Neurobiological Signs of Musical Performance in Sitting and Standing Position
Kondratenko, Anna Professor, Department of String Instruments, Macedonian Academy of Music, Soloist and Concertmaster of Macedonian Philharmonic Orchestra and F.A.M.E Film Orchestra under Macedonian Radio Television, Skopje, North Macedonia firstname.lastname@example.org
Maryanovskaya, Tatiana 2nd year Graduate Student, Mechanic-Mathematic Department, Novosibirsk National Research State University, Novosibirsk, Russia email@example.com
Bazanova, Olga Mikhailovna D.Sc. in Biology, Chief Researcher, Laboratory of Biofeedback Computer Systems, Federal Research Center for Fundamental and Translational Medicine at the Institute of Molecular Biology and Biophysics, Professor, Humanities and Social Sciences Center, MIPT University, Novosibirsk – Moscow, Russia firstname.lastname@example.org
Abstract Musical performance often has too much muscle-neuronal activation to promote finger movement than is absolutely necessary to accomplish a given motor task. Meanwhile, only the best musicians can perform brilliantly, eliminating these “excessive degrees of freedom” (Bernstein, 1996). The context of redundancy reflects the inefficiency of inhibitory voluntary motor control processes to achieve sensorimotor integration. This is indexed by an increase in the EEG amplitude of the upper alpha frequency range with a simultaneous decrease in the EMG power of excess muscle tension during fine motor skills. It remains unclear how the change in these indicators during the performance of motor tasks of the fingers affects the musical performance ability. The second question is how the alpha-EEG/EMG ratio changes when performing a dual sensorimotor task—finger movement + postural control. Here, we assumed that the fluency of performing movements is reflected by changes in the alpha-EEG of the brain and EMG power of the muscles, contributing to a decrease in the effectiveness of excessive inhibitory processes occurring in the standing position.