Monitoring Individual and Joint Action Outcomes in Duet Music Performance

Evidence for a dyadic motor plan in joint action

What mechanisms distinguish interactive from non-interactive actions? To answer this question we tested participants while they took turns playing music with a virtual partner: in the interactive joint action condition, the participants played a melody together with their partner by grasping (C note) or pressing (G note) a cube-shaped instrument, alternating in playing one note each. In the non-interactive control condition, players’ behavior was not guided by a shared melody, so that the partner’s actions and notes were irrelevant to the participant. In both conditions, the participant’s and partner’s actions were physically congruent (e.g., grasp-grasp) or incongruent (e.g., grasp-point), and the partner’s association between actions and notes was coherent with the participant’s or reversed. Performance in the non-interactive condition was only affected by physical incongruence, whereas joint action was only affected when the partner’s action-note associations were reversed. This shows that task interactivity shapes the sensorimotor coding of others’ behaviors, and that joint action is based on active prediction of the partner’s action effects rather than on passive action imitation. We suggest that such predictions are based on Dyadic Motor Plans that represent both the agent’s and the partner’s contributions to the interaction goal, like playing a melody together.

Why do we fall into sync with others? Interpersonal synchronization and the brain's optimization principle

Spontaneous interpersonal synchronization of rhythmic behavior such as gait or hand clapping is a ubiquitous phenomenon in human interactions, and is potentially important for social relationships and action understanding. Although several authors have suggested a role of the mirror neuron system in interpersonal coupling, the underlying brain mechanisms are not well understood. Here we argue that more general theories of neural computations, namely predictive coding and the Free Energy Principle, could explain interpersonal coordination dynamics. Each brain minimizes coding costs by reducing the mismatch between the representations of observed and own motor behavior. Continuous mutual prediction and alignment result in an overall minimization of free energy, thus forming a stable attractor state.

Interpersonal Coordination: Methods, Achievements, and Challenges

Research regarding interpersonal coordination can be traced back to the early 1960s when video recording began to be utilized in communication studies. Since then, technological advances have extended the range of techniques that can be used to accurately study interactional phenomena. Although such a diversity of methods contributes to the improvement of knowledge concerning interpersonal coordination, it has become increasingly difficult to maintain a comprehensive view of the field. In the present article, we review the main capture methods by describing their major findings, levels of description and limitations. We group them into three categories: video analysis, motion tracking, and psychophysiological and neurophysiological techniques. Revised evidence suggests that interpersonal coordination encompasses a family of morphological and temporal synchronies at different levels and that it is closely related to the construction and maintenance of a common social and affective space. We conclude by arguing that future research should address methodological challenges to advance the understanding of coordination phenomena.

Synchronizing MIDI and wireless EEG measurements during natural piano performance

Although music performance has been widely studied in the behavioural sciences, less work has addressed the underlying neural mechanisms, perhaps due to technical difficulties in acquiring high-quality neural data during tasks requiring natural motion. The advent of wireless electroencephalography (EEG) presents a solution to this problem by allowing for neural measurement with minimal motion artefacts. In the current study, we provide the first validation of a mobile wireless EEG system for capturing the neural dynamics associated with piano performance. First, we propose a novel method for synchronously recording music performance and wireless mobile EEG. Second, we provide results of several timing tests that characterize the timing accuracy of our system. Finally, we report EEG time domain and frequency domain results from N=40 pianists demonstrating that wireless EEG data capture the unique temporal signatures of musicians' performances with fine-grained precision and accuracy. Taken together, we demonstrate that mobile wireless EEG can be used to measure the neural dynamics of piano performance with minimal motion constraints. This opens many new possibilities for investigating the brain mechanisms underlying music performance.

What About Their Performance Do Free Jazz Improvisers Agree Upon? A Case Study

When musicians improvise freely together—not following any sort of script, predetermined harmonic structure, or “referent”—to what extent do they understand what they are doing in the same way as each other? And to what extent is their understanding privileged relative to outside listeners with similar levels of performing experience in free improvisation? In this exploratory case study, a saxophonist and a pianist of international renown who knew each other's work but who had never performed together before were recorded while improvising freely for 40 min. Immediately afterwards the performers were interviewed separately about the just-completed improvisation, first from memory and then while listening to two 5 min excerpts of the recording in order to prompt specific and detailed commentary. Two commenting listeners from the same performance community (a saxophonist and drummer) listened to, and were interviewed about, these excerpts. Some months later, all four participants rated the extent to which they endorsed 302 statements that had been extracted from the four interviews and anonymized. The findings demonstrate that these free jazz improvisers characterized the improvisation quite differently, selecting different moments to comment about and with little overlap in the content of their characterizations. The performers were not more likely to endorse statements by their performing partner than by a commenting listener from the same performance community, and their patterns of agreement with each other (endorsing or dissenting with statements) across multiple ratings—their interrater reliability as measured with Cohen's kappa—was only moderate, and not consistently higher than their agreement with the commenting listeners. These performers were more likely to endorse statements about performers' thoughts and actions than statements about the music itself, and more likely to endorse evaluatively positive than negative statements. But these kinds of statements were polarizing; the performers were more likely to agree with each other in their ratings of statements about the music itself and negative statements. As in Schober and Spiro (2014), the evidence supports a view that fully shared understanding is not needed for joint improvisation by professional musicians in this genre and that performing partners can agree with an outside listener more than with each other.

Drawn together: When motor representations ground joint actions

What enables individuals to act together? Recent discoveries suggest that a variety of mechanisms are involved. But something fundamental is yet to be investigated. In joint action, agents represent a collective goal, or so it is often assumed. But how, if at all, are collective goals represented in joint action and how do such representations impact performance? To investigate this question we adapted a bimanual paradigm, the circle-line drawing paradigm, to contrast two agents acting in parallel with two agents performing a joint action. Participants were required to draw lines or circles while observing circles or lines being drawn. The findings indicate that interpersonal motor coupling may occur in joint but not parallel action. This suggests that participants in joint actions can represent collective goals motorically.

Bidirectional transfer between joint and individual actions in a task of discrete force production

The present study examined bidirectional learning transfer between joint and individual actions involving discrete isometric force production with the right index finger. To examine the effects of practice of joint action on performance of the individual action, participants performed a pre-test (individual condition), practice blocks (joint condition), and a post-test (individual condition) (IJI task). To examine the effects of practice of the individual action on performance during the joint action, the participants performed a pre-test (joint condition), practice blocks (individual condition), and a post-test (joint condition) (JIJ task). Whereas one participant made pressing movements with a target peak force of 10% maximum voluntary contraction (MVC) in the individual condition, two participants produced the target force of the sum of 10% MVC produced by each of them in the joint condition. In both the IJI and JIJ tasks, absolute errors and standard deviations of peak force were smaller post-test than pre-test, indicating bidirectional transfer between individual and joint conditions for force accuracy and variability. Although the negative correlation between forces produced by two participants (complementary force production) became stronger with practice blocks in the IJI task, there was no difference between the pre- and post-tests for the negative correlation in the JIJ task. In the JIJ task, the decrease in force accuracy and variability during the individual action did not facilitate complementary force production during the joint action. This indicates that practice performed by two people is essential for complementary force production in joint action.

Shared Neural Mechanisms for the Prediction of Own and Partner Musical Sequences after Short-term Piano Duet Training

Predictive mechanisms in the human brain can be investigated using markers for prediction violations like the mismatch negativity (MMN). Short-term piano training increases the MMN for melodic and rhythmic deviations in the training material. This increase occurs only when the material is actually played, not when it is only perceived through listening, suggesting that learning predictions about upcoming musical events are derived from motor involvement. However, music is often performed in concert with others. In this case, predictions about upcoming actions from a partner are a crucial part of the performance. In the present experiment, we use magnetoencephalography (MEG) to measure MMNs to deviations in one's own and a partner's musical material after both engaged in musical duet training. Event-related field (ERF) results revealed that the MMN increased significantly for own and partner material suggesting a neural representation of the partner's part in a duet situation. Source analysis using beamforming revealed common activations in auditory, inferior frontal, and parietal areas, similar to previous results for single players, but also a pronounced contribution from the cerebellum. In addition, activation of the precuneus and the medial frontal cortex was observed, presumably related to the need to distinguish between own and partner material.

Joint Action: Mental Representations, Shared Information and General Mechanisms for Coordinating with Others

In joint action, multiple people coordinate their actions to perform a task together. This often requires precise temporal and spatial coordination. How do co-actors achieve this? How do they coordinate their actions toward a shared task goal? Here, we provide an overview of the mental representations involved in joint action, discuss how co-actors share sensorimotor information and what general mechanisms support coordination with others. By deliberately extending the review to aspects such as the cultural context in which a joint action takes place, we pay tribute to the complex and variable nature of this social phenomenon.

Listeners' and Performers' Shared Understanding of Jazz Improvisations

This study explores the extent to which a large set of musically experienced listeners share understanding with a performing saxophone-piano duo, and with each other, of what happened in three improvisations on a jazz standard. In an online survey, 239 participants listened to audio recordings of three improvisations and rated their agreement with 24 specific statements that the performers and a jazz-expert commenting listener had made about them. Listeners endorsed statements that the performers had agreed upon significantly more than they endorsed statements that the performers had disagreed upon, even though the statements gave no indication of performers' levels of agreement. The findings show some support for a more-experienced-listeners-understand-more-like-performers hypothesis: Listeners with more jazz experience and with experience playing the performers' instruments endorsed the performers' statements more than did listeners with less jazz experience and experience on different instruments. The findings also strongly support a listeners-as-outsiders hypothesis: Listeners' ratings of the 24 statements were far more likely to cluster with the commenting listener's ratings than with either performer's. But the pattern was not universal; particular listeners even with similar musical backgrounds could interpret the same improvisations radically differently. The evidence demonstrates that it is possible for performers' interpretations to be shared with very few listeners, and that listeners' interpretations about what happened in a musical performance can be far more different from performers' interpretations than performers or other listeners might assume.

Auditory N1 reveals planning and monitoring processes during music performance

The current study investigated the relationship between planning processes and feedback monitoring during music performance, a complex task in which performers prepare upcoming events while monitoring their sensory outcomes. Theories of action planning in auditory-motor production tasks propose that the planning of future events co-occurs with the perception of auditory feedback. This study investigated the neural correlates of planning and feedback monitoring by manipulating the contents of auditory feedback during music performance. Pianists memorized and performed melodies at a cued tempo in a synchronization-continuation task while the EEG was recorded. During performance, auditory feedback associated with single melody tones was occasionally substituted with tones corresponding to future (next), present (current), or past (previous) melody tones. Only future-oriented altered feedback disrupted behavior: Future-oriented feedback caused pianists to slow down on the subsequent tone more than past-oriented feedback, and amplitudes of the auditory N1 potential elicited by the tone immediately following the altered feedback were larger for future-oriented than for past-oriented or noncontextual (unrelated) altered feedback; larger N1 amplitudes were associated with greater slowing following altered feedback in the future condition only. Feedback-related negativities were elicited in all altered feedback conditions. In sum, behavioral and neural evidence suggests that future-oriented feedback disrupts performance more than past-oriented feedback, consistent with planning theories that posit similarity-based interference between feedback and planning contents. Neural sensory processing of auditory feedback, reflected in the N1 ERP, may serve as a marker for temporal disruption caused by altered auditory feedback in auditory-motor production tasks.

The role of shared visual information for joint action coordination

Previous research has identified a number of coordination processes that enable people to perform joint actions. But what determines which coordination processes joint action partners rely on in a given situation? The present study tested whether varying the shared visual information available to co-actors can trigger a shift in coordination processes. Pairs of participants performed a movement task that required them to synchronously arrive at a target from separate starting locations. When participants in a pair received only auditory feedback about the time their partner reached the target they held their movement duration constant to facilitate coordination. When they received additional visual information about each other's movements they switched to a fundamentally different coordination process, exaggerating the curvature of their movements to communicate their arrival time. These findings indicate that the availability of shared perceptual information is a major factor in determining how individuals coordinate their actions to obtain joint outcomes.

Neural alpha oscillations index the balance between self-other integration and segregation in real-time joint action

Shared knowledge and interpersonal coordination are prerequisites for most forms of social behavior. Influential approaches to joint action have conceptualized these capacities in relation to the separate constructs of co-representation (knowledge) and self-other entrainment (coordination). Here we investigated how brain mechanisms involved in co-representation and entrainment interact to support joint action. To do so, we used a musical joint action paradigm to show that the neural mechanisms underlying co-representation and self-other entrainment are linked via a process - indexed by EEG alpha oscillations - regulating the balance between self-other integration and segregation in real time. Pairs of pianists performed short musical items while action familiarity and interpersonal (behavioral) synchronization accuracy were manipulated in a factorial design. Action familiarity referred to whether or not pianists had rehearsed the musical material performed by the other beforehand. Interpersonal synchronization was manipulated via congruent or incongruent tempo change instructions that biased performance timing towards the impending, new tempo. It was observed that, when pianists were familiar with each other's parts, millisecond variations in interpersonal synchronized behavior were associated with a modulation of alpha power over right centro-parietal scalp regions. Specifically, high behavioral entrainment was associated with self-other integration, as indexed by alpha suppression. Conversely, low behavioral entrainment encouraged reliance on internal knowledge and thus led to self-other segregation, indexed by alpha enhancement. These findings suggest that alpha oscillations index the processing of information about self and other depending on the compatibility of internal knowledge and external (environmental) events at finely resolved timescales.

Multisensory teamwork: using a tactile or an auditory display to exchange gaze information improves performance in joint visual search

In joint tasks, adjusting to the actions of others is critical for success. For joint visual search tasks, research has shown that when search partners visually receive information about each other's gaze, they use this information to adjust to each other's actions, resulting in faster search performance. The present study used a visual, a tactile and an auditory display, respectively, to provide search partners with information about each other's gaze. Results showed that search partners performed faster when the gaze information was received via a tactile or auditory display in comparison to receiving it via a visual display or receiving no gaze information. Findings demonstrate the effectiveness of tactile and auditory displays for receiving task-relevant information in joint tasks and are applicable to circumstances in which little or no visual information is available or the visual modality is already taxed with a demanding task such as air-traffic control. Practitioner Summary: The present study demonstrates that tactile and auditory displays are effective for receiving information about actions of others in joint tasks. Findings are either applicable to circumstances in which little or no visual information is available or when the visual modality is already taxed with a demanding task.

Tuning the mind: Exploring the connections between musical ability and executive functions

A growing body of research suggests that musical experience and ability are related to a variety of cognitive abilities, including executive functioning (EF). However, it is not yet clear if these relationships are limited to specific components of EF, limited to auditory tasks, or reflect very general cognitive advantages. This study investigated the existence and generality of the relationship between musical ability and EFs by evaluating the musical experience and ability of a large group of participants and investigating whether this predicts individual differences on three different components of EF - inhibition, updating, and switching - in both auditory and visual modalities. Musical ability predicted better performance on both auditory and visual updating tasks, even when controlling for a variety of potential confounds (age, handedness, bilingualism, and socio-economic status). However, musical ability was not clearly related to inhibitory control and was unrelated to switching performance. These data thus show that cognitive advantages associated with musical ability are not limited to auditory processes, but are limited to specific aspects of EF. This supports a process-specific (but modality-general) relationship between musical ability and non-musical aspects of cognition.

The sound of you and me: Novices represent shared goals in joint action

People performing joint actions coordinate their individual actions with each other to achieve a shared goal. The current study investigated the mental representations that are formed when people learn a new skill as part of a joint action. In a musical transfer-of-learning paradigm, piano novices first learned to perform simple melodies in the joint action context of coordinating with an accompanist to produce musical duets. Participants then performed their previously learned actions with two types of auditory feedback: while hearing either their individual action goal (the melody) or the shared action goal (the duet). As predicted, participants made more performance errors in the individual goal condition than in the shared goal condition. Further experimental manipulations indicated that this difference was not due to different coordination requirements in the two conditions or perceptual dissimilarities between learning and test. Together, these findings indicate that people form representations of shared goals in contexts that promote minimal representations, such as when learning a new action together with another person.

Sex and the money--How gender stereotypes modulate economic decision-making: An ERP study

In the present event-related potential study, we investigated whether and how participants playing the ultimatum game as responders modulate their decisions according to the proposers' stereotypical identity. The proposers' identity was manipulated using occupational role nouns stereotypically marked with gender (e.g., Teacher; Engineer), paired with either feminine or masculine proper names (e.g., Anna; David). Greater FRN amplitudes reflected the early processing of the conflict between the strategic rule (i.e., earning as much money as possible) and ready-to-go responses (i.e., refusing unequal offers and discriminating proposers according to their stereotype). Responders were found to rely on a dual-process system (i.e., automatic and heuristic-based system 1 vs. cognitively costly and deliberative system 2), the P300 amplitude reflecting the switch from a decision making system to another. Greater P300 amplitudes were found in response to both fair and unfair offers and male-stereotyped proposers' offers reflecting an automatic decision making based on heuristics, while lower P300 amplitudes were found in response to 3€ offers and the female-stereotyped proposers' offers reflecting a more deliberative reasoning. Overall, the results indicate that participants were more motivated to engage in a costly deliberative reasoning associated with an increase in acceptation rate when playing with female-stereotyped proposers, who may have induced more positive and emphatic feelings in the participants than did male-stereotyped proposers. Then, we assume that people with an occupation stereotypically marked with female gender and engaged in an economic negotiation may benefit from their occupation at least in the case their counterparts lose their money if the negotiation fails.

Keeping an eye on the conductor: neural correlates of visuo-motor synchronization and musical experience

For orchestra musicians, synchronized playing under a conductor’s direction is necessary to achieve optimal performance. Previous studies using simple auditory/visual stimuli have reported cortico-subcortical networks underlying synchronization and that training improves the accuracy of synchronization. However, it is unclear whether people who played regularly under a conductor and non-musicians activate the same networks when synchronizing with a conductor’s gestures. We conducted a functional magnetic resonance imaging (fMRI) experiment testing nonmusicians and musicians who regularly play music under a conductor. Participants were required to tap the rhythm they perceived from silent movies displaying either conductor’s gestures or a swinging metronome. Musicians performed tapping under a conductor with more precision than nonmusicians. Results from fMRI measurement showed greater activity in the anterior part of the left superior frontal gyrus (SFG) in musicians with more frequent practice under a conductor. Conversely, tapping with the metronome did not show any difference between musicians and nonmusicians, indicating that the expertize effect in tapping under the conductor does not result in a general increase in tapping performance for musicians. These results suggest that orchestra musicians have developed an advanced ability to predict conductor’s next action from the gestures.

What can music tell us about social interaction?

Humans are innately social creatures, but cognitive neuroscience, that has traditionally focused on individual brains, is only now beginning to investigate social cognition through realistic interpersonal interaction. Music provides an ideal domain for doing so because it offers a promising solution for balancing the trade-off between ecological validity and experimental control when testing cognitive and brain functions. Musical ensembles constitute a microcosm that provides a platform for parametrically modeling the complexity of human social interaction.

Rhythm in joint action: psychological and neurophysiological mechanisms for real-time interpersonal coordination

Human interaction often requires simultaneous precision and flexibility in the coordination of rhythmic behaviour between individuals engaged in joint activity, for example, playing a musical duet or dancing with a partner. This review article addresses the psychological processes and brain mechanisms that enable such rhythmic interpersonal coordination. First, an overview is given of research on the cognitive-motor processes that enable individuals to represent joint action goals and to anticipate, attend and adapt to other's actions in real time. Second, the neurophysiological mechanisms that underpin rhythmic interpersonal coordination are sought in studies of sensorimotor and cognitive processes that play a role in the representation and integration of self- and other-related actions within and between individuals' brains. Finally, relationships between social-psychological factors and rhythmic interpersonal coordination are considered from two perspectives, one concerning how social-cognitive tendencies (e.g. empathy) affect coordination, and the other concerning how coordination affects interpersonal affiliation, trust and prosocial behaviour. Our review highlights musical ensemble performance as an ecologically valid yet readily controlled domain for investigating rhythm in joint action.

Attention Allocation and Task Representation during Joint Action Planning

We investigated whether people take into account an interaction partner's attentional focus and whether they represent in advance their partner's part of the task when planning to engage in a synchronous joint action. The experiment involved two participants planning and performing joint actions (i.e., synchronously lifting and clinking glasses), unimanual individual actions (i.e., lifting and moving a glass as if clinking with another person), and bimanual individual actions. EEG was recorded from one of the participants. We employed a choice reaction paradigm where a visual cue indicated the type of action to be planned, followed 1.5 sec later by a visual go stimulus, prompting the participants to act. We studied attention allocation processes by examining two lateralized EEG components, namely the anterior directing attention negativity and the late directing attention positivity. Action planning processes were examined using the late contingent negative variation and the movement-related potential. The results show that early stages of joint action planning involve dividing attention between locations in space relevant for one's own part of the joint action and locations relevant for one's partner's part of the joint action. At later stages of joint action planning, participants represented in advance their partner's upcoming action in addition to their own action, although not at an effector-specific level. Our study provides electrophysiological evidence supporting the operation of attention sharing processes and predictive self/other action representation during the planning phase of a synchronous joint task.

The neural basis of audiomotor entrainment: an ALE meta-analysis

Synchronization of body movement to an acoustic rhythm is a major form of entrainment, such as occurs in dance. This is exemplified in experimental studies of finger tapping. Entrainment to a beat is contrasted with movement that is internally driven and is therefore self-paced. In order to examine brain areas important for entrainment to an acoustic beat, we meta-analyzed the functional neuroimaging literature on finger tapping (43 studies) using activation likelihood estimation (ALE) meta-analysis with a focus on the contrast between externally-paced and self-paced tapping. The results demonstrated a dissociation between two subcortical systems involved in timing, namely the cerebellum and the basal ganglia. Externally-paced tapping highlighted the importance of the spinocerebellum, most especially the vermis, which was not activated at all by self-paced tapping. In contrast, the basal ganglia, including the putamen and globus pallidus, were active during both types of tapping, but preferentially during self-paced tapping. These results suggest a central role for the spinocerebellum in audiomotor entrainment. We conclude with a theoretical discussion about the various forms of entrainment in humans and other animals.

A conceptual review on action-perception coupling in the musicians' brain: what is it good for?

Experience with a sensorimotor task, such as practicing a piano piece, leads to strong coupling of sensory (visual or auditory) and motor cortices. Here we review behavioral and neurophysiological (M/EEG, TMS and fMRI) research exploring this topic using the brain of musicians as a model system. Our review focuses on a recent body of evidence suggesting that this form of coupling might have (at least) two cognitive functions. First, it leads to the generation of equivalent predictions (concerning both when and what event is more likely to occur) during both perception and production of music. Second, it underpins the common coding of perception and action that supports the integration of the motor output of multiple musicians’ in the context of joint musical tasks. Essentially, training-based coupling of perception and action might scaffold the human ability to represent complex (structured) actions and to entrain multiple agents—via reciprocal prediction and adaptation—in the pursuit of shared goals.

Strategic communication and behavioral coupling in asymmetric joint action

How is coordination achieved in asymmetric joint actions where co-actors have unequal access to task information? Pairs of participants performed a non-verbal tapping task with the goal of synchronizing taps to different targets. We tested whether 'Leaders' knowing the target locations would support 'Followers' without this information. Experiment 1 showed that Leaders tapped with higher amplitude that also scaled with specific target distance, thereby emphasizing differences between correct targets and possible alternatives. This strategic communication only occurred when Leaders' movements were fully visible, but not when they were partially occluded. Full visual information between co-actors also resulted in higher and more stable behavioral coordination than partial vision. Experiment 2 showed that Leaders' amplitude adaptation facilitated target prediction by independent Observers. We conclude that fully understanding joint action coordination requires both representational (i.e., strategic adaptation) and dynamical systems (i.e., behavioral coupling) accounts.

Improved effectiveness of performance monitoring in amateur instrumental musicians

Here we report a cross-sectional study investigating the influence of instrumental music practice on the ability to monitor for and respond to processing conflicts and performance errors. Behavioural and electrophysiological indicators of response monitoring in amateur musicians with various skill levels were collected using simple conflict tasks. The results show that instrumental musicians are better able than non-musicians to detect conflicts and errors as indicated by systematic increases in the amplitude of the error-related negativity and the N200 with increasing levels of instrumental practice. Also, high levels of musical training were associated with more efficient and less reactive responses after experience of conflicts and errors as indicated by reduced post-error interference and post-conflict processing adjustments. Together, the present findings suggest that playing a musical instrument might improve the ability to monitor our behavior and adjust our responses effectively when needed. As these processes are amongst the first to be affected by cognitive aging, our evidence could promote musical activity as a realistic intervention to slow or even prevent age-related decline in frontal cortex mediated executive functioning.

•

We evaluated the effects of instrumental practice on cognitive control functions.

•

We show that Instrumental practice affects the ability to detect errors and conflicts.

•

We found an enlarged ERN and N200 in musicians compared to non-musicians.

•

Musical training predicted less reactive control adjustments after conflicts/errors.

Sensory attenuation for jointly produced action effects

Successful joint action often requires people to distinguish between their own and others’ contributions to a shared goal. One mechanism that is thought to underlie a self-other distinction is sensory attenuation, whereby the sensory consequences of one’s own actions are reduced compared to other sensory events. Previous research has shown that the auditory N1 event-related potential (ERP) response is reduced for self-generated compared to externally generated tones. The current study examined whether attenuation also occurs for jointly generated tones, which require two people to coordinate their actions to produce a single tone. ERP responses were measured when participants generated tones alone (tone onset immediately followed the participant’s button press) or with a partner (tone onset immediately followed the participant’s or the partner’s button press, whichever occurred second). N1 attenuation was smaller for jointly generated tones compared to self-generated tones. For jointly generated tones, greater delays between the participant’s and the partner’s button presses were associated with reduced attenuation; moreover, only trials in which there was no delay between the participant’s press and tone onset showed attenuation, whereas trials in which there were delays did not show attenuation. These findings indicate that people differentiate between their own and another person’s contributions to a joint action at the sensorimotor level, even when they must act together to produce a single, shared effect.