Abstract
It is often said that expert musicians are capable of hearing what they read and vice versa. This suggests that they are able to process and to integrate multimodal information. The study investigates this issue with an eye-tracking technique. Two groups of musicians chosen on the basis of their level of expertise (expert and non-experts) had to read excerpts of classical piano music and play them on a keyboard. In half the conditions, the participants heard the music before the reading phases. The excerpts contained suggested fingering of variable difficulty (difficult, easy, or no fingering). Analyses of first-pass fixation duration, second-pass fixation duration, probability of refixations, and playing mistakes validated the hypothesized modal independence of information among expert musicians as compared to non-experts. The results are discussed in terms of amodal memory for expert musicians, and they extend clearly our previous findings (Drai-Zerbib & Baccino, 2005). The talk will demonstrate that more experienced performers are better able to transfer learning from one modality to another, which can be in support of theoretical work by Ericsson and Kintsch (1995): more experienced performers better integrate knowledge across modalities. This view relies on the general flexibility shown in the experts' behaviour.