When sight-reading a score, a timpanist needs to decide in real-time which stick to use to play a specific note while interpreting the musical material. Our main point of inquiry seeks to understand which sticking patterns performers employ and how they are affected by rhythmic stability. This paper analyzes the bi-manual sequencing (i.e., sticking) patterns of 31 timpanists in a sight-reading task. We analyze their results compared to model sticking patterns common in percussion pedagogical literature. Results show that while hand dominance plays an essential role in an individual\'s sticking pattern, the stability of a rhythmic pattern may also dramatically influence the observed particular sticking strategies. In areas of rhythmic stability, performers largely adhered to one of two conventional sticking patterns in the literature (dominant hand lead & alternating). Where rhythmic patterns became more unstable, the performers separated into diverse sticking groups. Moreover, several performers demonstrated sticking patterns which were hybrids or an inverse of the model sticking patterns, without any impact on the success of their sight-reading abilities. Overall, no two individual performers demonstrated the same sticking pattern. In terms of percussion pedagogy, our findings suggest that performers may benefit from an awareness of the adaptability of model sticking strategies. Lastly, we make the case for further study of rhythmic stability and bi-manual sequencing by locating the difference between notational and aural complexity.

In this review, we focus on the methodological aspects of eye-tracking research in the domain of music, published and/or available between 1994 and 2017, and we identify potentially fruitful next steps to increase coherence and systematicity within this emerging field. We review and discuss choices of musical stimuli, the conditions under which these were performed (i.e. control of performance tempo and music-reading protocols), performer\'s level of musical expertise, and handling of performance errors and eye-movement data. We propose that despite a lack of methodological coherence in research to date, careful reflection on earlier methodological choices can help in formulating future research questions and in positioning new work. These steps would represent progress towards a cumulative research tradition, where joint understanding is built by systematic and consistent use of stimuli, research settings and methods of analysis.

The Spatial-Numerical Association of Response Codes (SNARC) suggests the existence of an association between number magnitude and response location, with faster left key-press responses to small numbers and faster right key-press responses to large numbers. We investigated whether a similar association exists between musical notes on the stave and the space of response execution, involving amateur and expert musicians (Experiment 1). Moreover, in Experiment 2 we further investigated such association in two groups of expert musicians (piano and transverse flute players) who differ in the note mapping on their instruments. Results indicate a clear association between musical notes and the space of response execution only for musicians with formal education. Furthermore, this association seems not to be influenced by the specific instrument played, as both piano and transverse flute players showed the same effect direction (left key-press advantage for low notes, and vice versa).

Musical score reading and word reading have much in common, from their historical origins to their cognitive foundations and neural correlates. In the ventral occipitotemporal cortex (VOT), the specialization of the so-called Visual Word Form Area for word reading has been linked to its privileged structural connectivity to distant language regions. Here we investigated how anatomical connectivity relates to the segregation of regions specialized for musical notation or words in the VOT. In a cohort of professional musicians and non-musicians, we used probabilistic tractography combined with task-related functional MRI to identify the connections of individually defined word- and music-selective left VOT regions. Despite their close proximity, these regions differed significantly in their structural connectivity, irrespective of musical expertise. The music-selective region was significantly more connected to posterior lateral temporal regions than the word-selective region, which, conversely, was significantly more connected to anterior ventral temporal cortex. Furthermore, musical expertise had a double impact on the connectivity of the music region. First, music tracts were significantly larger in musicians than in non-musicians, associated with marginally higher connectivity to perisylvian music-related areas. Second, the spatial similarity between music and word tracts was significantly increased in musicians, consistently with the increased overlap of language and music functional activations in musicians, as compared to non-musicians. These results support the view that, for music as for words, very specific anatomical connections influence the specialization of distinct VOT areas, and that reciprocally those connections are selectively enhanced by the expertise for word or music reading.

Music and mathematics require abstract thinking and using symbolic notations. Controversy exists regarding transfer from musical training to math achievements. The current study examined the effect of two integrated intervention programs representing holistic versus acoustic approaches, on fraction knowledge. Three classes of fourth graders attended 12 lessons on fractions: One class attended the \'MusiMath\' holistic program (n = 30) focusing on rhythm within the melody. Another class attended the \'Academic Music\' acoustic program (Courey et al., Educ Stud Math 81:251, 2012) (n = 25) which uses rhythm only. The third class received regular fraction lessons (comparison group, n = 22). Students in both music programs learned to write musical notes and perform rhythmic patterns through clapping and drumming as part of their fraction lessons. They worked toward adding musical notes to produce a number (fraction), and created addition/subtraction problems with musical notes. The music programs used a 4/4 time signature with whole, half, quarter and eighth notes. In the math lessons, the students learned the analogy between musical durations and 12,14,18 fractions, but also practiced fractions other than 12,14,18 . Music and math were assessed before, immediately following, and 3- and 6-months post-intervention. Pre- to post-intervention analyses indicated that only the \'MusiMath\' group showed greater transfer to intervention-trained and untrained fractions than the comparison group. The \'Academic Music\' group showed a trend on trained fractions. Although both music groups outperformed the comparison group 3- and 6-months post-intervention on trained fractions, only the \'MusiMath\' group demonstrated greater gains in untrained fractions. Gains were more evident in trained than in untrained fractions. A video abstract of this article can be viewed at https://youtu.be/uJ_KWWDO624.

The acquisition of literacy has a profound impact on the functional specialization and lateralization of the visual cortex. Due to the overall lateralization of the language network, specialization for printed words develops in the left occipitotemporal cortex, allegedly inducing a secondary shift of visual face processing to the right, in literate as compared to illiterate subjects. Applying the same logic to the acquisition of high-level musical literacy, we predicted that, in musicians as compared to non-musicians, occipitotemporal activations should show a leftward shift for music reading, and an additional rightward push for face perception. To test these predictions, professional musicians and non-musicians viewed pictures of musical notation, faces, words, tools and houses in the MRI, and laterality was assessed in the ventral stream combining ROI and voxel-based approaches. The results supported both predictions, and allowed to locate the leftward shift to the inferior temporal gyrus and the rightward shift to the fusiform cortex. Moreover, these laterality shifts generalized to categories other than music and faces. Finally, correlation measures across subjects did not support a causal link between the leftward and rightward shifts. Thus the acquisition of an additional perceptual expertise extensively modifies the laterality pattern in the visual system.

OBJECTIVE: Being able to identify expressions of emotion is crucial to effective clinical communication research. However, traditional linguistic coding systems often cannot represent emotions that are expressed nonlexically or phonologically (i.e., not through words themselves but through vocal pitch, speed/rhythm/tempo, and volume).
METHODS: Using audio recording of a palliative care consultation in the natural hospital setting, two experienced music scholars employed Western musical notation, as well as the graphic realization of a digital audio program (Piano roll visualization), to visually represent the sonic features of conversation where a patient has an emotional \"choke\" moment.
RESULTS: Western musical notation showed the ways that changes in pitch and rate correspond to the patient\'s emotion: rising sharply in intensity before slowly fading away. Piano roll visualization is a helpful supplement.
CONCLUSIONS: Using musical notation to illustrate palliative care conversations in the hospital setting can render visible for analysis several aspects of emotional expression that researchers otherwise experience as intuitive or subjective. Various forms and formats of musical notation techniques and sonic visualization technologies should be considered as fruitful and complementary alternatives to traditional coding tools in clinical communications research.
CONCLUSIONS: Musical notation offers opportunity for both researchers and learners to \"see\" how communication evolves in clinical encounters, particularly where the lexical and phonological features of interpersonal communication are concordant and discordant with one another.