1. We used transcranial magnetic stimulation (TMS) to study the role of plastic changes of the human motor system in the acquisition of new fine motor skills. We mapped the cortical motor areas targeting the contralateral long finger flexor and extensor muscles in subjects learning a one-handed, five-finger exercise on the piano. In a second experiment, we studied the different effects of mental and physical practice of the same five-finger exercise on the modulation of the cortical motor areas targeting muscles involved in the task. 2. Over the course of 5 days, as subjects learned the one-handed, five-finger exercise through daily 2-h manual practice sessions, the cortical motor areas targeting the long finger flexor and extensor muscles enlarged, and their activation threshold decreased. Such changes were limited to the cortical representation of the hand used in the exercise. No changes of cortical motor outputs occurred in control subjects who underwent daily TMS mapping but did not practice on the piano at all (control group 1). 3. We studied the effect of increased hand use without specific skill learning in subjects who played the piano at will for 2 h each day using only the right hand but who were not taught the five-finger exercise (control group 2) and who did not practice any specific task. In these control subjects, the changes in cortical motor outputs were similar but significantly less prominent than in those occurring in the test subjects, who learned the new skill.(ABSTRACT TRUNCATED AT 250 WORDS)

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Modulation of muscle responses evoked by transcranial magnetic stimulation during the acquisition of new fine motor skills

Mental practice is the cognitive rehearsal of a task prior to performance. Although most researchers contend that mental practice is an effective means of enhancing performance, a clear consensus is precluded because (a) mental practice is often denned so loosely as to include almost any type of mental preparation and (b) empirical results are inconclusive. A meta-analysis of the literature on mental practice was conducted to determine the effect of mental practice on performance and to identify conditions under which mental practice is most effective. Results indicated that mental practice has a positive and significant effect on performance, and the effectiveness of mental practice was moderated by the type of task, the retention interval between practice and performance, and the length or duration of the mental practice intervention. Mental practice refers to the cognitive rehearsal of a task in the absence of overt physical movement. When a musician practices a passage by thinking it through or when an athlete prepares for an event by visualizing the steps required to perform the task, he or she is engaging in mental practice. A number of studies have examined the effects of mental practice on performance. Whereas the research of Kelsey (1961) and Ryan and Simons (1982) supports the efficacy of mental practice for enhancing performance, Beasley (1978) reported negative results. An astute reviewer may be able to estimate the direction and magnitude of effect of the relationship between mental practice and performance from the preponderance of evidence across the majority of studies. For example, Richardson (1967a) concluded that most studies support the efficacy of mental practice on performance. However, Richardson, and later Corbin (1972), noted that this evidence was inconclusive. Because different studies use different types of tasks, with different types of subjects, and report different study statistics, it is difficult if not impossible to integrate these disparate research studies on an intuitive level to draw firm conclusions on the effectiveness of mental practice. The purpose of this study was to integrate the literature on mental practice, summarize the overall effects of mental practice on performance, and specify the conditions under which mental practice is most effective.

Does mental practice enhance performance

Brain structures participating in mental simulation of motor behavior: a neuropsychological interpretation.

Cerebral processes related to visuomotor imagery and generation of simple finger movements studied with positron emission tomography.

Playing a musical instrument demands extensive procedural and motor learning that results in plastic reorganization of the human brain These plastic changes seem to include the rapid unmasking of existing connections and the establishment of new ones Therefore, both functional and structural changes take place in the brain of instrumentalists as they learn to cope with the demands of their activity Neuroimaging techniques allow documentation of these plastic changes in the human brain These plastic changes are fundamental to the accomplishment of skillful playing, but they pose a risk for the development of motor control dysfunctions that may give rise to overuse syndromes and focal, task-specific dystonia

The Brain That Plays Music and Is Changed by It

To explore the effects of mental rehearsal on the performance of a motor skill, 32 college undergraduates were scored on dart-throwing ability and randomly assigned to one of 4 practice conditions: no-practice controls, mental rehearsal only, mental rehearsal with simulated dart-throwing motor movements, and direct physical practice. Following 6 days of mental or physical practice by the experimental groups, the performance level on the dart-throwing task was again measured for all subjects. Comparison of improvement showed statistically significant differences between the groups. Follow-up tests showed that all experimental groups differed significantly from the no-practice group, there were no significant differences between mental practice groups and direct physical practice resulted in improvements significantly higher than any other form of practice.

Dwight Mendoza

Papers

"Inner" darts: effects of mental practice on performance of dart throwing.