Distinct brain areas process novel and repeating tone sequences

The auditory dorsal stream has been implicated in sensorimotor integration and concatenation of sequential sound events, both being important for processing of speech and music. The auditory ventral stream, by contrast, is characterized as subserving sound identification and recognition. We studied the respective roles of the dorsal and ventral streams, including recruitment of basal ganglia and medial temporal lobe structures, in the processing of tone sequence elements. A sequence was presented incrementally across several runs during functional magnetic resonance imaging in humans, and we compared activation by sequence elements when heard for the first time ("novel") versus when the elements were repeating ("familiar"). Our results show a shift in tone-sequence-dependent activation from posterior-dorsal cortical areas and the basal ganglia during the processing of less familiar sequence elements towards anterior and ventral cortical areas and the medial temporal lobe after the encoding of highly familiar sequence elements into identifiable auditory objects.

When Coordinating Finger Tapping to a Variable Beat the Variability Scaling Structure of the Movement and the Cortical BOLD Signal are Both Entrained to the Auditory Stimuli

Rhythmic actions are characterizable as a repeating invariant pattern of movement together with variability taking the form of cycle-to-cycle fluctuations. Variability in behavioral measures is atypically random, and often exhibits serial temporal dependencies and statistical self-similarity in the scaling of variability magnitudes across timescales. Self-similar (i.e. fractal) variability scaling is evident in measures of both brain and behavior. Variability scaling structure can be quantified via the scaling exponent (α) from detrended fluctuation analysis (DFA). Here we study the task of coordinating thumb-finger tapping to the beats of constructed auditory stimuli. We test the hypothesis that variability scaling evident in tap-to-tap intervals as well as in the fluctuations of cortical hemodynamics will become entrained to (i.e. drawn toward) manipulated changes in the variability scaling of a stimulus's beat-to-beat intervals. Consistent with this hypothesis, manipulated changes of the exponent α of the experimental stimuli produced corresponding changes in the exponent α of both tap-to-tap intervals and cortical hemodynamics. The changes in hemodynamics were observed in both motor and sensorimotor cortical areas in the contralateral hemisphere. These results were observed only for the longer timescales of the detrended fluctuation analysis used to measure the exponent α. These findings suggest that complex auditory stimuli engage both brain and behavior at the level of variability scaling structures.

Temporal Generalization of Synchronized Saccades Beyond the Trained Range in Monkeys

Synchronized movements with external periodic rhythms, such as dancing to a beat, are commonly observed in daily life. Although it has been well established that some vocal learning species (including parrots and humans) spontaneously develop this ability, it has only recently been shown that monkeys are also capable of predictive and tempo-flexible synchronization to periodic stimuli. In our previous study, monkeys were trained to make predictive saccades for alternately presented visual stimuli at fixed stimulus onset asynchronies (SOAs) to obtain a liquid reward. The monkeys generalized predictive synchronization to novel SOAs in the middle of trained range, suggesting a capacity for tempo-flexible synchronization. However, it is possible that when encountering a novel tempo, the monkeys might sample learned saccade sequences from those for the short and long SOAs so that the mean saccade interval matched the untrained SOA. To eliminate this possibility, in the current study we tested monkeys on novel SOAs outside the trained range. Animals were trained to generate synchronized eye movements for 600 and 900-ms SOAs for a few weeks, and then were tested for longer SOAs. The accuracy and precision of predictive saccades for one untrained SOA (1200 ms) were comparable to those for the trained conditions. On the other hand, the variance of predictive saccade latency and the proportion of reactive saccades increased significantly in the longer SOA conditions (1800 and 2400 ms), indicating that temporal prediction of periodic stimuli was difficult in this range, similar to previous results on synchronized tapping in humans. Our results suggest that monkeys might share similar synchronization mechanisms with humans, which can be subject to physiological examination in future studies.

Music and movement: Towards a translational approach

Rhythmic abilities are highly widespread in the general population. Most people can extract the regular beat of music, and align their movements with it. The aim of a translational approach for music and movement is to build on current fundamental research and theories of beat perception and synchronization to devise music-based interventions, which are informed by theory. To illustrate this approach, Parkinson's disease is taken as a model, with a focus on the positive effects of rhythmic auditory cueing on walking. In Parkinson's disease, a relation is found between the success of this music-based intervention and individual differences in rhythmic abilities. Patients with relatively spared rhythmic abilities are the most likely to benefit from cueing. Moreover, rhythmic auditory cueing can be optimized by using mobile technologies (tablets and smartphones), in the form of dedicated apps or serious games. A similar translational approach to the study of music, rhythm, and movement can be extended to remediation of cognitive, speech and language functions in other patient populations, such as children and adults with neurodevelopemental disorders.

Abnormal phasic activity in saliency network, motor areas, and basal ganglia in Parkinson's disease during rhythm perception

Behavioral studies indicate that persons with Parkinson's disease have complexity dependent problems with the discrimination of auditory rhythms. Furthermore, neuroimaging studies show that rhythm processing activates many brain areas that overlap with areas affected by Parkinson's disease (PD). This study sought to investigate the neural correlates of rhythm processing in PD and healthy controls, with a particular focus on rhythmic complexity. We further aimed to investigate differences in brain activation during initial phases of rhythm processing. Functional magnetic resonance imaging was used to scan 15 persons with Parkinson's disease and 15 healthy controls while they listened to musical rhythms with two different levels of complexity. Rhythmic complexity had no significant effect on brain activations, but patients and controls showed differences in areas related to temporal auditory processing, notably bilateral planum temporale and inferior parietal lobule. We found indications of a particular sequential or phasic activation pattern of brain activity, where activity in caudate nucleus in the basal ganglia was time‐displaced by activation in the saliency network—comprised of anterior cingulate cortex and bilateral anterior insula—and cortical and subcortical motor areas, during the initial phases of listening to rhythms. We relate our findings to core PD pathology, and discuss the overall, rhythm processing related hyperactivity in PD as a possible dysfunction in specific basal ganglia mechanisms, and the phasic activation pattern in PD as a reflection of a lack of preparatory activation of task‐relevant brain networks for rhythm processing in PD.

Cortical tracking of rhythm in music and speech

Neural activity phase-locks to rhythm in both music and speech. However, the literature currently lacks a direct test of whether cortical tracking of comparable rhythmic structure is comparable across domains. Moreover, although musical training improves multiple aspects of music and speech perception, the relationship between musical training and cortical tracking of rhythm has not been compared directly across domains. We recorded the electroencephalograms (EEG) from 28 participants (14 female) with a range of musical training who listened to melodies and sentences with identical rhythmic structure. We compared cerebral-acoustic coherence (CACoh) between the EEG signal and single-trial stimulus envelopes (as measure of cortical entrainment) across domains and correlated years of musical training with CACoh. We hypothesized that neural activity would be comparably phase-locked across domains, and that the amount of musical training would be associated with increasingly strong phase locking in both domains. We found that participants with only a few years of musical training had a comparable cortical response to music and speech rhythm, partially supporting the hypothesis. However, the cortical response to music rhythm increased with years of musical training while the response to speech rhythm did not, leading to an overall greater cortical response to music rhythm across all participants. We suggest that task demands shaped the asymmetric cortical tracking across domains.

Neural substrates of internally-based and externally-cued timing: An activation likelihood estimation (ALE) meta-analysis of fMRI studies

A dynamic interplay exists between Internally-Based (IBT) and Externally-Cued (ECT) time processing. While IBT processes support the self-generation of context-independent temporal representations, ECT mechanisms allow constructing temporal representations primarily derived from the structure of the sensory environment. We performed an activation likelihood estimation (ALE) meta-analysis on 177 fMRI experiments, from 79 articles, to identify brain areas involved in timing; two individual ALEs tested the hypothesis of a neural segregation between IBT and ECT. The general ALE highlighted a network involving supplementary motor area (SMA), intraparietal sulcus, inferior frontal gyrus (IFG), insula (INS) and basal ganglia. We found evidence of a partial dissociation between IBT and ECT. IBT relies on a subset of areas also involved in ECT, however ECT tasks activate SMA, right IFG, left precentral gyrus and INS in a significantly stronger way. Present results suggest that ECT involves the detection of environmental temporal regularities and their integration with the output of the IBT processing, to generate a representation of time which reflects the temporal metric of the environment.

Neural Correlates of Familiarity in Music Listening: A Systematic Review and a Neuroimaging Meta-Analysis

Familiarity in music has been reported as an important factor modulating emotional and hedonic responses in the brain. Familiarity and repetition may increase the liking of a piece of music, thus inducing positive emotions. Neuroimaging studies have focused on identifying the brain regions involved in the processing of familiar and unfamiliar musical stimuli. However, the use of different modalities and experimental designs has led to discrepant results and it is not clear which areas of the brain are most reliably engaged when listening to familiar and unfamiliar musical excerpts. In the present study, we conducted a systematic review from three databases (Medline, PsychoINFO, and Embase) using the keywords (recognition OR familiar OR familiarity OR exposure effect OR repetition) AND (music OR song) AND (brain OR brains OR neuroimaging OR functional Magnetic Resonance Imaging OR Position Emission Tomography OR Electroencephalography OR Event Related Potential OR Magnetoencephalography). Of the 704 titles identified, 23 neuroimaging studies met our inclusion criteria for the systematic review. After removing studies providing insufficient information or contrasts, 11 studies (involving 212 participants) qualified for the meta-analysis using the activation likelihood estimation (ALE) approach. Our results did not find significant peak activations consistently across included studies. Using a less conservative approach (p < 0.001, uncorrected for multiple comparisons) we found that the left superior frontal gyrus, the ventral lateral (VL) nucleus of the left thalamus, and the left medial surface of the superior frontal gyrus had the highest likelihood of being activated by familiar music. On the other hand, the left insula, and the right anterior cingulate cortex had the highest likelihood of being activated by unfamiliar music. We had expected limbic structures as top clusters when listening to familiar music. But, instead, music familiarity had a motor pattern of activation. This could reflect an audio-motor synchronization to the rhythm which is more engaging for familiar tunes, and/or a sing-along response in one's mind, anticipating melodic, harmonic progressions, rhythms, timbres, and lyric events in the familiar songs. These data provide evidence for the need for larger neuroimaging studies to understand the neural correlates of music familiarity.

Temporal Processing in Audition: Insights from Music

Music is a curious example of a temporally patterned acoustic stimulus, and a compelling pan-cultural phenomenon. This review strives to bring some insights from decades of music psychology and sensorimotor synchronization (SMS) literature into the mainstream auditory domain, arguing that musical rhythm perception is shaped in important ways by temporal processing mechanisms in the brain. The feature that unites these disparate disciplines is an appreciation of the central importance of timing, sequencing, and anticipation. Perception of musical rhythms relies on an ability to form temporal predictions, a general feature of temporal processing that is equally relevant to auditory scene analysis, pattern detection, and speech perception. By bringing together findings from the music and auditory literature, we hope to inspire researchers to look beyond the conventions of their respective fields and consider the cross-disciplinary implications of studying auditory temporal sequence processing. We begin by highlighting music as an interesting sound stimulus that may provide clues to how temporal patterning in sound drives perception. Next, we review the SMS literature and discuss possible neural substrates for the perception of, and synchronization to, musical beat. We then move away from music to explore the perceptual effects of rhythmic timing in pattern detection, auditory scene analysis, and speech perception. Finally, we review the neurophysiology of general timing processes that may underlie aspects of the perception of rhythmic patterns. We conclude with a brief summary and outlook for future research.

Early Influence of Musical Abilities and Working Memory on Speech Imitation Abilities: Study with Pre-School Children

Musical aptitude and language talent are highly intertwined when it comes to phonetic language ability. Research on pre-school children’s musical abilities and foreign language abilities are rare but give further insights into the relationship between language and musical aptitude. We tested pre-school children’s abilities to imitate unknown languages, to remember strings of digits, to sing, to discriminate musical statements and their intrinsic (spontaneous) singing behavior (“singing-lovers versus singing nerds”). The findings revealed that having an ear for music is linked to phonetic language abilities. The results of this investigation show that a working memory capacity and phonetic aptitude are linked to high musical perception and production ability already at around the age of 5. This suggests that music and (foreign) language learning capacity may be linked from childhood on. Furthermore, the findings put emphasis on the possibility that early developed abilities may be responsible for individual differences in both linguistic and musical performances.

Efficacy of Auditory versus Motor Learning for Skilled and Novice Performers

Humans must learn a variety of sensorimotor skills, yet the relative contributions of sensory and motor information to skill acquisition remain unclear. Here we compare the behavioral and neural contributions of perceptual learning to that of motor learning, and we test whether these contributions depend on the expertise of the learner. Pianists and nonmusicians learned to perform novel melodies on a piano during fMRI scanning in four learning conditions: listening (auditory learning), performing without auditory feedback (motor learning), performing with auditory feedback (auditory-motor learning), or observing visual cues without performing or listening (cue-only learning). Visual cues were present in every learning condition and consisted of musical notation for pianists and spatial cues for nonmusicians. Melodies were performed from memory with no visual cues and with auditory feedback (recall) five times during learning. Pianists showed greater improvements in pitch and rhythm accuracy at recall during auditory learning compared with motor learning. Nonmusicians demonstrated greater rhythm improvements at recall during auditory learning compared with all other learning conditions. Pianists showed greater primary motor response at recall during auditory learning compared with motor learning, and response in this region during auditory learning correlated with pitch accuracy at recall and with auditory-premotor network response during auditory learning. Nonmusicians showed greater inferior parietal response during auditory compared with auditory-motor learning, and response in this region correlated with pitch accuracy at recall. Results suggest an advantage for perceptual learning compared with motor learning that is both general and expertise-dependent. This advantage is hypothesized to depend on feedforward motor control systems that can be used during learning to transform sensory information into motor production.

Evaluating predisposition and training in shaping the musician's brain: the need for a developmental perspective

The study of music training as a model for structural plasticity has evolved significantly over the past 15 years. Neuroimaging studies have identified characteristic structural brain alterations in musicians compared to nonmusicians in school-age children and adults, using primarily cross-sectional designs. Despite this emerging evidence and advances in pediatric neuroimaging techniques, hardly any studies have examined brain development in early childhood (before age 8) in association with musical training, and longitudinal studies starting in infancy or preschool are particularly scarce. Consequently, it remains unclear whether the characteristic "musician brain" is solely the result of musical training, or whether certain predispositions may have an impact on its development. Moving toward a developmental perspective, the present review considers various factors that may contribute to early brain structure prior to the onset of formal musical training. This review introduces a model for potential neurobiological pathways leading to the characteristic "musician brain," which involves a developmental interaction between predisposition and its temporal dynamics, environmental experience, and training-induced plasticity. This perspective illuminates the importance of studying the brain structure associated with musical training through a developmental lens, and the need for longitudinal studies in early childhood to advance our understanding of music training-induced structural plasticity.

Now you hear it: a predictive coding model for understanding rhythmic incongruity

Rhythmic incongruity in the form of syncopation is a prominent feature of many contemporary musical styles. Syncopations afford incongruity between rhythmic patterns and the meter, giving rise to mental models of differently accented isochronous beats. Syncopations occur either in isolation or as part of rhythmic patterns, so-called grooves. On the basis of the predictive coding framework, we discuss how brain processing of rhythm can be seen as a special case of predictive coding. We present a simple, yet powerful model for how the brain processes rhythmic incongruity: the model for predictive coding of rhythmic incongruity. Our model proposes that a given rhythm's syncopation and its metrical uncertainty (precision) is at the heart of how the brain models rhythm and meter based on priors, predictions, and prediction error. Our minimal model can explain prominent features of brain processing of syncopation: why isolated syncopations lead to stronger prediction error in the brains of musicians, as evidenced by larger event-related potentials to rhythmic incongruity, and why we all experience a stronger urge to move to grooves with a medium level of syncopation compared with low and high levels of syncopation.

Tapping Into Rate Flexibility: Musical Training Facilitates Synchronization Around Spontaneous Production Rates

The ability to flexibly adapt one’s behavior is critical for social tasks such as speech and music performance, in which individuals must coordinate the timing of their actions with others. Natural movement frequencies, also called spontaneous rates, constrain synchronization accuracy between partners during duet music performance, whereas musical training enhances synchronization accuracy. We investigated the combined influences of these factors on the flexibility with which individuals can synchronize their actions with sequences at different rates. First, we developed a novel musical task capable of measuring spontaneous rates in both musicians and non-musicians in which participants tapped the rhythm of a familiar melody while hearing the corresponding melody tones. The novel task was validated by similar measures of spontaneous rates generated by piano performance and by the tapping task from the same pianists. We then implemented the novel task with musicians and non-musicians as they synchronized tapping of a familiar melody with a metronome at their spontaneous rates, and at rates proportionally slower and faster than their spontaneous rates. Musicians synchronized more flexibly across rates than non-musicians, indicated by greater synchronization accuracy. Additionally, musicians showed greater engagement of error correction mechanisms than non-musicians. Finally, differences in flexibility were characterized by more recurrent (repetitive) and patterned synchronization in non-musicians, indicative of greater temporal rigidity.

Rhythm and Melody Tasks for School-Aged Children With and Without Musical Training: Age-Equivalent Scores and Reliability

Measuring musical abilities in childhood can be challenging. When music training and maturation occur simultaneously, it is difficult to separate the effects of specific experience from age-based changes in cognitive and motor abilities. The goal of this study was to develop age-equivalent scores for two measures of musical ability that could be reliably used with school-aged children (7–13) with and without musical training. The children's Rhythm Synchronization Task (c-RST) and the children's Melody Discrimination Task (c-MDT) were adapted from adult tasks developed and used in our laboratories. The c-RST is a motor task in which children listen and then try to synchronize their taps with the notes of a woodblock rhythm while it plays twice in a row. The c-MDT is a perceptual task in which the child listens to two melodies and decides if the second was the same or different. We administered these tasks to 213 children in music camps (musicians, n = 130) and science camps (non-musicians, n = 83). We also measured children's paced tapping, non-paced tapping, and phonemic discrimination as baseline motor and auditory abilities We estimated internal-consistency reliability for both tasks, and compared children's performance to results from studies with adults. As expected, musically trained children outperformed those without music lessons, scores decreased as difficulty increased, and older children performed the best. Using non-musicians as a reference group, we generated a set of age-based z-scores, and used them to predict task performance with additional years of training. Years of lessons significantly predicted performance on both tasks, over and above the effect of age. We also assessed the relation between musician's scores on music tasks, baseline tasks, auditory working memory, and non-verbal reasoning. Unexpectedly, musician children outperformed non-musicians in two of three baseline tasks. The c-RST and c-MDT fill an important need for researchers interested in evaluating the impact of musical training in longitudinal studies, those interested in comparing the efficacy of different training methods, and for those assessing the impact of training on non-musical cognitive abilities such as language processing.

Shared periodic performer movements coordinate interactions in duo improvisations

Human interaction involves the exchange of temporally coordinated, multimodal cues. Our work focused on interaction in the visual domain, using music performance as a case for analysis due to its temporally diverse and hierarchical structures. We made use of two improvising duo datasets-(i) performances of a jazz standard with a regular pulse and (ii) non-pulsed, free improvizations-to investigate whether human judgements of moments of interaction between co-performers are influenced by body movement coordination at multiple timescales. Bouts of interaction in the performances were manually annotated by experts and the performers' movements were quantified using computer vision techniques. The annotated interaction bouts were then predicted using several quantitative movement and audio features. Over 80% of the interaction bouts were successfully predicted by a broadband measure of the energy of the cross-wavelet transform of the co-performers' movements in non-pulsed duos. A more complex model, with multiple predictors that captured more specific, interacting features of the movements, was needed to explain a significant amount of variance in the pulsed duos. The methods developed here have key implications for future work on measuring visual coordination in musical ensemble performances, and can be easily adapted to other musical contexts, ensemble types and traditions.

Don't speak too fast! Processing of fast rate speech in children with specific language impairment

Background

Perception of speech rhythm requires the auditory system to track temporal envelope fluctuations, which carry syllabic and stress information. Reduced sensitivity to rhythmic acoustic cues has been evidenced in children with Specific Language Impairment (SLI), impeding syllabic parsing and speech decoding. Our study investigated whether these children experience specific difficulties processing fast rate speech as compared with typically developing (TD) children.

Method

Sixteen French children with SLI (8–13 years old) with mainly expressive phonological disorders and with preserved comprehension and 16 age-matched TD children performed a judgment task on sentences produced 1) at normal rate, 2) at fast rate or 3) time-compressed. Sensitivity index (d′) to semantically incongruent sentence-final words was measured.

Results

Overall children with SLI perform significantly worse than TD children. Importantly, as revealed by the significant Group × Speech Rate interaction, children with SLI find it more challenging than TD children to process both naturally or artificially accelerated speech. The two groups do not significantly differ in normal rate speech processing.

Conclusion

In agreement with rhythm-processing deficits in atypical language development, our results suggest that children with SLI face difficulties adjusting to rapid speech rate. These findings are interpreted in light of temporal sampling and prosodic phrasing frameworks and of oscillatory mechanisms underlying speech perception.

Decoding Musical Training from Dynamic Processing of Musical Features in the Brain

Pattern recognition on neural activations from naturalistic music listening has been successful at predicting neural responses of listeners from musical features, and vice versa. Inter-subject differences in the decoding accuracies have arisen partly from musical training that has widely recognized structural and functional effects on the brain. We propose and evaluate a decoding approach aimed at predicting the musicianship class of an individual listener from dynamic neural processing of musical features. Whole brain functional magnetic resonance imaging (fMRI) data was acquired from musicians and nonmusicians during listening of three musical pieces from different genres. Six musical features, representing low-level (timbre) and high-level (rhythm and tonality) aspects of music perception, were computed from the acoustic signals, and classification into musicians and nonmusicians was performed on the musical feature and parcellated fMRI time series. Cross-validated classification accuracy reached 77% with nine regions, comprising frontal and temporal cortical regions, caudate nucleus, and cingulate gyrus. The processing of high-level musical features at right superior temporal gyrus was most influenced by listeners’ musical training. The study demonstrates the feasibility to decode musicianship from how individual brains listen to music, attaining accuracy comparable to current results from automated clinical diagnosis of neurological and psychological disorders.

Developmental implications of children's brain networks and learning

The human brain works as a synergistic system where information exchanges between functional neuronal networks. Rudimentary networks are observed in the brain during infancy. In recent years, the question of how functional networks develop and mature in children has been a hotly discussed topic. In this review, we examined the developmental characteristics of functional networks and the impacts of skill training on children's brains. We first focused on the general rules of brain network development and on the typical and atypical development of children's brain networks. After that, we highlighted the essentials of neural plasticity and the effects of learning on brain network development. We also discussed two important theoretical and practical concerns in brain network training. Finally, we concluded by presenting the significance of network training in typically and atypically developed brains.

Transcranial direct current stimulation (tDCS) applied to the left dorsolateral premotor cortex (dPMC) interferes with rhythm reproduction

Movement timing in the sub-second range engages a brain network comprising cortical and sub-cortical areas. The present study aims at investigating the functional significance of the left dorsolateral premotor cortex (dPMC) for precise movement timing as determined by sensorimotor synchronization and rhythm reproduction. To this end, 18 healthy volunteers performed an auditorily paced synchronization-continuation task with the right hand. A simple reaction time task served as control condition. Transcranial direct current stimulation (tDCS) was applied over the left dPMC in order to modulate cortical excitability either with anodal or cathodal polarity or as sham stimulation. TDCS was applied for 10 minutes, respectively on separate days. For the continuation task the analysis revealed significantly smaller inter-tap intervals (ITIs) following cathodal tDCS suggesting movement hastening as well as a trend towards larger ITIs following anodal stimulation suggesting movement slowing. No significant effect was found following sham stimulation. Neither for synchronization nor for reaction time tasks significant polarity-specific effects emerged. The data suggest the causal involvement of the dPMC in temporally precisereproduction of isochronous rhythms rather than sensorimotor synchronization. The present findings support the hypothesis that different cortical brain areas within the motor-control-network distinctively contribute to movement timing in the sub-second range.

The cerebellum's contribution to beat interval discrimination

From expert percussionists to individuals who cannot dance, there are widespread differences in people's abilities to perceive and synchronize with a musical beat. The aim of our study was to identify candidate brain regions that might be associated with these abilities. For this purpose, we used Voxel-Based-Morphometry to correlate inter-individual differences in performance on the Harvard Beat Assessment Tests (H-BAT) with local inter-individual variations in gray matter volumes across the entire brain space in 60 individuals. Analysis revealed significant co-variations between performances on two perceptual tasks of the Harvard Beat Assessment Tests associated with beat interval change discrimination (faster, slower) and gray matter volume variations in the cerebellum. Participant discrimination thresholds for the Beat Finding Interval Test (quarter note beat) were positively associated with gray matter volume variation in cerebellum lobule IX in the left hemisphere and crus I bilaterally. Discrimination thresholds for the Beat Interval Test (simple series of tones) revealed the tendency for a positive association with gray matter volume variations in crus I/II of the left cerebellum. Our results demonstrate the importance of the cerebellum in beat interval discrimination skills, as measured by two perceptual tasks of the Harvard Beat Assessment Tests. Current findings, in combination with evidence from patients with cerebellar degeneration and expert dancers, suggest that cerebellar gray matter and overall cerebellar integrity are important for temporal discrimination abilities.

Modality and Perceptual-Motor Experience Influence the Detection of Temporal Deviations in Tap Dance Sequences

Accurate temporal information processing is critically important in many motor activities within disciplines such as dance, music, and sport. However, it is still unclear how temporal information related to biological motion is processed by expert and non-expert performers. It is well-known that the auditory modality dominates the visual modality in processing temporal information of simple stimuli, and that experts outperform non-experts in biological motion perception. In the present study, we combined these two areas of research; we investigated how experts and non-experts detected temporal deviations in tap dance sequences, in the auditory modality compared to the visual modality. We found that temporal deviations were better detected in the auditory modality compared to the visual modality, and by experts compared to non-experts. However, post hoc analyses indicated that these effects were mainly due to performances obtained by experts in the auditory modality. The results suggest that the experience advantage is not equally distributed across the modalities, and that tap dance experience enhances the effectiveness of the auditory modality but not the visual modality when processing temporal information. The present results and their potential implications are discussed in both temporal information processing and biological motion perception frameworks.

Selective entrainment of brain oscillations drives auditory perceptual organization

Perceptual sound organization supports our ability to make sense of the complex acoustic environment, to understand speech and to enjoy music. However, the neuronal mechanisms underlying the subjective experience of perceiving univocal auditory patterns that can be listened to, despite hearing all sounds in a scene, are poorly understood. We hereby investigated the manner in which competing sound organizations are simultaneously represented by specific brain activity patterns and the way attention and task demands prime the internal model generating the current percept. Using a selective attention task on ambiguous auditory stimulation coupled with EEG recordings, we found that the phase of low-frequency oscillatory activity dynamically tracks multiple sound organizations concurrently. However, whereas the representation of ignored sound patterns is circumscribed to auditory regions, large-scale oscillatory entrainment in auditory, sensory-motor and executive-control network areas reflects the active perceptual organization, thereby giving rise to the subjective experience of a unitary percept.

Diffusion tensor MRI tractography reveals increased fractional anisotropy (FA) in arcuate fasciculus following music-cued motor training

Auditory cues are frequently used to support movement learning and rehabilitation, but the neural basis of this behavioural effect is not yet clear. We investigated the microstructural neuroplasticity effects of adding musical cues to a motor learning task. We hypothesised that music-cued, left-handed motor training would increase fractional anisotropy (FA) in the contralateral arcuate fasciculus, a fibre tract connecting auditory, pre-motor and motor regions. Thirty right-handed participants were assigned to a motor learning condition either with (Music Group) or without (Control Group) musical cues. Participants completed 20minutes of training three times per week over four weeks. Diffusion tensor MRI and probabilistic neighbourhood tractography identified FA, axial (AD) and radial (RD) diffusivity before and after training. Results revealed that FA increased significantly in the right arcuate fasciculus of the Music group only, as hypothesised, with trends for AD to increase and RD to decrease, a pattern of results consistent with activity-dependent increases in myelination. No significant changes were found in the left ipsilateral arcuate fasciculus of either group. This is the first evidence that adding musical cues to movement learning can induce rapid microstructural change in white matter pathways in adults, with potential implications for therapeutic clinical practice.

Music Games: Potential Application and Considerations for Rhythmic Training

Rhythmic skills are natural and widespread in the general population. The majority can track the beat of music and move along with it. These abilities are meaningful from a cognitive standpoint given their tight links with prominent motor and cognitive functions such as language and memory. When rhythmic skills are challenged by brain damage or neurodevelopmental disorders, remediation strategies based on rhythm can be considered. For example, rhythmic training can be used to improve motor performance (e.g., gait) as well as cognitive and language skills. Here, we review the games readily available in the market and assess whether they are well-suited for rhythmic training. Games that train rhythm skills may serve as useful tools for retraining motor and cognitive functions in patients with motor or neurodevelopmental disorders (e.g., Parkinson's disease, dyslexia, or ADHD). Our criteria were the peripheral used to capture and record the response, the type of response and the output measure. None of the existing games provides sufficient temporal precision in stimulus presentation and/or data acquisition. In addition, games do not train selectively rhythmic skills. Hence, the available music games, in their present form, are not satisfying for training rhythmic skills. Yet, some features such as the device used, the interface or the game scenario provide good indications for devising efficient training protocols. Guidelines are provided for devising serious music games targeting rhythmic training in the future.

Coupling of Action-Perception Brain Networks during Musical Pulse Processing: Evidence from Region-of-Interest-Based Independent Component Analysis

Our sense of rhythm relies on orchestrated activity of several cerebral and cerebellar structures. Although functional connectivity studies have advanced our understanding of rhythm perception, this phenomenon has not been sufficiently studied as a function of musical training and beyond the General Linear Model (GLM) approach. Here, we studied pulse clarity processing during naturalistic music listening using a data-driven approach (independent component analysis; ICA). Participants' (18 musicians and 18 controls) functional magnetic resonance imaging (fMRI) responses were acquired while listening to music. A targeted region of interest (ROI) related to pulse clarity processing was defined, comprising auditory, somatomotor, basal ganglia, and cerebellar areas. The ICA decomposition was performed under different model orders, i.e., under a varying number of assumed independent sources, to avoid relying on prior model order assumptions. The components best predicted by a measure of the pulse clarity of the music, extracted computationally from the musical stimulus, were identified. Their corresponding spatial maps uncovered a network of auditory (perception) and motor (action) areas in an excitatory-inhibitory relationship at lower model orders, while mainly constrained to the auditory areas at higher model orders. Results revealed (a) a strengthened functional integration of action-perception networks associated with pulse clarity perception hidden from GLM analyses, and (b) group differences between musicians and non-musicians in pulse clarity processing, suggesting lifelong musical training as an important factor that may influence beat processing.

Neural Entrainment to Polyrhythms: A Comparison of Musicians and Non-musicians

Music can be thought of as a dynamic path over time. In most cases, the rhythmic structure of this path, such as specific sequences of strong and weak beats or recurring patterns, allows us to predict what and particularly when sounds are going to happen. Without this ability we would not be able to entrain body movements to music, like we do when we dance. By combining EEG and behavioral measures, the current study provides evidence illustrating the importance of ongoing neural oscillations at beat-related frequencies-i.e., neural entrainment-for tracking and predicting musical rhythms. Participants (13 musicians and 13 non-musicians) listened to drum rhythms that switched from a quadruple rhythm to a 3-over-4 polyrhythm. After a silent period of ~2-3 s, participants had to decide whether a target stimulus was presented on time with the triple beat of the polyrhythm, too early, or too late. Results showed that neural oscillations reflected the rhythmic structure of both the simple quadruple rhythm and the more complex polyrhythm with no differences between musicians and non-musicians. During silent periods, the observation of time-frequency plots and more commonly used frequency spectra analyses suggest that beat-related neural oscillations were more pronounced in musicians compared to non-musicians. Neural oscillations during silent periods are not driven by an external input and therefore are thought to reflect top-down controlled endogenous neural entrainment. The functional relevance of endogenous neural entrainment was demonstrated by a positive correlation between the amplitude of task-relevant neural oscillations during silent periods and the number of correctly identified target stimuli. In sum, our findings add to the evidence supporting the neural resonance theory of pulse and meter. Furthermore, they indicate that beat-related top-down controlled neural oscillations can exist without external stimulation and suggest that those endogenous oscillations are strengthened by musical expertise. Finally, this study shows that the analysis of neural oscillations can be a useful tool to assess how we perceive and process complex auditory stimuli such as polyrhythms.

The Posterior Parietal Cortex Subserves Precise Motor Timing in Professional Drummers

The synchronization task is a well-established paradigm for the investigation of motor timing with respect to an external pacing signal. It requires subjects to synchronize their finger taps in synchrony with a regular metronome. A specific significance of the posterior parietal cortex (PPC) for superior synchronization in professional drummers has been suggested. In non-musicians, modulation of the excitability of the left PPC by means of transcranial direct current stimulation (tDCS) modulates synchronization performance of the right hand. In order to determine the significance of the left PPC for superior synchronization in drummers, we here investigate the effects of cathodal and anodal tDCS in 20 professional drummers on auditory-motor synchronization of the right hand. A continuation and a reaction time task served as control conditions. Moreover, the interaction between baseline performance and tDCS polarity was estimated in precise as compared to less precise synchronizers according to median split. Previously published data from 16 non-musicians were re-analyzed accordingly in order to highlight possible differences of tDCS effects in drummers and non-musicians. TDCS was applied for 10 min with an intensity of 0.25 mA over the left PPC. Behavioral measures were determined prior to and immediately after tDCS. In drummers the overall analysis of synchronization performance revealed significantly larger tap-to-tone asynchronies following anodal tDCS with the tap preceding the tone replicating findings in non-musicians. No significant effects were found on control tasks. The analysis for participants with large as compared to small baseline asynchronies revealed that only in drummers with small asynchronies tDCS interfered with synchronization performance. The re-analysis of the data from non-musicians indicated the reversed pattern. The data support the hypothesis that the PPC is involved in auditory-motor synchronization and extend previous findings by showing that its functional significance varies with musical expertise.

Connectivity patterns during music listening: Evidence for action-based processing in musicians

Musical expertise is visible both in the morphology and functionality of the brain. Recent research indicates that functional integration between multi-sensory, somato-motor, default-mode (DMN), and salience (SN) networks of the brain differentiates musicians from non-musicians during resting state. Here, we aimed at determining whether brain networks differentially exchange information in musicians as opposed to non-musicians during naturalistic music listening. Whole-brain graph-theory analyses were performed on participants' fMRI responses. Group-level differences revealed that musicians' primary hubs comprised cerebral and cerebellar sensorimotor regions whereas non-musicians' dominant hubs encompassed DMN-related regions. Community structure analyses of the key hubs revealed greater integration of motor and somatosensory homunculi representing the upper limbs and torso in musicians. Furthermore, musicians who started training at an earlier age exhibited greater centrality in the auditory cortex, and areas related to top-down processes, attention, emotion, somatosensory processing, and non-verbal processing of speech. We here reveal how brain networks organize themselves in a naturalistic music listening situation wherein musicians automatically engage neural networks that are action-based while non-musicians use those that are perception-based to process an incoming auditory stream. Hum Brain Mapp 38:2955-2970, 2017. © 2017 Wiley Periodicals, Inc.

Listening to Rhythmic Music Reduces Connectivity within the Basal Ganglia and the Reward System

Music can trigger emotional responses in a more direct way than any other stimulus. In particular, music-evoked pleasure involves brain networks that are part of the reward system. Furthermore, rhythmic music stimulates the basal ganglia and may trigger involuntary movements to the beat. In the present study, we created a continuously playing rhythmic, dance floor-like composition where the ambient noise from the MR scanner was incorporated as an additional instrument of rhythm. By treating this continuous stimulation paradigm as a variant of resting-state, the data was analyzed with stochastic dynamic causal modeling (sDCM), which was used for exploring functional dependencies and interactions between core areas of auditory perception, rhythm processing, and reward processing. The sDCM model was a fully connected model with the following areas: auditory cortex, putamen/pallidum, and ventral striatum/nucleus accumbens of both hemispheres. The resulting estimated parameters were compared to ordinary resting-state data, without an additional continuous stimulation. Besides reduced connectivity within the basal ganglia, the results indicated a reduced functional connectivity of the reward system, namely the right ventral striatum/nucleus accumbens from and to the basal ganglia and auditory network while listening to rhythmic music. In addition, the right ventral striatum/nucleus accumbens demonstrated also a change in its hemodynamic parameter, reflecting an increased level of activation. These converging results may indicate that the dopaminergic reward system reduces its functional connectivity and relinquishing its constraints on other areas when we listen to rhythmic music.

What can we learn about beat perception by comparing brain signals and stimulus envelopes?

Entrainment of neural oscillations on multiple time scales is important for the perception of speech. Musical rhythms, and in particular the perception of a regular beat in musical rhythms, is also likely to rely on entrainment of neural oscillations. One recently proposed approach to studying beat perception in the context of neural entrainment and resonance (the "frequency-tagging" approach) has received an enthusiastic response from the scientific community. A specific version of the approach involves comparing frequency-domain representations of acoustic rhythm stimuli to the frequency-domain representations of neural responses to those rhythms (measured by electroencephalography, EEG). The relative amplitudes at specific EEG frequencies are compared to the relative amplitudes at the same stimulus frequencies, and enhancements at beat-related frequencies in the EEG signal are interpreted as reflecting an internal representation of the beat. Here, we show that frequency-domain representations of rhythms are sensitive to the acoustic features of the tones making up the rhythms (tone duration, onset/offset ramp duration); in fact, relative amplitudes at beat-related frequencies can be completely reversed by manipulating tone acoustics. Crucially, we show that changes to these acoustic tone features, and in turn changes to the frequency-domain representations of rhythms, do not affect beat perception. Instead, beat perception depends on the pattern of onsets (i.e., whether a rhythm has a simple or complex metrical structure). Moreover, we show that beat perception can differ for rhythms that have numerically identical frequency-domain representations. Thus, frequency-domain representations of rhythms are dissociable from beat perception. For this reason, we suggest caution in interpreting direct comparisons of rhythms and brain signals in the frequency domain. Instead, we suggest that combining EEG measurements of neural signals with creative behavioral paradigms is of more benefit to our understanding of beat perception.

Musical friends and foes: The social cognition of affiliation and control in improvised interactions

A recently emerging view in music cognition holds that music is not only social and participatory in its production, but also in its perception, i.e. that music is in fact perceived as the sonic trace of social relations between a group of real or virtual agents. While this view appears compatible with a number of intriguing music cognitive phenomena, such as the links between beat entrainment and prosocial behaviour or between strong musical emotions and empathy, direct evidence is lacking that listeners are at all able to use the acoustic features of a musical interaction to infer the affiliatory or controlling nature of an underlying social intention. We created a novel experimental situation in which we asked expert music improvisers to communicate 5 types of non-musical social intentions, such as being domineering, disdainful or conciliatory, to one another solely using musical interaction. Using a combination of decoding studies, computational and psychoacoustical analyses, we show that both musically-trained and non musically-trained listeners can recognize relational intentions encoded in music, and that this social cognitive ability relies, to a sizeable extent, on the information processing of acoustic cues of temporal and harmonic coordination that are not present in any one of the musicians’ channels, but emerge from the dynamics of their interaction. By manipulating these cues in two-channel audio recordings and testing their impact on the social judgements of non-musician observers, we finally establish a causal relationship between the affiliation dimension of social behaviour and musical harmonic coordination on the one hand, and between the control dimension and musical temporal coordination on the other hand. These results provide novel mechanistic insights not only into the social cognition of musical interactions, but also into that of non-verbal interactions as a whole.

Incorporation of feedback during beat synchronization is an index of neural maturation and reading skills

Speech communication involves integration and coordination of sensory perception and motor production, requiring precise temporal coupling. Beat synchronization, the coordination of movement with a pacing sound, can be used as an index of this sensorimotor timing. We assessed adolescents' synchronization and capacity to correct asynchronies when given online visual feedback. Variability of synchronization while receiving feedback predicted phonological memory and reading sub-skills, as well as maturation of cortical auditory processing; less variable synchronization during the presence of feedback tracked with maturation of cortical processing of sound onsets and resting gamma activity. We suggest the ability to incorporate feedback during synchronization is an index of intentional, multimodal timing-based integration in the maturing adolescent brain. Precision of temporal coding across modalities is important for speech processing and literacy skills that rely on dynamic interactions with sound. Synchronization employing feedback may prove useful as a remedial strategy for individuals who struggle with timing-based language learning impairments.

The Effects of Sensory Manipulations on Motor Behavior: From Basic Science to Clinical Rehabilitation

Modifying sensory aspects of the learning environment can influence motor behavior. Although the effects of sensory manipulations on motor behavior have been widely studied, there still remains a great deal of variability across the field in terms of how sensory information has been manipulated or applied. Here, the authors briefly review and integrate the literature from each sensory modality to gain a better understanding of how sensory manipulations can best be used to enhance motor behavior. Then, they discuss 2 emerging themes from this literature that are important for translating sensory manipulation research into effective interventions. Finally, the authors provide future research directions that may lead to enhanced efficacy of sensory manipulations for motor learning and rehabilitation.

Moving Stimuli Facilitate Synchronization But Not Temporal Perception

Recent studies have shown that a moving visual stimulus (e.g., a bouncing ball) facilitates synchronization compared to a static stimulus (e.g., a flashing light), and that it can even be as effective as an auditory beep. We asked a group of participants to perform different tasks with four stimulus types: beeps, siren-like sounds, visual flashes (static) and bouncing balls. First, participants performed synchronization with isochronous sequences (stimulus-guided synchronization), followed by a continuation phase in which the stimulus was internally generated (imagery-guided synchronization). Then they performed a perception task, in which they judged whether the final part of a temporal sequence was compatible with the previous beat structure (stimulus-guided perception). Similar to synchronization, an imagery-guided variant was added, in which sequences contained a gap in between (imagery-guided perception). Balls outperformed flashes and matched beeps (powerful ball effect) in stimulus-guided synchronization but not in perception (stimulus- or imagery-guided). In imagery-guided synchronization, performance accuracy decreased for beeps and balls, but not for flashes and sirens. Our findings suggest that the advantages of moving visual stimuli over static ones are grounded in action rather than perception, and they support the hypothesis that the sensorimotor coupling mechanisms for auditory (beeps) and moving visual stimuli (bouncing balls) overlap.

Pupillary response indexes the metrical hierarchy of unattended rhythmic violations

The perception of music is a complex interaction between what we hear and our interpretation. This is reflected in beat perception, in which a listener infers a regular pulse from a musical rhythm. Although beat perception is a fundamental human ability, it is still unknown whether attention to the music is necessary to establish the perception of stronger and weaker beats, or meter. In addition, to what extent beat perception is dependent on musical expertise is still a matter of debate. Here, we address these questions by measuring the pupillary response to omissions at different metrical positions in drum rhythms, while participants attended to another task. We found that the omission of the salient first beat elicited a larger pupil dilation than the omission of the less-salient second beat. This result shows that participants not only detected the beat without explicit attention to the music, but also perceived a metrical hierarchy of stronger and weaker beats. This suggests that hierarchical beat perception is an automatic process that requires no or minimal attentional resources. In addition, we found no evidence for the hypothesis that hierarchical beat perception is affected by musical expertise, suggesting that elementary beat perception might be independent from musical expertise. Finally, our results show that pupil dilation reflects surprise without explicit attention, demonstrating that the pupil is an accessible index to signatures of unattentive processing.

Testing the Role of Dorsal Premotor Cortex in Auditory-Motor Association Learning Using Transcranical Magnetic Stimulation (TMS)

Interactions between the auditory and the motor systems are critical in music as well as in other domains, such as speech. The premotor cortex, specifically the dorsal premotor cortex (dPMC), seems to play a key role in auditory-motor integration, and in mapping the association between a sound and the movement used to produce it. In the present studies we tested the causal role of the dPMC in learning and applying auditory-motor associations using 1 Hz repetitive Transcranical Magnetic Stimulation (rTMS). In this paradigm, non-musicians learn a set of auditory-motor associations through melody training in two contexts: first when the sound to key-press mapping was in a conventional sequential order (low to high tones mapped onto keys from left to right), and then when it was in a novel scrambled order. Participant's ability to match the four pitches to four computer keys was tested before and after the training. In both experiments, the group that received 1 Hz rTMS over the dPMC showed no significant improvement on the pitch-matching task following training, whereas the control group (who received rTMS to visual cortex) did. Moreover, in Experiment 2 where the pitch-key mapping was novel, rTMS over the dPMC also interfered with learning. These findings suggest that rTMS over dPMC disturbs the formation of auditory-motor associations, especially when the association is novel and must be learned rather explicitly. The present results contribute to a better understanding of the role of dPMC in auditory-motor integration, suggesting a critical role of dPMC in learning the link between an action and its associated sound.

Structural and Functional MRI Differences in Master Sommeliers: A Pilot Study on Expertise in the Brain

Our experiences, even as adults, shape our brains. Regional differences have been found in experts, with the regions associated with their particular skill-set. Functional differences have also been noted in brain activation patterns in some experts. This study uses multimodal techniques to assess structural and functional patterns that differ between experts and non-experts. Sommeliers are experts in wine and thus in olfaction. We assessed differences in Master Sommeliers’ brains, compared with controls, in structure and also in functional response to olfactory and visual judgment tasks. MRI data were analyzed using voxel-based morphometry as well as automated parcellation to assess structural properties, and group differences between tasks were calculated. Results indicate enhanced volume in the right insula and entorhinal cortex, with the cortical thickness of the entorhinal correlating with experience. There were regional activation differences in a large area involving the right olfactory and memory regions, with heightened activation specifically for sommeliers during an olfactory task. Our results indicate that sommeliers’ brains show specialization in the expected regions of the olfactory and memory networks, and also in regions important in integration of internal sensory stimuli and external cues. Overall, these differences suggest that specialized expertise and training might result in enhancements in the brain well into adulthood. This is particularly important given the regions involved, which are the first to be impacted by many neurodegenerative diseases.