Perception in action: the impact of sensory information on sensorimotor synchronization in musicians and non-musicians

The Musician Redefined: A Behavioral Assessment of Rhythm Perception in Professional Club DJs

Studies of musical training demonstrate functional advantages in rhythm tasks that result from enriched auditory experience. Anatomical correlates exist in brain areas involved in auditory perception, speech processing, motor control, attention, and emotion. However, these studies fail to include many classes of musicians that might undergo experience-related change. The current study examined rhythm processing in professional disc jockeys (DJs) who routinely engage in temporally-demanding tasks during practice and performance. In Experiment 1, DJs outperformed controls at detecting a deviation in a rhythmic pattern, and were no different than trained percussionists. In Experiment 2, participants receiving one week of DJ training trended toward outperforming untrained participants on this same measure. Across experiments, movement improved detection of rhythmic deviations, providing evidence of privileged auditory-motor connections, and underscoring the importance of motor areas to rhythm perception. It is clear that DJs show experience-dependent changes in perception that are comparable to more traditional musicians.

Balancing out dwelling and moving: optimal sensorimotor synchronization

Sensorimotor synchronization is a fundamental skill involved in the performance of many artistic activities (e.g., music, dance). After a century of research, the manner in which the nervous system produces synchronized movements remains poorly understood. Typical rhythmic movements involve a motion and a motionless phase (dwell). The dwell phase represents a sizable fraction of the rhythm period, and scales with it. The rationale for this organization remains unexplained and is the object of this study. Twelve participants, four drummers (D) and eight nondrummers (ND), performed tapping movements paced at 0.5-2.5 Hz by a metronome. The participants organized their tapping behavior into dwell and movement phases according to two strategies: 1) Eight participants (1 D, 7 ND) maintained an almost constant ratio of movement time (MT) and dwell time (DT) irrespective of the metronome period. 2) Four participants increased the proportion of DT as the period increased. The temporal variabilities of both the dwell and movement phases were consistent with Weber's law, i.e., their variability increased with their durations, and the longest phase always exhibited the smallest variability. We developed an optimal statistical model that formalized the distribution of time into dwell and movement intervals as a function of their temporal variability. The model accurately predicted the participants' dwell and movement durations irrespective of their strategy and musical skill, strongly suggesting that the distribution of DT and MT results from an optimization process, dependent on each participant's skill to predict time during rest and movement.

Auditory-motor entrainment and phonological skills: precise auditory timing hypothesis (PATH)

Phonological skills are enhanced by music training, but the mechanisms enabling this cross-domain enhancement remain unknown. To explain this cross-domain transfer, we propose a precise auditory timing hypothesis (PATH) whereby entrainment practice is the core mechanism underlying enhanced phonological abilities in musicians. Both rhythmic synchronization and language skills such as consonant discrimination, detection of word and phrase boundaries, and conversational turn-taking rely on the perception of extremely fine-grained timing details in sound. Auditory-motor timing is an acoustic feature which meets all five of the pre-conditions necessary for cross-domain enhancement to occur (Patel, 2011, 2012, 2014). There is overlap between the neural networks that process timing in the context of both music and language. Entrainment to music demands more precise timing sensitivity than does language processing. Moreover, auditory-motor timing integration captures the emotion of the trainee, is repeatedly practiced, and demands focused attention. The PATH predicts that musical training emphasizing entrainment will be particularly effective in enhancing phonological skills.

Audiovisual beat induction in complex auditory rhythms: point-light figure movement as an effective visual beat

This study investigated whether explicit beat induction in the auditory, visual, and audiovisual (bimodal) modalities aided the perception of weakly metrical auditory rhythms, and whether it reinforced attentional entrainment to the beat of these rhythms. The visual beat-inducer was a periodically bouncing point-light figure, which aimed to examine whether an observed rhythmic human movement could induce a beat that would influence auditory rhythm perception. In two tasks, participants listened to three repetitions of an auditory rhythm that were preceded and accompanied by (1) an auditory beat, (2) a bouncing point-light figure, (3) a combination of (1) and (2) synchronously, or (4) a combination of (1) and (2), with the figure moving in anti-phase to the auditory beat. Participants reproduced the auditory rhythm subsequently (Experiment 1), or detected a possible temporal change in the third repetition (Experiment 2). While an explicit beat did not improve rhythm reproduction, possibly due to the syncopated rhythms when a beat was imposed, bimodal beat induction yielded greater sensitivity to a temporal deviant in on-beat than in off-beat positions. Moreover, the beat phase of the figure movement determined where on-beat accents were perceived during bimodal induction. Results are discussed with regard to constrained beat induction in complex auditory rhythms, visual modulation of auditory beat perception, and possible mechanisms underlying the preferred visual beat consisting of rhythmic human motions.

You are in sync with me: neural correlates of interpersonal synchrony with a partner

Interpersonal synchrony is characterized by a temporary alignment of periodic behaviors with another person. This process requires that at least one of the two individuals monitors and adjusts his/her movements to maintain alignment with the other individual (the referent). Interestingly, recent research on interpersonal synchrony has found that people who are motivated to befriend an unfamiliar social referent tend to automatically synchronize with their social referents, raising the possibility that synchrony may be employed as an affiliation tool. It is unknown, however, whether the opposite is true; that is, whether the person serving as the referent of interpersonal synchrony perceives synchrony with his/her partner or experiences affiliative feelings toward the partner. To address this question, we performed a series of studies on interpersonal synchrony with a total of 100 participants. In all studies, participants served as the referent with no requirement to monitor or align their behavior with their partners. Unbeknown to the participants, the timings of their "partner's" movements were actually determined by a computer program based on the participant's (i.e., referent's) behavior. Overall, our behavioral results showed that the referent of a synchrony task expressed greater perceived synchrony and greater social affiliation toward a synchronous partner (i.e., one displaying low mean asynchrony and/or a narrow asynchrony range) than with an asynchronous partner (i.e., one displaying high mean asynchrony and/or high asynchrony range). Our neuroimaging study extended these results by demonstrating involvement of brain areas implicated in social cognition, embodied cognition, self-other expansion, and action observation as correlates of interpersonal synchrony (vs. asynchrony). These findings have practical implications for social interaction and theoretical implications for understanding interpersonal synchrony and social coordination.

"Moving to the beat" improves timing perception

Here, we demonstrate that "moving to the beat" can improve the perception of timing, providing an intriguing explanation as to why we often move when listening to music. In the first experiment, participants heard a series of isochronous beats and identified whether the timing of a final tone after a short silence was consistent with the timing of the preceding sequence. On half of the trials, participants tapped along with the beat, and on half of the trials, they listened without moving. When the final tone occurred later than expected, performance in the movement condition was significantly better than performance in the no-movement condition. Two additional experiments illustrate that this improved performance is due to improved timekeeping, rather than to a shift in strategy. This work contributes to a growing literature on sensorimotor integration by demonstrating body movement's objective improvement in timekeeping, complementing previous explorations involving subjective tasks.

Biological impact of auditory expertise across the life span: musicians as a model of auditory learning

Experience-dependent characteristics of auditory function, especially with regard to speech-evoked auditory neurophysiology, have garnered increasing attention in recent years. This interest stems from both pragmatic and theoretical concerns as it bears implications for the prevention and remediation of language-based learning impairment in addition to providing insight into mechanisms engendering experience-dependent changes in human sensory function. Musicians provide an attractive model for studying the experience-dependency of auditory processing in humans due to their distinctive neural enhancements compared to nonmusicians. We have only recently begun to address whether these enhancements are observable early in life, during the initial years of music training when the auditory system is under rapid development, as well as later in life, after the onset of the aging process. Here we review neural enhancements in musically trained individuals across the life span in the context of cellular mechanisms that underlie learning, identified in animal models. Musicians' subcortical physiologic enhancements are interpreted according to a cognitive framework for auditory learning, providing a model in which to study mechanisms of experience-dependent changes in human auditory function.

Sensorimotor synchronization: a review of recent research (2006-2012)

Sensorimotor synchronization (SMS) is the coordination of rhythmic movement with an external rhythm, ranging from finger tapping in time with a metronome to musical ensemble performance. An earlier review (Repp, 2005) covered tapping studies; two additional reviews (Repp, 2006a, b) focused on music performance and on rate limits of SMS, respectively. The present article supplements and extends these earlier reviews by surveying more recent research in what appears to be a burgeoning field. The article comprises four parts, dealing with (1) conventional tapping studies, (2) other forms of moving in synchrony with external rhythms (including dance and nonhuman animals' synchronization abilities), (3) interpersonal synchronization (including musical ensemble performance), and (4) the neuroscience of SMS. It is evident that much new knowledge about SMS has been acquired in the last 7 years.

The ability to move to a beat is linked to the consistency of neural responses to sound

The ability to synchronize movement to a steady beat is a fundamental skill underlying musical performance and has been studied for decades as a model of sensorimotor synchronization. Nevertheless, little is known about the neural correlates of individual differences in the ability to synchronize to a beat. In particular, links between auditory-motor synchronization ability and characteristics of the brain's response to sound have not yet been explored. Given direct connections between the inferior colliculus (IC) and subcortical motor structures, we hypothesized that consistency of the neural response to sound within the IC is linked to the ability to tap consistently to a beat. Here, we show that adolescent humans who demonstrate less variability when tapping to a beat have auditory brainstem responses that are less variable as well. One of the sources of this enhanced consistency in subjects who can steadily tap to a beat may be decreased variability in the timing of the response, as these subjects also show greater between-trial phase-locking in the auditory brainstem response. Thus, musical training with a heavy emphasis on synchronization of movement to musical beats may improve auditory neural synchrony, potentially benefiting children with auditory-based language impairments characterized by excessively variable neural responses.

The role of musical training in emergent and event-based timing

Introduction: Musical performance is thought to rely predominantly on event-based timing involving a clock-like neural process and an explicit internal representation of the time interval. Some aspects of musical performance may rely on emergent timing, which is established through the optimization of movement kinematics, and can be maintained without reference to any explicit representation of the time interval. We predicted that musical training would have its largest effect on event-based timing, supporting the dissociability of these timing processes and the dominance of event-based timing in musical performance.

Materials and Methods: We compared 22 musicians and 17 non-musicians on the prototypical event-based timing task of finger tapping and on the typically emergently timed task of circle drawing. For each task, participants first responded in synchrony with a metronome (Paced) and then responded at the same rate without the metronome (Unpaced).

Results: Analyses of the Unpaced phase revealed that non-musicians were more variable in their inter-response intervals for finger tapping compared to circle drawing. Musicians did not differ between the two tasks. Between groups, non-musicians were more variable than musicians for tapping but not for drawing. We were able to show that the differences were due to less timer variability in musicians on the tapping task. Correlational analyses of movement jerk and inter-response interval variability revealed a negative association for tapping and a positive association for drawing in non-musicians only.

Discussion: These results suggest that musical training affects temporal variability in tapping but not drawing. Additionally, musicians and non-musicians may be employing different movement strategies to maintain accurate timing in the two tasks. These findings add to our understanding of how musical training affects timing and support the dissociability of event-based and emergent timing modes.

1 Hz rTMS of the left posterior parietal cortex (PPC) modifies sensorimotor timing

In order to investigate the relevance of the left posterior parietal cortex (PPC) for precise sensorimotor timing we applied 1 Hz repetitive transcranial magnetic stimulation (rTMS) over left PPC, right PPC and visual cortex of healthy participants for 10 min, respectively. The impact on sensorimotor timing of the right hand was assessed using a synchronization task that required subjects to synchronize their right index finger taps with respect to constant auditory, visual or auditory-visual pacing. Our results reveal reduced negative tap-to-pacer asynchronies following rTMS of the left PPC in all pacing conditions. This effect lasted for about 5 min after cessation of rTMS. Right PPC and visual cortex stimulation did not yield any significant behavioural effects. Since suppression of left PPC modified right-hand synchronization accuracy independent of the pacing signal's modality, the present data support the significance of left PPC for anticipatory motor control over a primary role in multisensory integration. The present data suggest that 1 Hz rTMS might interrupt a matching process of anticipated and real sensorimotor feedback within PPC. Alternatively, downregulation of left PPC activity may affect M1 excitability via functional connections leading to a delay in motor output and, thus, smaller tap-to-pacer asynchronies.

Timing continuous or discontinuous movements across effectors specified by different pacing modalities and intervals

Sensorimotor synchronization is hypothesized to arise through two different processes, associated with continuous or discontinuous rhythmic movements. This study investigated synchronization of continuous and discontinuous movements to different pacing signals (auditory or visual), pacing interval (500, 650, 800, 950 ms) and across effectors (non-dominant vs. non-dominant hand). The results showed that mean and variability of asynchronization errors were consistently smaller for discontinuous movements compared to continuous movements. Furthermore, both movement types were timed more accurately with auditory pacing compared to visual pacing and were more accurate with the dominant hand. Shortening the pacing interval also improved sensorimotor synchronization accuracy in both continuous and discontinuous movements. These results show the dependency of temporal control of movements on the nature of the motor task, the type and rate of extrinsic sensory information as well as the efficiency of the motor actuators for sensory integration.

Synchronization with competing visual and auditory rhythms: bouncing ball meets metronome

Synchronization of finger taps with periodically flashing visual stimuli is known to be much more variable than synchronization with an auditory metronome. When one of these rhythms is the synchronization target and the other serves as a distracter at various temporal offsets, strong auditory dominance is observed. However, it has recently been shown that visuomotor synchronization improves substantially with moving stimuli such as a continuously bouncing ball. The present study pitted a bouncing ball against an auditory metronome in a target-distracter synchronization paradigm, with the participants being auditory experts (musicians) and visual experts (video gamers and ball players). Synchronization was still less variable with auditory than with visual target stimuli in both groups. For musicians, auditory stimuli tended to be more distracting than visual stimuli, whereas the opposite was the case for the visual experts. Overall, there was no main effect of distracter modality. Thus, a distracting spatiotemporal visual rhythm can be as effective as a distracting auditory rhythm in its capacity to perturb synchronous movement, but its effectiveness also depends on modality-specific expertise.

Functional community analysis of brain: a new approach for EEG-based investigation of the brain pathology

Analysis of structure of the brain functional connectivity (SBFC) is a fundamental issue for understanding of the brain cognition as well as the pathology of brain disorders. Analysis of communities among sub-parts of a system is increasingly used for social, ecological, and other networks. This paper presents a new methodology for investigation of the SBFC and understanding of the brain based on graph theory and community pattern analysis of functional connectivity graph of the brain obtained from encephalograms (EEGs). The methodology consists of three main parts: fuzzy synchronization likelihood (FSL), community partitioning, and decisions based on partitions. As an example application, the methodology is applied to analysis of brain of patients with attention deficit/hyperactivity disorder (ADHD) and the problem of discrimination of ADHD EEGs from healthy (non-ADHD) EEGs.

Functional network interactions during sensorimotor synchronization in musicians and non-musicians

Precise timing as determined by sensorimotor synchronization is crucial for a wide variety of activities. Although it is well-established that musicians show superior timing as compared to non-musicians, the neurophysiological foundations - in particular the underlying functional brain network - remain to be characterized. To this end, drummers, professional pianists and non-musicians performed an auditory synchronization task while neuromagnetic activity was measured using a 122-channel whole-head magnetoencephalography (MEG) system. The underlying functional brain network was determined using the beamformer approach Dynamic Imaging of Coherent Sources (DICS). Behaviorally, drummers performed less variably than non-musicians. Neuromagnetic analysis revealed a cerebello-thalamo-cortical network in all subjects comprising bilateral primary sensorimotor cortices (S1/M1), contralateral supplementary motor and premotor regions (SMA and PMC), thalamus, posterior parietal cortex (PPC), ipsilateral cerebellum and bilateral auditory cortices. Stronger PMC-thalamus and PPC-thalamus interactions at alpha and beta frequencies were evident in drummers as compared to non-musicians. In professional pianists stronger PMC-thalamus interaction as compared to non-musicians at beta frequency occurred. The present data suggest that precise timing is associated with increased functional interaction within a PMC-thalamus-PPC network. The PMC-thalamus connectivity at beta frequency might be related to musical expertise, whereas the PPC-thalamus interaction might have specific relevance for precise timing.