In this chapter we discuss the implications of our research in the wider context of current models of brain function, endeavoring to understand the consequences of score-dependence and improvisation in terms of the ‘predicting brain’, the dual-stream model of perception and action, the procedural-declarative …

Prof. Dr. Rineke Smilde and René van Munster have been invited to present the music practices developed by the research group Lifelong Learning in Music in the field of music and health care to students and invited guests of the Royal Academy of Music Arhus (Denmark). Among the invited guests are policy …

Design research is used to develop a piano method for use by Cochlear Implant users. The method is designed to promote audiomotor integration rather than visuomotor integration, but will not involve singing. It is based on our current understanding of brain function, in particular the concepts of the …

The realization of one’s musical ideas at the keyboard is dependent on the ability to transform sound into movement, a process called audiomotor transformation. Using fMRI, we investigated cerebral activations while classically‐trained improvising and non‐improvising musicians imagined playing along …

Three topics are discussed: audiomotor transformations in music, the aural perception of music, and procedural learning and music syntax. Biologically, the ability to make music and enjoy it is based on the innate capacities for beat induction and relative pitch (recognition of melodic contour). The …

While improvisation is considered to be an art form, particularly in jazz, but also in eighteenth-century music, it may also be seen as an didactic instrument which can be used to develop implicit knowledge of music syntax. Two types of syntax may be distinguished: finite state grammars and hierarchical …

of patients.

The realization of one’s musical ideas at the keyboard is dependent on the ability to transform sound into movement, a process called audiomotor transformation. Using fMRI, we investigated cerebral activations while classically-trained improvising and non-improvising musicians imagined playing along …