ABSTRACT
ANTECEDENTES: La Batería Montreal de Evaluación de Amusia (MBEA) es un instrumento de reciente creación, utilizado para evaluar percepción y memoria musical asociadas al funcionamiento de lóbulos temporales. La epilepsia de lóbulo temporal no sintomática (ELTns) es una condición de alta prevalencia en México; esto proporciona una oportunidad para evaluar la MBEA, considerando que las crisis epilépticas pueden producir alteraciones neuropsicológicas específicas según la localización lobular y la lateralización de foco epileptogénico (LFE). OBJETIVO: Explorar las propiedades psicométricas y diagnósticas de la MBEA. MÉTODO: Dos muestras no probabilística de 31 controles y 22 casos de epilepsia ELTns fueron evaluados con la MBEA. Se utilizaron asimismo los datos estandarizados originales de la MBEA para comparación de controles. RESULTADOS: El análisis con prueba t mostró desempeños significativamente menores de los casos en comparación con los controles y significativamente menores entre controles y la norma. No se encontraron diferencias significativas en los puntajes según LFE. El análisis por Curvas ROC mostró propiedades cuestionables de sensibilidad y especificidad en la MBEA utilizando la ELTns como variable de estado. DISCUSIÓN Y CONCLUSIÓN: Se hallaron alteraciones en funciones de percepción musical en los casos; sin embargo, se detectaron inconsistencias teóricas con respecto a la relación de funciones afectadas. Las diferencias entre el grupo control y la norma apuntan a continuar evaluando la MBEA en población mexicana. La MBEA parece ser una medida poco precisa en términos de sensibilidad y especificidad para las alteraciones amúsicas en la ELTns, y su utilidad como medida de apoyo en la determinación de LFE permanece incierta.
BACKGROUND: The Montreal Battery of Evaluation of Amusia (MBEA) is a newly developed instrument to assess music perception and memory, associated to temporal lobe functioning. The non-symptomatic temporal lobe epilepsy is a prevalent condition in Mexico, and it gives an opportunity to test the MBEA, considering the fact that epileptic seizures can cause neuropsychological impairment according to lobar localization and hemispherical lateralization of the epileptogenic foci. OBJECTIVE: To explore the psychometric and diagnostic properties of the MBEA. METHOD: Two non-probabilistic samples of 31 control subjects and 22 cases with non-symptomatic temporal lobe epilepsy were assessed with the MBEA. Data from the original validation were used to compare with the control group. RESULTS: Analysis with t test showed significantly lower performances in the case group relative to controls, and a general lower performance of controls compared to the norm. There was no significant difference in performance between cases with left epileptogenic foci and cases with right epileptogenic foci. ROC curve analysis showed questionable properties of sensitivity and specificity in the MBEA. DISCUSSION AND CONCLUSION: Impairments in music perception were found in cases, although theoretical inconsistences with respect to relation between impaired functions were also detected. The performance of the control group relative to the norm aims to the continuation of the validation process, considering cultural differences. The MBEA seems to be a poor measure in terms of sensibility and specificity for the detection of amusic impairments in subjects with non-symptomatic temporal lobe epilepsy, and its utility for determining hemispheric lateralization of epileptogenic foci remains uncertain.
ABSTRACT
O Ouvido Absoluto, a capacidade de nomear tons sem uma referência externa, é comumente relacionada à cognição musical. Embora se note um crescente investimento em seu estudo, muitas questões ainda encontram-se pouco esclarecidas, tais quais: gênese, conceito, metodologias de estudo, aspectos estruturais e funcionais que o caracterizam. Esta revisão propõe-se a analisar os avanços recentes e limitações da área, considerando-se as bases metodológicas e teóricas, bem como pontos controversos que permeiam o tema, como a definição e origem da habilidade. Como conclusão, aponta-se a necessidade de delineamentos específicos para o estudo da cognição musical como um aliado importante para a melhor compreensão e elucidação dos problemas inerentes ao Ouvido Absoluto...
Absolute pitch, the ability to name tones without an external reference, is commonly related to music cognition. Despite the growing investment in its understanding, many questions are still poorly understood, such as genesis, conceptualization, research methodology, identification of structural and functional features. The present review aims to analyze recent advances and limitations in the area, considering its methodological and theoretical bases, as well as existing controversies (definition and genesis). It concludes by pointing the need for specific designs for the study of musical cognition for a better understanding of absolute pitch...
El Oído Absoluto, la capacidad de nombrar tonos sin una referencia externa, está comúnmente relacionado con la cognición musical. Aunque se note una creciente inversión en su estudio, muchas cuestiones aún se encuentran poco aclaradas, tales como: génesis, concepto, metodologías de estudio, aspectos estructurales y funcionales que lo caracterizan. Esa revisión propone analizar los avanzos y limitaciones del área, considerando las bases metodológicas y teóricas y puntos controvertidos que tratan el tema, como la definición y origen de la habilidad. Por conclusión, se demuestra la necesidad de delineaciones específicas para el estudio de la cognición musical como un importante aliado para una mejor comprensión y aclaración de los problemas inherentes al Oído Absoluto...
Subject(s)
Humans , Auditory Perception , Cognition , Music/psychology , NeurosciencesABSTRACT
In the past few years the study of music from a neuroscientific perspective has considerably improved, allowing the evolution of both theoretical knowledge and constructs related to cognitive musical processing. Both neuroimaging studies and studies of individuals who suffer from selective deficits of musical abilities have favored the construction of useful models to understand the mechanisms of musical processing, thus revealing its complexity and eliciting the hypothesis of the modular organization of music in the brain. This article reviews studies of cognitive musical processing with a focus on deficits in musical abilities and the neuropsychological model of cognitive musical processing developed by Isabelle Peretz. This model is an important contribution to neuroscientific studies of music because it furthers the understanding of selective deficits in different components of musical processing that occur in both individuals who incur brain damage and those with congenital amusia. The model also serves as theoretical support for diagnosing different types of amusia.