzini, Ferrari, Errante, Fogassi, Rizzolatti, Fabbri-Destro, Avanzini and Nuara.

Déclaration de conflit d'intérêts

The authors declare that the research was conducted in the absence of any commercial or financial relationships that could be construed as a potential conflict of interest.

Auteurs

Simone Paolini (S)

Dipartimento di Medicina e Chirurgia, Università di Parma, Parma, Italy.
Consiglio Nazionale Delle Ricerche, Istituto di Neuroscienze, Parma, Italy.

Maria Chiara Bazzini (MC)

Consiglio Nazionale Delle Ricerche, Istituto di Neuroscienze, Parma, Italy.

Laura Ferrari (L)

Consiglio Nazionale Delle Ricerche, Istituto di Neuroscienze, Parma, Italy.
School of Advanced Studies, Center for Neuroscience, Università di Camerino, Camerino, Italy.

Antonino Errante (A)

Dipartimento di Medicina e Chirurgia, Università di Parma, Parma, Italy.
Dipartimento Diagnostico, Unità di Neuroradiologia, Azienda Ospedaliero-Universitaria di Parma, Parma, Italy.

Leonardo Fogassi (L)

Dipartimento di Medicina e Chirurgia, Università di Parma, Parma, Italy.

Giacomo Rizzolatti (G)

Dipartimento di Medicina e Chirurgia, Università di Parma, Parma, Italy.
Consiglio Nazionale Delle Ricerche, Istituto di Neuroscienze, Parma, Italy.

Maddalena Fabbri-Destro (M)

Consiglio Nazionale Delle Ricerche, Istituto di Neuroscienze, Parma, Italy.

Pietro Avanzini (P)

Consiglio Nazionale Delle Ricerche, Istituto di Neuroscienze, Parma, Italy.

Arturo Nuara (A)

Dipartimento di Medicina e Chirurgia, Università di Parma, Parma, Italy.

Classifications MeSH