New learning tool on the horizon, teaching hand position through electronic stimulus

This one sounds like something out of science fiction, but it is not.

WANT to learn a musical instrument, but can't find the time to practise? A device now under development can take control of your hand and teach you how to play a tune. No spirits of dead musicians are involved.

PossessedHand, being developed jointly by the University of Tokyo, Japan, and Sony Computer Science Laboratories, also in Tokyo, electrically stimulates the muscles in the forearm that move your fingers. A belt worn around that part of the subject's arm contains 28 electrode pads, which flex the joints between the three bones of each finger and the two bones of the thumb, and provide two wrist movements. Users were able to sense the movement of their hands that this produced, even with their eyes closed. "The user's fingers are controlled without the user's mind," explains Emi Tamaki of the University of Tokyo, who led the research.

Devices that stimulate people's fingers have been made before, but they used electrodes embedded in the skin, which are invasive, or glove-like devices that make it hard to manipulate an object. Tamaki claims that her device is far more comfortable. "The electric stimulations are similar to low-frequency massage stimulations that are commonly used," she says.

Having successfully hijacked a hand, the researchers tried to teach it how to play the koto, a traditional Japanese stringed instrument. Koto players wear different picks on three fingers, but pluck the strings with all five fingertips, so each finger produces a distinctive sound. A koto score tells players which fingers should be moved and when, and from this Tamaki and her team were able to generate instructions telling their device how and when to stimulate the wearer's muscles.

PossessedHand does not generate enough force to pluck the koto strings, but it could help novice players by teaching them the correct finger movements. Tamaki and her team found that two beginner players made a total of four timing errors when using PossessedHand, compared with 13 when playing unassisted. After prompting from the device, the players also made one less mistake about which finger to use.

Read the article at New Sceintist
Hand-hacking lets you pluck strings like a musical pro - tech - 23 June 2011 - New Scientist

Does Addictive Internet use alter the Brain?

Kids spend an increasing fraction of their formative years online, and it is a habit they dutifully carry into adulthood. Under the right circumstances, however, a love affair with the Internet may spiral out of control and even become an addiction.

Whereas descriptions of online addiction are controversial at best among researchers, a new study cuts through much of the debate and hints that excessive time online can physically rewire a brain.

The work, published June 3 in PLoS ONE, suggests self-assessed Internet addiction, primarily through online multiplayer games, rewires structures deep in the brain. What's more, surface-level brain matter appears to shrink in step with the duration of online addiction.

"I'd be surprised if playing online games for 10 to 12 hours a day didn't change the brain," says neuroscientist Nora Volkow of the National Institute on Drug Abuse, who wasn't involved in the study. "The reason why Internet addiction isn't a widely recognized disorder is a lack of scientific evidence. Studies like this are exactly what is needed to recognize and sette on its diagnostic criteria," if it is a disorder at all, she says.*

Defining an addiction
Loosely defined, addiction is a disease of the brain that compels someone to obsess over, obtain and abuse something, despite unpleasant health or social effects. And "internet addiction" definitions run the gamut, but most researchers similarly describe it as excessive (even obsessive) Internet use that interferes with the rhythm of daily life.

Yet unlike addictions to substances such as narcotics or nicotine, behavioral addictions to the Internet, food, shopping and even sex are touchy among medical and brain researchers. Only gambling seems destined to make it into the next iteration of the Diagnostic and Statistical Manual of Mental Disorders, or DSM, the internationally recognized bible of things that can go awry with the brain.

Nevertheless, Asian nations are not waiting around for a universal definition of Internet addiction disorder, or IAD.

Read the article at Scientifc American

Summer is here

As we head into the summer this little blog will be slowing down and kind of going on vacation for awhile until fall. There will be less postings than usual unless something really big happens!

Hope everyone has a great summer and stay tuned for more music news in the fall!

Do Musicians have Better Brains?

A new study here summary here) argues that musicians have more highly developed brains than the rest of us. The research relates the concept of high mind development to the potential to become really good at something:

New research shows that musicians’ brains are highly developed in a way that makes the musicians alert, interested in learning, disposed to see the whole picture, calm, and playful. The same traits have previously been found among world-class athletes, top-level managers, and individuals who practice transcendental meditation.

Using EEG‘s to measure brain activity, researchers concluded the following about the brains of musicians:

They have well-coordinated frontal lobes. Our frontal lobes are what we use for higher brain functions, such as planning and logical thinking. Another characteristic is that activity at a certain frequency, so-called alpha waves, dominates. Alpha waves occur when the brain puts together details into wholes. Yet another EEG measure shows that individuals with high mind brain development use their brain resources economically. They are alert and ready for action when it is functional to be so, but they are relaxed and adopt a wait-and-see attitude when that is functional.

 Read the article at freakonomics.com

The Weekly Round up

Some interesting and offbeat items from the online world over the past week or so.

Nice work if you can get it!  Stagehands at Carnegie Hall take home a pretty good wage, well into 6 figures, some as much as a half million dollars a year. Carnegie Hall's CFO only makes around $386,000 per year. Sounds like backstage staff gets paid a lot more than the artists they are supporting (?!?) (Source: . Bloomberg.com )


Playing a wind instrument can cause respiratory problems:  A note to all you wind and brass players out there, would be a good idea to clean your mouthpiece and reeds on occasion. Yup, it is now official, (Just in case you weren't sure) that those little germs and bacteria that can hide in your instrument and the fuzzy stuff on your reeds might not be good for you. The Claim: Playing a Wind Instrument causes Respiratory Infections (New York Times May 24, 2011)

How Much Should you Practice?

2 hours? 4 hours? 8 hours? 12 hours?
How much is enough?
Is there such a thing as practicing too much?
Is there an optimal number of hours that one should practice?

What Do Performers Say?

Some of the great artists of the 20th century have shared their thoughts on these questions. I once read an interview with Rubinstein (or it may have been Horowitz – I can’t remember exactly whom), in which he stated that nobody should have to practice more than four hours a day, explaining that if you needed to practice more than four hours a day, you probably weren’t doing it right.
Other great artists have expressed similar sentiments. Violinist Nathan Milstein is said to have once asked his teacher Leopold Auer how many hours a day he should be practicing. “If you practice with your fingers, no amount is enough,” was Auer’s response. “If you practice with your head, two hours is plenty.”
Heifetz also indicated that he never believed in practicing too much, and that excessive practice is “just as bad as practicing too little!” He claimed that he practiced no more than three hours per day on average, and that he didn’t practice at all on Sundays. You know, this is not a bad idea – one of my own teachers, Donald Weilerstein, once suggested that I establish a 24-hour period of time every week where I was not allowed to pick up my instrument.

What Do Psychologists Say?

When it comes to understanding expertise and expert performance, psychologist Dr. K. Anders Ericsson is perhaps the world’s leading authority. His research is the basis for the “ten-year rule” and “10,000-hour rule” which suggest that it requires at least ten years and/or 10,000 hours of deliberate practice to achieve an expert level of performance in any given domain – and in the case of musicians, often closer to 25 years in order to attain an elite international level. Note that the real key here is not the amount of practice required but the type of practice required to attain an expert level of performance. In other words, just practicing any old way doesn’t cut it.

Mindless Practice

Have you ever listened to someone practice? Have you ever listened to yourself practice, for that matter? Tape yourself practicing for an hour, take a walk through the practice room area at school and eavesdrop on your fellow students, or ask your students to pretend they are at home and watch them practice during a lesson. What do you notice?
You’ll notice that the majority of folks practice rather mindlessly, either engaging in mere repetition (“practice this passage 10 times” or “practice this piece for 30 minutes”) or practicing on autopilot (that’s when we play through the piece until we hear something we don’t like, stop, repeat the passage again until it sounds better, and resume playing through the piece until we hear the next thing we aren’t satisfied with, at which point we begin this whole process over again).
There are three major problems with the mindless method of practicing.
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