Action representation of sound: audiomotor recognition network while listening to newly acquired actions

Auditory-Motor Mapping Training in a More Verbal Child with Autism

We tested the effect of Auditory-Motor Mapping Training (AMMT), a novel, intonation-based treatment for spoken language originally developed for minimally verbal (MV) children with autism, on a more-verbal child with autism. We compared this child’s performance after 25 therapy sessions with that of: (1) a child matched on age, autism severity, and expressive language level who received 25 sessions of a non-intonation-based control treatment Speech Repetition Therapy (SRT); and (2) a matched pair of MV children (one of whom received AMMT; the other, SRT). We found a significant Time × Treatment effect in favor of AMMT for number of Syllables Correct and Consonants Correct per stimulus for both pairs of children, as well as a significant Time × Treatment effect in favor of AMMT for number of Vowels Correct per stimulus for the more-verbal pair. Magnitudes of the difference in post-treatment performance between AMMT and SRT, adjusted for Baseline differences, were: (a) larger for the more-verbal pair than for the MV pair; and (b) associated with very large effect sizes (Cohen’s d > 1.3) in the more-verbal pair. Results hold promise for the efficacy of AMMT for improving spoken language production in more-verbal children with autism as well as their MV peers and suggest hypotheses about brain function that are testable in both correlational and causal behavioral-imaging studies.

Musical training increases functional connectivity, but does not enhance mu suppression

Musical training provides an ideal platform for investigating action representation for sound. Learning to play an instrument requires integration of sensory and motor perception-action processes. Functional neuroimaging studies have indicated that listening to trained music can result in the activity in premotor areas, even after a short period of training. These studies suggest that action representation systems are heavily dependent on specific sensorimotor experience. However, others suggest that because humans naturally move to music, sensorimotor training is not necessary and there is a more general action representation for music. We previously demonstrated that EEG mu suppression, commonly implemented to demonstrate mirror-neuron-like action representation while observing movements, can also index action representations for sounds in pianists. The current study extends these findings to a group of non-musicians who learned to play randomised sequences on a piano, in order to acquire specific sound-action mappings for the five fingers of their right hand. We investigated training-related changes in neural dynamics as indexed by mu suppression and task-related coherence measures. To test the specificity of training effects, we included sounds similar to those encountered in the training and additionally rhythm sequences. We found no effect of training on mu suppression between pre- and post-training EEG recordings. However, task-related coherence indexing functional connectivity between electrodes over audiomotor areas increased after training. These results suggest that long-term training in musicians and short-term training in novices may be associated with different stages of audiomotor integration that can be reflected in different EEG measures. Furthermore, the changes in functional connectivity were specifically found for piano tones, and were not apparent when participants listened to rhythms, indicating some degree of specificity related to training.

The role of music therapy in rehabilitation: improving aphasia and beyond

Music is part of the human nature, and it is also philogenically relevant to language evolution. Language and music are bound together in the enhancement of important social functions, such as communication, cooperation and social cohesion. In the last few years, there has been growing evidence that music and music therapy may improve communication skills (but not only) in different neurological disorders. One of the plausible reasons concerning the rational use of sound and music in neurorehabilitation is the possibility to stimulate brain areas involved in emotional processing and motor control, such as the fronto-parietal network. In this narrative review, we are going to describe the role of music therapy in improving aphasia and other neurological disorders, underlying the reasons why this tool could be effective in rehabilitative settings, especially in individuals affected by stroke.

Advantages of melodic over rhythmic movement sonification in bimanual motor skill learning

An important question for skill acquisition is whether and how augmented feedback can be designed to improve the learning of complex skills. Auditory information triggered by learners' actions, movement sonification, can enhance learning of a complex bimanual coordination skill, specifically polyrhythmic bimanual shape tracing. However, it is not clear whether the coordination of polyrhythmic sequenced movements is enhanced by auditory-specified timing information alone or whether more complex sound mappings, such as melodic sonification, are necessary. Furthermore, while short-term retention of bimanual coordination performance has been shown with movement sonification training, longer term retention has yet to be demonstrated. In the present experiment, participants learned to trace a diamond shape with one hand while simultaneously tracing a triangle with the other to produce a sequenced 4:3 polyrhythmic timing pattern. Two groups of participants received real-time auditory feedback during training: melodic sonification (individual movements triggered a separate note of a melody) and rhythmic sonification (each movement triggered a percussive sound), while a third control group received no augmented feedback. Task acquisition and performance in immediate retention were superior in the melodic sonification group as compared to the rhythmic sonification and control group. In a 24-h retention phase, a decline in performance in the melodic sonification group was reversed by brief playback of the target pattern melody. These results show that melodic sonification of movement can provide advantages over augmented feedback which only provides timing information by better structuring the sequencing of timed actions, and also allow recovery of complex target patterns of movement after training. These findings have important implications for understanding the role of augmented perceptual information in skill learning, as well as its application to real-world training or rehabilitation scenarios.

Neural reuse of action perception circuits for language, concepts and communication

Neurocognitive and neurolinguistics theories make explicit statements relating specialized cognitive and linguistic processes to specific brain loci. These linking hypotheses are in need of neurobiological justification and explanation. Recent mathematical models of human language mechanisms constrained by fundamental neuroscience principles and established knowledge about comparative neuroanatomy offer explanations for where, when and how language is processed in the human brain. In these models, network structure and connectivity along with action- and perception-induced correlation of neuronal activity co-determine neurocognitive mechanisms. Language learning leads to the formation of action perception circuits (APCs) with specific distributions across cortical areas. Cognitive and linguistic processes such as speech production, comprehension, verbal working memory and prediction are modelled by activity dynamics in these APCs, and combinatorial and communicative-interactive knowledge is organized in the dynamics within, and connections between APCs. The network models and, in particular, the concept of distributionally-specific circuits, can account for some previously not well understood facts about the cortical 'hubs' for semantic processing and the motor system's role in language understanding and speech sound recognition. A review of experimental data evaluates predictions of the APC model and alternative theories, also providing detailed discussion of some seemingly contradictory findings. Throughout, recent disputes about the role of mirror neurons and grounded cognition in language and communication are assessed critically.

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.

Sound-Making Actions Lead to Immediate Plastic Changes of Neuromagnetic Evoked Responses and Induced β-Band Oscillations during Perception

Auditory and sensorimotor brain areas interact during the action-perception cycle of sound making. Neurophysiological evidence of a feedforward model of the action and its outcome has been associated with attenuation of the N1 wave of auditory evoked responses elicited by self-generated sounds, such as talking and singing or playing a musical instrument. Moreover, neural oscillations at β-band frequencies have been related to predicting the sound outcome after action initiation. We hypothesized that a newly learned action-perception association would immediately modify interpretation of the sound during subsequent listening. Nineteen healthy young adults (7 female, 12 male) participated in three magnetoencephalographic recordings while first passively listening to recorded sounds of a bell ringing, then actively striking the bell with a mallet, and then again listening to recorded sounds. Auditory cortex activity showed characteristic P1-N1-P2 waves. The N1 was attenuated during sound making, while P2 responses were unchanged. In contrast, P2 became larger when listening after sound making compared with the initial naive listening. The P2 increase occurred immediately, while in previous learning-by-listening studies P2 increases occurred on a later day. Also, reactivity of β-band oscillations, as well as θ coherence between auditory and sensorimotor cortices, was stronger in the second listening block. These changes were significantly larger than those observed in control participants (eight female, five male), who triggered recorded sounds by a key press. We propose that P2 characterizes familiarity with sound objects, whereas β-band oscillation signifies involvement of the action-perception cycle, and both measures objectively indicate functional neuroplasticity in auditory perceptual learning.SIGNIFICANCE STATEMENT While suppression of auditory responses to self-generated sounds is well known, it is not clear whether the learned action-sound association modifies subsequent perception. Our study demonstrated the immediate effects of sound-making experience on perception using magnetoencephalographic recordings, as reflected in the increased auditory evoked P2 wave, increased responsiveness of β oscillations, and enhanced connectivity between auditory and sensorimotor cortices. The importance of motor learning was underscored as the changes were much smaller in a control group using a key press to generate the sounds instead of learning to play the musical instrument. The results support the rapid integration of a feedforward model during perception and provide a neurophysiological basis for the application of music making in motor rehabilitation training.

Expertise-dependent motor somatotopy of music perception

Precise mapping between sound and motion underlies successful communication and information transmission in speech and musical performance. Formation of the map typically undergoes plastic changes in the neuronal network between auditory and motor regions through training. However, to what extent the map is somatotopically-tuned so that auditory information can specifically modulate the corticospinal system responsible for the relevant motor action has not been elucidated. Here we addressed this issue by assessing the excitability of corticospinal system including the primary motor cortex (M1) innervating the hand intrinsic muscles by means of transcranial magnetic stimulation while trained pianists and musically-untrained individuals (non-musicians) were listening to either piano tones or noise. M1 excitability was evaluated at two anatomically-independent muscles of the hand. The results demonstrated elevation of M1 excitability at not all but one specific muscle while listening to piano tones in the pianists, but no excitability change in both of the muscles in the non-musicians. However, listening to noise did not elicit any changes of M1 excitability at both muscles in both the pianists and the non-musicians. These findings indicate that auditory information representing the trained motor action tunes M1 excitability in a non-uniform, somatotopically-specific manner, which is likely associated with multimodal experiences in musical training.

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.

Inside Speech: Multisensory and Modality-specific Processing of Tongue and Lip Speech Actions

Action recognition has been found to rely not only on sensory brain areas but also partly on the observer's motor system. However, whether distinct auditory and visual experiences of an action modulate sensorimotor activity remains largely unknown. In the present sparse sampling fMRI study, we determined to which extent sensory and motor representations interact during the perception of tongue and lip speech actions. Tongue and lip speech actions were selected because tongue movements of our interlocutor are accessible via their impact on speech acoustics but not visible because of its position inside the vocal tract, whereas lip movements are both “audible” and visible. Participants were presented with auditory, visual, and audiovisual speech actions, with the visual inputs related to either a sagittal view of the tongue movements or a facial view of the lip movements of a speaker, previously recorded by an ultrasound imaging system and a video camera. Although the neural networks involved in visual visuolingual and visuofacial perception largely overlapped, stronger motor and somatosensory activations were observed during visuolingual perception. In contrast, stronger activity was found in auditory and visual cortices during visuofacial perception. Complementing these findings, activity in the left premotor cortex and in visual brain areas was found to correlate with visual recognition scores observed for visuolingual and visuofacial speech stimuli, respectively, whereas visual activity correlated with RTs for both stimuli. These results suggest that unimodal and multimodal processing of lip and tongue speech actions rely on common sensorimotor brain areas. They also suggest that visual processing of audible but not visible movements induces motor and visual mental simulation of the perceived actions to facilitate recognition and/or to learn the association between auditory and visual signals.

Error-related negativity in the skilled brain of pianists reveals motor simulation

Evidences have been provided of a crucial role of multimodal audio-visuomotor processing in subserving the musical ability. In this paper we investigated whether musical audiovisual stimulation might trigger the activation of motor information in the brain of professional pianists, due to the presence of permanent gestures/sound associations. At this aim EEG was recorded in 24 pianists and naive participants engaged in the detection of rare targets while watching hundreds of video clips showing a pair of hands in the act of playing, along with a compatible or incompatible piano soundtrack. Hands size and apparent distance allowed self-ownership and agency illusions, and therefore motor simulation. Event-related potentials (ERPs) and relative source reconstruction showed the presence of an Error-related negativity (ERN) to incongruent trials at anterior frontal scalp sites, only in pianists, with no difference in naïve participants. ERN was mostly explained by an anterior cingulate cortex (ACC) source. Other sources included "hands" IT regions, the superior temporal gyrus (STG) involved in conjoined auditory and visuomotor processing, SMA and cerebellum (representing and controlling motor subroutines), and regions involved in body parts representation (somatosensory cortex, uncus, cuneus and precuneus). The findings demonstrate that instrument-specific audiovisual stimulation is able to trigger error shooting and correction neural responses via motor resonance and mirroring, being a possible aid in learning and rehabilitation.

Interaction between Perceived Action and Music Sequences in the Left Prefrontal Area

Observing another person's piano play and listening to a melody interact with the observer's execution of piano play. This interaction is thought to occur because the execution of musical-action and the perception of both musical-action and musical-sound share a common representation in which the frontoparietal network is involved. However, it is unclear whether the perceptions of observed piano play and listened musical sound use a common neural resource. The present study used near-infrared spectroscopy to determine whether the interaction between the perception of musical-action and musical-sound sequences appear in the left prefrontal area. Measurements were obtained while participants watched videos that featured hands playing familiar melodies on a piano keyboard. Hand movements were paired with either a congruent or an incongruent melody. Two groups of participants (nine well-trained and nine less-trained) were instructed to identify the melody according to hand movements and to ignore the accompanying auditory track. Increased cortical activation was detected in the well-trained participants when hand movements were paired with incongruent melodies. Therefore, an interference effect was detected regarding the processing of action and sound sequences, indicating that musical-action sequences may be perceived with a representation that is also used for the perception of musical-sound sequences. However, in less-trained participants, such a contrast was not detected between conditions despite both groups featuring comparable key-touch reading abilities. Therefore, the current results imply that the left prefrontal area is involved in translating temporally structured sequences between domains. Additionally, expertise may be a crucial factor underlying this translation.

Divergent Human Cortical Regions for Processing Distinct Acoustic-Semantic Categories of Natural Sounds: Animal Action Sounds vs. Vocalizations

A major gap in our understanding of natural sound processing is knowledge of where or how in a cortical hierarchy differential processing leads to categorical perception at a semantic level. Here, using functional magnetic resonance imaging (fMRI) we sought to determine if and where cortical pathways in humans might diverge for processing action sounds vs. vocalizations as distinct acoustic-semantic categories of real-world sound when matched for duration and intensity. This was tested by using relatively less semantically complex natural sounds produced by non-conspecific animals rather than humans. Our results revealed a striking double-dissociation of activated networks bilaterally. This included a previously well described pathway preferential for processing vocalization signals directed laterally from functionally defined primary auditory cortices to the anterior superior temporal gyri, and a less well-described pathway preferential for processing animal action sounds directed medially to the posterior insulae. We additionally found that some of these regions and associated cortical networks showed parametric sensitivity to high-order quantifiable acoustic signal attributes and/or to perceptual features of the natural stimuli, such as the degree of perceived recognition or intentional understanding. Overall, these results supported a neurobiological theoretical framework for how the mammalian brain may be fundamentally organized to process acoustically and acoustic-semantically distinct categories of ethologically valid, real-world sounds.

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.

Measuring social interaction in music ensembles

Music ensembles are an ideal test-bed for quantitative analysis of social interaction. Music is an inherently social activity, and music ensembles offer a broad variety of scenarios which are particularly suitable for investigation. Small ensembles, such as string quartets, are deemed a significant example of self-managed teams, where all musicians contribute equally to a task. In bigger ensembles, such as orchestras, the relationship between a leader (the conductor) and a group of followers (the musicians) clearly emerges. This paper presents an overview of recent research on social interaction in music ensembles with a particular focus on (i) studies from cognitive neuroscience; and (ii) studies adopting a computational approach for carrying out automatic quantitative analysis of ensemble music performances.

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.

Experience-dependent modulation of right anterior insula and sensorimotor regions as a function of noise-masked auditory feedback in singers and nonsingers

Previous studies on vocal motor production in singing suggest that the right anterior insula (AI) plays a role in experience-dependent modulation of feedback integration. Specifically, when somatosensory input was reduced via anesthesia of the vocal fold mucosa, right AI activity was down regulated in trained singers. In the current fMRI study, we examined how masking of auditory feedback affects pitch-matching accuracy and corresponding brain activity in the same participants. We found that pitch-matching accuracy was unaffected by masking in trained singers yet declined in nonsingers. The corresponding brain region with the most differential and interesting activation pattern was the right AI, which was up regulated during masking in singers but down regulated in nonsingers. Likewise, its functional connectivity with inferior parietal, frontal, and voice-relevant sensorimotor areas was increased in singers yet decreased in nonsingers. These results indicate that singers relied more on somatosensory feedback, whereas nonsingers depended more critically on auditory feedback. When comparing auditory vs somatosensory feedback involvement, the right anterior insula emerged as the only region for correcting intended vocal output by modulating what is heard or felt as a function of singing experience. We propose the right anterior insula as a key node in the brain's singing network for the integration of signals of salience across multiple sensory and cognitive domains to guide vocal behavior.

Auditory-Motor Mapping Training: Comparing the Effects of a Novel Speech Treatment to a Control Treatment for Minimally Verbal Children with Autism

This study compared Auditory-Motor Mapping Training (AMMT), an intonation-based treatment for facilitating spoken language in minimally verbal children with autism spectrum disorder (ASD), to a matched control treatment, Speech Repetition Therapy (SRT). 23 minimally verbal children with ASD (20 male, mean age 6;5) received at least 25 sessions of AMMT. Seven (all male) were matched on age and verbal ability to seven participants (five male) who received SRT. Outcome measures were Percent Syllables Approximated, Percent Consonants Correct (of 86), and Percent Vowels Correct (of 61) produced on two sets of 15 bisyllabic stimuli. All subjects were assessed on these measures several times at baseline and after 10, 15, 20, and 25 sessions. The post-25 session assessment timepoint, common to all participants, was compared to Best Baseline performance. Overall, after 25 sessions, AMMT participants increased by 19.4% Syllables Approximated, 13.8% Consonants Correct, and19.1% Vowels Correct, compared to Best Baseline. In the matched AMMT-SRT group, after 25 sessions, AMMT participants produced 29.0% more Syllables Approximated (SRT 3.6%);17.9% more Consonants Correct (SRT 0.5); and 17.6% more Vowels Correct (SRT 0.8%). Chi-square tests showed that significantly more AMMT than SRT participants in both the overall and matched groups improved significantly in number of Syllables Approximated per stimulus and number of Consonants Correct per stimulus. Pre-treatment ability to imitate phonemes, but not chronological age or baseline performance on outcome measures, was significantly correlated with amount of improvement after 25 sessions. Intonation-based therapy may offer a promising new interventional approach for teaching spoken language to minimally verbal children with ASD.

The Case for Musical Instrument Training in Cerebral Palsy for Neurorehabilitation

Recent imaging studies in cerebral palsy (CP) have described several brain structural changes, functional alterations, and neuroplastic processes that take place after brain injury during early development. These changes affect motor pathways as well as sensorimotor networks. Several of these changes correlate with behavioral measures of motor and sensory disability. It is now widely acknowledged that management of sensory deficits is relevant for rehabilitation in CP. Playing a musical instrument demands the coordination of hand movements with integrated auditory, visual, and tactile feedback, in a process that recruits multiple brain regions. These multiple demands during instrument playing, together with the entertaining character of music, have led to the development and investigation of music-supported therapies, especially for rehabilitation with motor disorders resulting from brain damage. We review scientific evidence that supports the use of musical instrument playing for rehabilitation in CP. We propose that active musical instrument playing may be an efficient means for triggering neuroplastic processes necessary for the development of sensorimotor skills in patients with early brain damage. We encourage experimental research on neuroplasticity and on its impact on the physical and personal development of individuals with CP.

Audiovisual Interval Size Estimation Is Associated with Early Musical Training

Although pitch is a fundamental attribute of auditory perception, substantial individual differences exist in our ability to perceive differences in pitch. Little is known about how these individual differences in the auditory modality might affect crossmodal processes such as audiovisual perception. In this study, we asked whether individual differences in pitch perception might affect audiovisual perception, as it relates to age of onset and number of years of musical training. Fifty-seven subjects made subjective ratings of interval size when given point-light displays of audio, visual, and audiovisual stimuli of sung intervals. Audiovisual stimuli were divided into congruent and incongruent (audiovisual-mismatched) stimuli. Participants’ ratings correlated strongly with interval size in audio-only, visual-only, and audiovisual-congruent conditions. In the audiovisual-incongruent condition, ratings correlated more with audio than with visual stimuli, particularly for subjects who had better pitch perception abilities and higher nonverbal IQ scores. To further investigate the effects of age of onset and length of musical training, subjects were divided into musically trained and untrained groups. Results showed that among subjects with musical training, the degree to which participants’ ratings correlated with auditory interval size during incongruent audiovisual perception was correlated with both nonverbal IQ and age of onset of musical training. After partialing out nonverbal IQ, pitch discrimination thresholds were no longer associated with incongruent audio scores, whereas age of onset of musical training remained associated with incongruent audio scores. These findings invite future research on the developmental effects of musical training, particularly those relating to the process of audiovisual perception.

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.

Conscientiousness and Extraversion relate to responsiveness to tempo in dance

Previous research has shown broad relationships between personality and dance, but the relationship between personality and specific structural features of music has not been explored. The current study explores the influence of personality and trait empathy on dancers' responsiveness to small tempo differences between otherwise musically identical stimuli, measured by difference in the amount in acceleration of key joints. Thirty participants were recorded using motion capture while dancing to excerpts from six popular songs that were time-stretched to be slightly faster or slower than their original tempi. Analysis revealed that higher conscientiousness and lower extraversion both correlated with greater responsiveness to tempo change. Partial correlation analysis revealed that conscientiousness remained significantly correlated with responsiveness when extraversion was controlled, but not vice versa. No effect of empathy was found. Implications are discussed.

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.

The neural dynamics of speech perception: Dissociable networks for processing linguistic content and monitoring speaker turn-taking

The neural circuitry for speech perception is well-characterized, yet the temporal dynamics therein are largely unknown. This timing information is critical in that spoken language almost always occurs in the context of joint speech (i.e., conversations) where effective communication requires the precise timing of speaker turn-taking-a core aspect of prosody. Here, we used event-related potentials to characterize neural activity elicited by conversation stimuli within a large, unselected adult sample (N=115). We focused on two stages of speech perception: inter-speaker gaps and speaker responses. We found activation in two known speech perception networks, with functional and neuroanatomical specificity: silence during inter-speaker gaps primarily activated the posterior pathway involving the supramarginal gyrus and premotor cortex, whereas hearing speaker responses primarily activated the anterior pathway involving the superior temporal gyrus. These data provide the first direct evidence that the posterior pathway is uniquely involved in monitoring speaker turn-taking.

Transposing musical skill: sonification of movement as concurrent augmented feedback enhances learning in a bimanual task

Concurrent feedback provided during acquisition can enhance performance of novel tasks. The 'guidance hypothesis' predicts that feedback provision leads to dependence and poor performance in its absence. However, appropriately structured feedback information provided through sound ('sonification') may not be subject to this effect. We test this directly using a rhythmic bimanual shape-tracing task in which participants learned to move at a 4:3 timing ratio. Sonification of movement and demonstration was compared to two other learning conditions: (1) Sonification of task demonstration alone and (2) completely silent practice (control). Sonification of movement emerged as the most effective form of practice, reaching significantly lower error scores than control. Sonification of solely the demonstration, which was expected to benefit participants by perceptually unifying task requirements, did not lead to better performance than control. Good performance was maintained by participants in the Sonification condition in an immediate retention test without feedback, indicating that the use of this feedback can overcome the guidance effect. On a 24-h retention test, performance had declined and was equal between groups. We argue that this and similar findings in the feedback literature are best explained by an ecological approach to motor skill learning which places available perceptual information at the highest level of importance.

Movement Sonification: Effects on Motor Learning beyond Rhythmic Adjustments

Motor learning is based on motor perception and emergent perceptual-motor representations. A lot of behavioral research is related to single perceptual modalities but during last two decades the contribution of multimodal perception on motor behavior was discovered more and more. A growing number of studies indicates an enhanced impact of multimodal stimuli on motor perception, motor control and motor learning in terms of better precision and higher reliability of the related actions. Behavioral research is supported by neurophysiological data, revealing that multisensory integration supports motor control and learning. But the overwhelming part of both research lines is dedicated to basic research. Besides research in the domains of music, dance and motor rehabilitation, there is almost no evidence for enhanced effectiveness of multisensory information on learning of gross motor skills. To reduce this gap, movement sonification is used here in applied research on motor learning in sports. Based on the current knowledge on the multimodal organization of the perceptual system, we generate additional real-time movement information being suitable for integration with perceptual feedback streams of visual and proprioceptive modality. With ongoing training, synchronously processed auditory information should be initially integrated into the emerging internal models, enhancing the efficacy of motor learning. This is achieved by a direct mapping of kinematic and dynamic motion parameters to electronic sounds, resulting in continuous auditory and convergent audiovisual or audio-proprioceptive stimulus arrays. In sharp contrast to other approaches using acoustic information as error-feedback in motor learning settings, we try to generate additional movement information suitable for acceleration and enhancement of adequate sensorimotor representations and processible below the level of consciousness. In the experimental setting, participants were asked to learn a closed motor skill (technique acquisition of indoor rowing). One group was treated with visual information and two groups with audiovisual information (sonification vs. natural sounds). For all three groups learning became evident and remained stable. Participants treated with additional movement sonification showed better performance compared to both other groups. Results indicate that movement sonification enhances motor learning of a complex gross motor skill-even exceeding usually expected acoustic rhythmic effects on motor learning.

Melodic Priming of Motor Sequence Performance: The Role of the Dorsal Premotor Cortex

The purpose of this study was to determine whether exposure to specific auditory sequences leads to the induction of new motor memories and to investigate the role of the dorsal premotor cortex (dPMC) in this crossmodal learning process. Fifty-two young healthy non-musicians were familiarized with the sound to key-press mapping on a computer keyboard and tested on their baseline motor performance. Each participant received subsequently either continuous theta burst stimulation (cTBS) or sham stimulation over the dPMC and was then asked to remember a 12-note melody without moving. For half of the participants, the contour of the melody memorized was congruent to a subsequently performed, but never practiced, finger movement sequence (Congruent group). For the other half, the melody memorized was incongruent to the subsequent finger movement sequence (Incongruent group). Hearing a congruent melody led to significantly faster performance of a motor sequence immediately thereafter compared to hearing an incongruent melody. In addition, cTBS speeded up motor performance in both groups, possibly by relieving motor consolidation from interference by the declarative melody memorization task. Our findings substantiate recent evidence that exposure to a movement-related tone sequence can induce specific, crossmodal encoding of a movement sequence representation. They further suggest that cTBS over the dPMC may enhance early offline procedural motor skill consolidation in cognitive states where motor consolidation would normally be disturbed by concurrent declarative memory processes. These findings may contribute to a better understanding of auditory-motor system interactions and have implications for the development of new motor rehabilitation approaches using sound and non-invasive brain stimulation as neuromodulatory tools.

Neural activity related to discrimination and vocal production of consonant and dissonant musical intervals

BACKGROUND

Relationships between musical pitches are described as either consonant, when associated with a pleasant and harmonious sensation, or dissonant, when associated with an inharmonious feeling. The accurate singing of musical intervals requires communication between auditory feedback processing and vocal motor control (i.e. audio-vocal integration) to ensure that each note is produced correctly. The objective of this study is to investigate the neural mechanisms through which trained musicians produce consonant and dissonant intervals.

METHODOLOGY

We utilized 4 musical intervals (specifically, an octave, a major seventh, a fifth, and a tritone) as the main stimuli for auditory discrimination testing, and we used the same interval tasks to assess vocal accuracy in a group of musicians (11 subjects, all female vocal students at conservatory level). The intervals were chosen so as to test for differences in recognition and production of consonant and dissonant intervals, as well as narrow and wide intervals. The subjects were studied using fMRI during performance of the interval tasks; the control condition consisted of passive listening.

RESULTS

Singing dissonant intervals as opposed to singing consonant intervals led to an increase in activation in several regions, most notably the primary auditory cortex, the primary somatosensory cortex, the amygdala, the left putamen, and the right insula. Singing wide intervals as opposed to singing narrow intervals resulted in the activation of the right anterior insula. Moreover, we also observed a correlation between singing in tune and brain activity in the premotor cortex, and a positive correlation between training and activation of primary somatosensory cortex, primary motor cortex, and premotor cortex during singing. When singing dissonant intervals, a higher degree of training correlated with the right thalamus and the left putamen.

CONCLUSIONS/SIGNIFICANCE

Our results indicate that singing dissonant intervals requires greater involvement of neural mechanisms associated with integrating external feedback from auditory and sensorimotor systems than singing consonant intervals, and it would then seem likely that dissonant intervals are intoned by adjusting the neural mechanisms used for the production of consonant intervals. Singing wide intervals requires a greater degree of control than singing narrow intervals, as it involves neural mechanisms which again involve the integration of internal and external feedback.

Causal Role of Motor Simulation in Turn-Taking Behavior

Overlap between sensory and motor representations has been documented for a range of human actions, from grasping (Rizzolatti et al., 1996b) to playing a musical instrument (Novembre and Keller, 2014). Such overlap suggests that individuals use motor simulation to predict the outcome of observed actions (Wolpert, 1997). Here we investigate motor simulation as a basis of human communication. Using a musical turn-taking task, we show that pianists call on motor representations of their partner's part to predict when to come in for their own turn. Pianists played alternating solos with a videoed partner, and double-pulse transcranial magnetic stimulation was applied around the turn-switch to temporarily disrupt processing in two cortical regions implicated previously in different forms of motor simulation: (1) the dorsal premotor cortex (dPMC), associated with automatic motor resonance during passive observation of hand actions, especially when the actions are familiar (Lahav et al., 2007); and (2) the supplementary motor area (SMA), involved in active motor imagery, especially when the actions are familiar (Baumann et al., 2007). Stimulation of the right dPMC decreased the temporal accuracy of pianists' (right-hand) entries relative to sham when the partner's (left-hand) part had been rehearsed previously. This effect did not occur for dPMC stimulation without rehearsal or for SMA stimulation. These findings support the role of the dPMC in predicting the time course of observed actions via resonance-based motor simulation during turn-taking. Because turn-taking spans multiple modes of human interaction, we suggest that simulation is a foundational mechanism underlying the temporal dynamics of joint action.

SIGNIFICANCE STATEMENT

Even during passive observation, seeing or hearing somebody execute an action from within our repertoire activates motor cortices of our brain. But what is the functional relevance of such "motor simulation"? By combining a musical duet task with a real-time repetitive transcranial magnetic stimulation protocol, we provide evidence indicating that the dorsal premotor cortex plays a causal role in accurate turn-taking coordination between a pianist and their observed interaction partner. Given that turn-taking behavior is a fundamental feature of human communication, we suggest that simulation is a foundational mechanism underlying the temporal dynamics of communicative joint action.

Sensory, Cognitive, and Sensorimotor Learning Effects in Recognition Memory for Music

Recent research suggests that perception and action are strongly interrelated and that motor experience may aid memory recognition. We investigated the role of motor experience in auditory memory recognition processes by musicians using behavioral, ERP, and neural source current density measures. Skilled pianists learned one set of novel melodies by producing them and another set by perception only. Pianists then completed an auditory memory recognition test during which the previously learned melodies were presented with or without an out-of-key pitch alteration while the EEG was recorded. Pianists indicated whether each melody was altered from or identical to one of the original melodies. Altered pitches elicited a larger N2 ERP component than original pitches, and pitches within previously produced melodies elicited a larger N2 than pitches in previously perceived melodies. Cortical motor planning regions were more strongly activated within the time frame of the N2 following altered pitches in previously produced melodies compared with previously perceived melodies, and larger N2 amplitudes were associated with greater detection accuracy following production learning than perception learning. Early sensory (N1) and later cognitive (P3a) components elicited by pitch alterations correlated with predictions of sensory echoic and schematic tonality models, respectively, but only for the perception learning condition, suggesting that production experience alters the extent to which performers rely on sensory and tonal recognition cues. These findings provide evidence for distinct time courses of sensory, schematic, and motoric influences within the same recognition task and suggest that learned auditory-motor associations influence responses to out-of-key pitches.

Areas Recruited during Action Understanding Are Not Modulated by Auditory or Sign Language Experience

The observation of other people’s actions recruits a network of areas including the inferior frontal gyrus (IFG), the inferior parietal lobule (IPL), and posterior middle temporal gyrus (pMTG). These regions have been shown to be activated through both visual and auditory inputs. Intriguingly, previous studies found no engagement of IFG and IPL for deaf participants during non-linguistic action observation, leading to the proposal that auditory experience or sign language usage might shape the functionality of these areas. To understand which variables induce plastic changes in areas recruited during the processing of other people’s actions, we examined the effects of tasks (action understanding and passive viewing) and effectors (arm actions vs. leg actions), as well as sign language experience in a group of 12 congenitally deaf signers and 13 hearing participants. In Experiment 1, we found a stronger activation during an action recognition task in comparison to a low-level visual control task in IFG, IPL and pMTG in both deaf signers and hearing individuals, but no effect of auditory or sign language experience. In Experiment 2, we replicated the results of the first experiment using a passive viewing task. Together, our results provide robust evidence demonstrating that the response obtained in IFG, IPL, and pMTG during action recognition and passive viewing is not affected by auditory or sign language experience, adding further support for the supra-modal nature of these regions.

Rapid learning of associations between sound and action through observed movement. A TMS study

Research has established that there is a cognitive link between perception and production of the same movement. However, there has been relatively little research into the relevance of this for non-expert perceivers, such as music listeners who do not play instruments themselves. In two experiments we tested whether participants can quickly learn new associations between sounds and observed movement without performing those movements themselves. We measured motor evoked potentials (MEPs) in the first dorsal interosseous muscle of participants' right hands while test tones were heard and single transcranial magnetic stimulation (TMS) pulses were used to trigger motor activity. In Experiment 1 participants in a 'human' condition (n=4) learnt to associate the test tone with finger movement of the experimenter, while participants in a 'computer' condition (n=4) learnt that the test tone was triggered by a computer. Participants in the human condition showed a larger increase in MEPs compared with those in the computer condition. In a second experiment pairing between sounds and movement occurred without participants repeatedly observing the movement and we found no such difference between the human (n=4) and computer (n=4) conditions. These results suggest that observers can quickly learn to associate sound with movement, so it should not be necessary to have played an instrument to experience some motor resonance when hearing that instrument.

To Hear or Not to Hear: Sound Availability Modulates Sensory-Motor Integration

When we walk in place with our eyes closed after a few minutes of walking on a treadmill, we experience an unintentional forward body displacement (drift), called the sensory-motor aftereffect. Initially, this effect was thought to be due to the mismatch experienced during treadmill walking between the visual (absence of optic flow signaling body steadiness) and proprioceptive (muscle spindles firing signaling body displacement) information. Recently, the persistence of this effect has been shown even in the absence of vision, suggesting that other information, such as the sound of steps, could play a role. To test this hypothesis, six cochlear-implanted individuals were recruited and their forward drift was measured before (Control phase) and after (Post Exercise phase) walking on a treadmill while having their cochlear system turned on and turned off. The relevance in testing cochlear-implanted individuals was that when their system is turned off, they perceive total silence, even eliminating the sounds normally obtained from bone conduction. Results showed the absence of the aftereffect when the system was turned off, underlining the fundamental role played by sounds in the control of action and breaking new ground in the use of interactive sound feedback in motor learning and motor development.

Moving to the Beat and Singing are Linked in Humans

The abilities to sing and to move to the beat of a rhythmic auditory stimulus emerge early during development, and both engage perceptual, motor, and sensorimotor processes. These similarities between singing and synchronization to a beat may be rooted in biology. Patel (2008) has suggested that motor synchronization to auditory rhythms may have emerged during evolution as a byproduct of selection for vocal learning (“vocal learning and synchronization hypothesis”). This view predicts a strong link between vocal performance and synchronization skills in humans. Here, we tested this prediction by asking occasional singers to tap along with auditory pulse trains and to imitate familiar melodies. Both vocal imitation and synchronization skills were measured in terms of accuracy and precision or consistency. Accurate and precise singers tapped more in the vicinity of the pacing stimuli (i.e., they were more accurate) than less accurate and less precise singers. Moreover, accurate singers were more consistent when tapping to the beat. These differences cannot be ascribed to basic motor skills or to motivational factors. Individual differences in terms of singing proficiency and synchronization skills may reflect the variability of a shared sensorimotor translation mechanism.

Subcortical modulation in auditory processing and auditory hallucinations

Hearing perception in individuals with auditory hallucinations has not been well studied. Auditory hallucinations have previously been shown to involve primary auditory cortex activation. This activation suggests that auditory hallucinations activate the terminal of the auditory pathway as if auditory signals are submitted from the cochlea, and that a hallucinatory event is therefore perceived as hearing. The primary auditory cortex is stimulated by some unknown source that is outside of the auditory pathway. The current study aimed to assess the outcomes of stimulating the primary auditory cortex through the auditory pathway in individuals who have experienced auditory hallucinations. Sixteen patients with schizophrenia underwent functional magnetic resonance imaging (fMRI) sessions, as well as hallucination assessments. During the fMRI session, auditory stimuli were presented in one-second intervals at times when scanner noise was absent. Participants listened to auditory stimuli of sine waves (SW) (4-5.5kHz), English words (EW), and acoustically reversed English words (arEW) in a block design fashion. The arEW were employed to deliver the sound of a human voice with minimal linguistic components. Patients' auditory hallucination severity was assessed by the auditory hallucination item of the Brief Psychiatric Rating Scale (BPRS). During perception of arEW when compared with perception of SW, bilateral activation of the globus pallidus correlated with severity of auditory hallucinations. EW when compared with arEW did not correlate with auditory hallucination severity. Our findings suggest that the sensitivity of the globus pallidus to the human voice is associated with the severity of auditory hallucination.

Sensory feedback - Dependent neural de-orchestration: The effect of altered sensory feedback on Musician's Dystonia

PURPOSE

Musician's dystonia (MD) is a task-specific movement disorder related to extensive expert music performance training. Similar to other forms of focal dystonia, MD involves sensory deficits and abnormal patterns of sensorimotor integration. The present study investigated the impaired cortical sensorimotor network of pianists who suffer from MD by employing altered auditory and tactile feedback during scale playing with multichannel EEG.

METHODS

9 healthy professional pianists and 9 professional pianists suffering from right hand MD participated in an experiment that required repeated scale playing on a MIDI piano under altered sensory feedback while EEG was measured.

RESULTS

The comparison of EEG data in healthy pianists and pianists suffering from MD revealed a higher degree of inter-regional phase synchronisation between the frontal and parietal regions and between the temporal and central regions in the patient group and in conditions that are relevant to the long-trained auditory-motor coupling (normal auditory feedback and complete deprivation of auditory feedback), but such abnormalities decreased in conditions with delayed auditory feedback and altered tactile feedback.

CONCLUSIONS

These findings support the hypothesis that the impaired sensorimotor integration of MD patients is specific to the type of overtrained task that the patients were trained for and can be modified with altered sensory feedback.

Effects of Auditory Rhythm and Music on Gait Disturbances in Parkinson's Disease

Gait abnormalities, such as shuffling steps, start hesitation, and freezing, are common and often incapacitating symptoms of Parkinson’s disease (PD) and other parkinsonian disorders. Pharmacological and surgical approaches have only limited efficacy in treating these gait disorders. Rhythmic auditory stimulation (RAS), such as playing marching music and dance therapy, has been shown to be a safe, inexpensive, and an effective method in improving gait in PD patients. However, RAS that adapts to patients’ movements may be more effective than rigid, fixed-tempo RAS used in most studies. In addition to auditory cueing, immersive virtual reality technologies that utilize interactive computer-generated systems through wearable devices are increasingly used for improving brain–body interaction and sensory–motor integration. Using multisensory cues, these therapies may be particularly suitable for the treatment of parkinsonian freezing and other gait disorders. In this review, we examine the affected neurological circuits underlying gait and temporal processing in PD patients and summarize the current studies demonstrating the effects of RAS on improving these gait deficits.

Priming Gestures with Sounds

We report a series of experiments about a little-studied type of compatibility effect between a stimulus and a response: the priming of manual gestures via sounds associated with these gestures. The goal was to investigate the plasticity of the gesture-sound associations mediating this type of priming. Five experiments used a primed choice-reaction task. Participants were cued by a stimulus to perform response gestures that produced response sounds; those sounds were also used as primes before the response cues. We compared arbitrary associations between gestures and sounds (key lifts and pure tones) created during the experiment (i.e. no pre-existing knowledge) with ecological associations corresponding to the structure of the world (tapping gestures and sounds, scraping gestures and sounds) learned through the entire life of the participant (thus existing prior to the experiment). Two results were found. First, the priming effect exists for ecological as well as arbitrary associations between gestures and sounds. Second, the priming effect is greatly reduced for ecologically existing associations and is eliminated for arbitrary associations when the response gesture stops producing the associated sounds. These results provide evidence that auditory-motor priming is mainly created by rapid learning of the association between sounds and the gestures that produce them. Auditory-motor priming is therefore mediated by short-term associations between gestures and sounds that can be readily reconfigured regardless of prior knowledge.

Musical Sequence Learning and EEG Correlates of Audiomotor Processing

Our motor and auditory systems are functionally connected during musical performance, and functional imaging suggests that the association is strong enough that passive music listening can engage the motor system. As predictive coding constrains movement sequence selections, could the motor system contribute to sequential processing of musical passages? If this is the case, then we hypothesized that the motor system should respond preferentially to passages of music that contain similar sequential information, even if other aspects of music, such as the absolute pitch, have been altered. We trained piano naive subjects with a learn-to play-by-ear paradigm, to play a simple melodic sequence over five days. After training, we recorded EEG of subjects listening to the song they learned to play, a transposed version of that song, and a control song with different notes and sequence from the learned song. Beta band power over sensorimotor scalp showed increased suppression for the learned song, a moderate level of suppression for the transposed song, and no suppression for the control song. As beta power is associated with attention and motor processing, we interpret this as support of the motor system's activity during covert perception of music one can play and similar musical sequences.

Exploring Music-Based Rehabilitation for Parkinsonism through Embodied Cognitive Science

Recent embodied approaches in cognitive sciences emphasize the constitutive roles of bodies and environment in driving cognitive processes. Cognition is thus seen as a distributed system based on the continuous interaction of bodies, brains, and environment. These categories, moreover, do not relate only causally, through a sequential input-output network of computations; rather, they are dynamically enfolded in each other, being mutually implemented by the concrete patterns of actions adopted by the cognitive system. However, while this claim has been widely discussed across various disciplines, its relevance and potential beneficial applications for music therapy remain largely unexplored. With this in mind, we provide here an overview of the embodied approaches to cognition, discussing their main tenets through the lenses of music therapy. In doing so, we question established methodological and theoretical paradigms and identify possible novel strategies for intervention. In particular, we refer to the music-based rehabilitative protocols adopted for Parkinson's disease patients. Indeed, in this context, it has recently been observed that music therapy not only affects movement-related skills but that it also contributes to stabilizing physiological functions and improving socio-affective behaviors. We argue that these phenomena involve previously unconsidered aspects of cognition and (motor) behavior, which are rooted in the action-perception cycle characterizing the whole living system.

Lost in the Rhythm: Effects of Rhythm on Subsequent Interpersonal Coordination

Music is a natural human expression present in all cultures, but the functions it serves are still debated. Previous research indicates that rhythm, an essential feature of music, can enhance coordination of movement and increase social bonding. However, the prolonged effects of rhythm have not yet been investigated. In this study, pairs of participants were exposed to one of three kinds of auditory stimuli (rhythmic, arrhythmic, or white-noise) and subsequently engaged in five trials of a joint-action task demanding interpersonal coordination. We show that when compared with the other two stimuli, exposure to the rhythmic beat reduced the practice effect in task performance. Analysis of the behavioral data suggests that this reduction results from more temporally coupled motor movements over successive trials and that shared exposure to rhythm facilitates interpersonal motor coupling, which in this context serves to impede the attainment of necessary dynamic coordination. We propose that rhythm has the potential to enhance interpersonal motor coupling, which might serve as a mechanism behind its facilitation of positive social attitudes.