Precise control of movement and timing play a key role in musical performance. This motor skill requires coordination across multiple joints, muscles, and limbs, which is acquired through extensive musical training from childhood on. Thus, making music can be a strong driver for neuroplasticity. We here present the rare case of a professional french horn player with a congenital bilateral amelia of the upper limbs. We were able to show a unique cerebral and cerebellar somatotopic representation of his toe and feet, that do not follow the characteristic patterns of contralateral cortical and ipsilateral cerebellar layout. Although being a professional horn player who trained his embouchure muscles, including tongue, pharyngeal, and facial muscle usage excessively, there were no obvious signs for an expanded somatosensory representation in this part of the classic homunculus. Compared to the literature and in contrast to control subjects, the musicians’ foot movement-related activations occurred in cerebellar areas that are typically more related to hand than to foot activation.

中文翻译：

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双侧阿米莉亚圆号演奏者的神经可塑性

运动和时间的精确控制在音乐表演中起着关键作用。这种运动技能需要多个关节、肌肉和四肢的协调，这是从童年开始就通过广泛的音乐训练获得的。因此，制作音乐可以成为神经可塑性的强大驱动力。我们在这里介绍一个罕见的职业圆号演奏者患有上肢先天性双侧阿米利亚的病例。我们能够展示他的脚趾和脚部的独特的大脑和小脑体细胞表征，不遵循对侧皮质和同侧小脑布局的特征模式。虽然是专业的号角演奏家，过度训练了嘴巴、咽部和面部肌肉的使用，在经典的 homunculus 的这一部分中，没有明显的体感表征扩大的迹象。与文献相比，与对照组相比，音乐家的足部运动相关激活发生在小脑区域，这些区域通常与手部相关，而不是与足部激活相关。