{"id":11365,"date":"2013-07-03T00:00:00","date_gmt":"2013-07-02T23:00:00","guid":{"rendered":"https:\/\/www.musikzeitung.ch\/allgemein\/das-gehirn-von-pianisten\/"},"modified":"2023-02-03T12:27:09","modified_gmt":"2023-02-03T11:27:09","slug":"das-gehirn-von-pianisten","status":"publish","type":"post","link":"https:\/\/www.musikzeitung.ch\/it\/basis\/2013\/07\/das-gehirn-von-pianisten","title":{"rendered":"Il cervello dei pianisti"},"content":{"rendered":"<img decoding=\"async\" class=\"size-full\" src=\"https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2023\/01\/head_logo_4.jpg\" alt=\"\" \/>\n<div class='text-section'><\/div>\n<div class='text-section'>\n<p>In brani musicali particolarmente impegnativi (come alcuni passaggi del Sesto Studio di Paganini di Franz Liszt), gli intervalli tra i singoli movimenti delle dita non devono superare i 30 millisecondi. Inoltre, devono essere realizzati con la massima precisione. In confronto, gli intervalli pi\u00f9 veloci che i musicisti non esperti possono raggiungere sono piuttosto modesti (circa 150 millisecondi). Diversi studi hanno dimostrato che sono necessarie pi\u00f9 di 10.000 ore di allenamento per raggiungere prestazioni da professionista. Un allenamento cos\u00ec intenso lascia \"tracce\" nelle aree del cervello coinvolte nel controllo delle competenze. Le aree cerebrali coinvolte nelle aree motorie, in particolare, mostrano talvolta notevoli cambiamenti anatomici e neurofisiologici.<\/p>\n<p>Gli studi neuroanatomici pubblicati finora su questo argomento hanno dimostrato che nei pianisti le aree motorie primarie che controllano le dita sono diventate particolarmente grandi in entrambi gli emisferi. Questi cambiamenti nelle dimensioni si manifestano in un volume maggiore di tessuto neuronale, ma anche in una maggiore superficie corticale nella corteccia motoria della mano. Oltre a queste differenze di volume, si possono individuare anche cambiamenti nei sistemi di cavi che collegano le aree motorie del cervello con le mani e le gambe.<\/p>\n<p>\u00c8 probabile che queste peculiarit\u00e0 anatomiche si siano sviluppate nel corso dell'apprendimento motorio. Quanto pi\u00f9 precoce \u00e8 l'inizio della formazione musicale, tanto pi\u00f9 pronunciati sono i cambiamenti anatomici. Esistono anche differenze marcate tra i musicisti, a seconda dello strumento che suonano. Nei pianisti, le due aree motorie della mano sull'emisfero destro e sinistro sono particolarmente grandi e pi\u00f9 fortemente collegate in rete. Nei suonatori di archi, invece, che devono allenare soprattutto le dita della mano sinistra, solo la corteccia motoria della mano destra \u00e8 diventata anatomicamente evidente o pi\u00f9 grande. Speciali adattamenti anatomici si riscontrano anche nel tratto corticospinale, che collega la corteccia motoria della mano con le mani e le braccia.<\/p>\n<\/div>\n<div class='text-section'><strong>Accoppiamenti funzionali<\/strong><\/p>\n<p>Oltre a questi adattamenti specifici del sistema motorio, esistono anche peculiarit\u00e0 neurofisiologiche nell'accoppiamento funzionale tra le aree motorie e sensoriali, in particolare tra la corteccia motoria e quella uditiva. Come gi\u00e0 detto, le attivazioni neurofisiologiche nelle aree motorie del cervello dei pianisti sono particolarmente adattate a suonare il pianoforte. Questo particolare adattamento \u00e8 riconoscibile anche dall'ottimizzazione dell'eccitazione neurofisiologica delle aree cerebrali coinvolte. Nei pianisti, le attivazioni neurofisiologiche nelle aree motorie durante l'esecuzione del pianoforte sono inferiori rispetto alle persone non allenate. A quanto pare, in seguito alla pratica frequente, si sono creati i circuiti neuronali pi\u00f9 adatti a consentire i processi motori.<\/p>\n<p>Grazie alla pratica, i pianisti altamente qualificati hanno sviluppato un sistema di controllo automatico degli errori che consente loro di riconoscere e controllare inconsciamente gli errori motori mentre suonano. Tuttavia, il controllo degli errori non riguarda l'azione appena eseguita in modo errato, ma piuttosto le azioni future.<\/p>\n<\/div>\n<div class='text-section'><strong>In grado di apprendere fino alla vecchiaia<\/strong><\/p>\n<p>\u00c8 notevole che tali adattamenti neurofisiologici e neuroanatomici non si verifichino solo nella prima infanzia e nell'adolescenza, ma anche nell'et\u00e0 adulta e, cosa particolarmente interessante, anche nella vecchiaia. In questo senso, l'acquisizione di abilit\u00e0 musicali non \u00e8 riservata solo ai giovani, ma \u00e8 possibile anche in et\u00e0 avanzata. \u00c8 possibile che il cervello umano sia plastico per tutta la vita, per cui l'apprendimento della musica pu\u00f2 essere acquisito anche in et\u00e0 avanzata.<\/p>\n<p>Prof Dr. rer. nat. Lutz J\u00e4ncke<\/p>\n<p>Universit\u00e0 di Zurigo\/Psychol. Istituto<\/p>\n<p>Cattedra di Neuropsicologia<\/p>\n<p>&gt; lutz.jaencke@uzh.ch<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"<p><strong>I pianisti pi\u00f9 bravi devono eseguire movimenti delle dita precisi e, soprattutto, molto veloci per padroneggiare i brani di musica classica. L'allenamento intensivo modifica anche il cervello.<\/strong><\/p>","protected":false},"author":30,"featured_media":10243,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_relevanssi_hide_post":"","_relevanssi_hide_content":"","_relevanssi_pin_for_all":"","_relevanssi_pin_keywords":"","_relevanssi_unpin_keywords":"","_relevanssi_related_keywords":"","_relevanssi_related_include_ids":"","_relevanssi_related_exclude_ids":"","_relevanssi_related_no_append":"","_relevanssi_related_not_related":"","_relevanssi_related_posts":"","_relevanssi_noindex_reason":"","pgc_sgb_lightbox_settings":"","footnotes":""},"categories":[31,50],"tags":[],"class_list":["post-11365","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-basis","category-smm"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Das Gehirn von\u2028Pianisten - Schweizer Musikzeitung<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.musikzeitung.ch\/it\/basis\/2013\/07\/das-gehirn-von-pianisten\/\" \/>\n<meta property=\"og:locale\" content=\"it_IT\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Das Gehirn von\u2028Pianisten - Schweizer Musikzeitung\" \/>\n<meta property=\"og:description\" content=\"Sehr gute Pianisten m\u00fcssen pr\u00e4zise und vor allem sehr schnelle Fingerbewegungen durchf\u00fchren, um die klassischen Musikst\u00fccke zu bew\u00e4ltigen. 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