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音乐实践与认知老化:两项横断面研究指出音素流畅性是使用依赖性适应的潜在候选者

Musical practice and cognitive aging: two cross-sectional studies point to phonemic fluency as a potential candidate for a use-dependent adaptation

Baptiste Fauvel, Groussard Mathilde, Mutlu Justine, Arenaza-Urquijo Eider M., Eustache Francis, Desgranges Béatrice, Platel Hervé

摘要:

由于永久使用依赖的大脑可塑性,所有终身个体的经验被认为会影响认知老化质量。在老年人中,以前和现在的音乐实践都与更好的语言技能,视觉记忆,处理速度和计划功能有关。这项工作旨在通过比较音乐家和非音乐家个人的两个一生时期(成年中期和晚期)的音乐实践和认知老化之间的相互作用。长期记忆,词汇-语言短期记忆,处理速度,非语言推理和语言流畅性进行了评估。在第一项研究中,音乐家的处理速度和口头短期记忆的测量结果明显好于对照组,但两组显示出相同的年龄相关差异。在语言流畅性方面,音乐家的得分高于对照组,并显示出不同的年龄效应。在研究2中,我们发现训练开始时的一生(童年与成年)与音位流畅性表现有关,但与语义流畅性表现无关(成年后开始练习的音乐家在音位流畅性方面的表现并不比非音乐家好)。目前的训练频率并没有考虑到音乐家在这两个方面的得分。这些模式的结果进行了讨论,通过设置一个对非因果解释的音乐实践的变革性影响的假设。

英文摘要:

Because of permanent use-dependent brain plasticity, all lifelong individuals' experiences are believed to influence the cognitive aging quality. In older individuals, both former and current musical practices have been associated with better verbal skills, visual memory, processing speed, and planning function. This work sought for an interaction between musical practice and cognitive aging by comparing musician and non-musician individuals for two lifetime periods (middle and late adulthood). Long-term memory, auditory-verbal short-term memory, processing speed, non-verbal reasoning, and verbal fluencies were assessed. In Study 1, measures of processing speed and auditory-verbal short-term memory were significantly better performed by musicians compared with controls, but both groups displayed the same age-related differences. For verbal fluencies, musicians scored higher than controls and displayed different age effects. In Study 2, we found that lifetime period at training onset (childhood vs. adulthood) was associated with phonemic, but not semantic, fluency performances (musicians who had started to practice in adulthood did not perform better on phonemic fluency than non-musicians). Current frequency of training did not account for musicians' scores on either of these two measures. These patterns of results are discussed by setting the hypothesis of a transformative effect of musical practice against a non-causal explanation.

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