Interestingly, pseudorandom and musical generation appear to rely on a common set of regions, which includes the dorsolateral prefrontal cortex (DLPFC), the anterior cingulate cortex, the presupplementary motor area (preSMA), and the inferior frontal gyrus (IFG de Manzano and Ullén, 2012b). The neuropsychology of creativity has been studied using tasks ranging from pseudorandom generation of simple responses to the production of musical or verbal materials ( Frith, 2000 Nathaniel-James and Frith, 2002 Lau et al., 2004).
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Correspondingly, creative cognition is commonly assumed to involve the free generation of possible solutions as well as selection among the produced alternatives ( Campbell, 1960). We show that the greater functional connectivity seen in experienced improvisers may reflect a more efficient exchange of information within associative networks of importance for musical creativity.Ĭreative products are by definition both novel and meaningful.
Second, improvisational musical training can influence functional brain properties at a network level. These results indicate that even neural mechanisms involved in creative behaviors, which require a flexible online generation of novel and meaningful output, can be automated by training. The effects were significant when controlling for hours of classical piano practice and age. In contrast, improvisation training was positively associated with functional connectivity of the bilateral dorsolateral prefrontal cortices, dorsal premotor cortices, and presupplementary areas.
We found total hours of improvisation experience to be negatively associated with activity in frontoparietal executive cortical areas.
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Here, we used human functional MRI to measure brain activity during improvisation in a sample of 39 professional pianists with varying backgrounds in classical and jazz piano playing. Musicians have been used extensively to study neural correlates of long-term practice, but no studies have investigated the specific effects of training musical creativity.
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