Playing a musical instrument requires fast multimodal sensory-motor processing which can be activated by voluntary access to performance imagery. Musicians use different methods to activate imagery for the purpose of "mental practice". The aim of the present study was to investigate cortical activation patterns in different methods of mental practice of musical performance. While undergoing functional magnetic resonance imaging (fMRI), 7 male oud (fretless lute) players engaged in performance imagery of a pre-memorized short excerpt from mainstream oud repertoire using three common imagery methods (task conditions): From memory (internally driven) 1)eyes closed, 2)eyes open, and while following the musical score (symbol driven). The study design consisted of a four-task 16-epoch block design where the 4th task was an eyes-open rest tasks (EOR) included as a control condition. Each task was repeated four times in a pseudorandomized sequence. The superior temporal gyrus and transvers temporal gyrus (Heschl) were active in the left and right hemispheres in all imagery conditions. The occipital cortex, specifically the fusiform gyrus was active in all three conditions. Symbol driven imagery resulted in less prominent activations in frontal and parietal lobes. The findings suggest that not all imagery modalities activate sensory and motor areas similarly.

中文翻译：

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并非所有图像都是一样的：内部驱动和符号驱动的音乐表演图像的功能磁共振成像研究


演奏乐器需要快速的多模式感觉运动处理，这可以通过自愿访问演奏图像来激活。音乐家使用不同的方法来激活意象，以达到“心理练习”的目的。本研究的目的是调查音乐表演心理练习不同方法中的皮层激活模式。在接受功能磁共振成像 (fMRI) 时，7 名男性乌德琴（无品鲁特琴）演奏者使用三种常见的想象方法（任务条件）对预先记忆的主流乌德琴曲目的简短摘录进行表演想象： 从记忆（内部驱动）1 ）闭上眼睛，2）睁开眼睛，并遵循乐谱（符号驱动）。研究设计由四任务 16 时期块设计组成，其中第四项任务是作为控制条件的睁眼休息任务 (EOR)。每项任务以伪随机序列重复四次。在所有图像条件下，左半球和右半球的颞上回和颞横回（Heschl）都很活跃。枕叶皮质，特别是梭状回在这三种情况下都很活跃。符号驱动的意象导致额叶和顶叶的激活不太明显。研究结果表明，并非所有意象模式都会类似地激活感觉和运动区域。