Does dance training influence beat sensorimotor synchronization? Differences in finger-tapping sensorimotor synchronization between competitive ballroom dancers and nondancers

Resonance and beat perception of ballroom dancers: An EEG study

PURPOSE

The ability to synchronize the perceptual and motor systems is important for full motor coordination and the core determinant of motor skill performance. Dance-related training has been found to effectively improve sensorimotor synchronization, however, the underlying characteristics behind these improvements still warrant further exploration. This study was conducted to investigate the behavioral and neuroactivity characteristics of ballroom dancers relative to those of non-dancers.

PARTICIPANTS AND METHODS

Thirty-two dancers (19.8 ± 1.8 years old) and 31 non-dancers (22.6 ± 3.1 years old) were recruited to perform a finger-tapping task in synchrony with audiovisual beat stimuli at two intervals: 400 and 800 ms, while simultaneously recording EEG data. Behavioral and neural activity data were recorded during the task.

RESULTS

The dancers employed a predictive strategy when synchronizing with the beat. EEG recordings revealed stronger brain resonance with external rhythmic stimuli, indicating heightened neural resonance compared to non-dancers (p < 0.05). The task was more challenging with an 800-ms beat interval, as observed through both behavioral metrics and corresponding neural signatures in the EEG data, leading to poorer synchronization performance and necessitating a greater allocation of attentional resources (ps < 0.05).

CONCLUSION

When performing the finger-tapping task involving audiovisual beats, the beat interval was the primary factor influencing movement synchronization, neural activity and attentional resource allocation. Although no significant behavioral differences were observed between dancers and non-dancers, dancers have enhanced neural resonance in response to rhythmic stimuli. Further research using more ecologically valid tasks and stimuli may better capture the full extent of dancers' synchronization abilities.

The Difference Between Expert Dancers' and Non-Dancers Tapping Timing With and Without an Auditory Stimulus at a Slow Tempo

Our primary purpose in this study was to determine whether trained dancers differed from untrained non-dancers in their ability to accurately control motor timing during finger and heel tapping tasks, both with and without slow isochronous auditory stimuli. Dancers and non-dancers were instructed to synchronize their taps with isochronous auditory stimuli under three conditions: 30, 40, and 50 BPM. After the synchronization phase, participants were asked to continue tapping without the auditory sequences. On the synchronization task, the tapping onset of both groups lagged behind the stimulus onset in all tempo conditions. In all conditions, dancers showed more accurate and stable beat synchronization and continuation than non-dancers. As the tempo condition slowed down (from 50 to 30 BPM), synchronization accuracy decreased while synchronization and continuation variability increased. Unlike for novices, dancers showed no difference between the finger and heel tapping synchronization tasks. During the continuous tasks, their timing accuracy was higher for heel than for finger tapping. Collectively, these findings suggest that dance training, which involves synchronizing bodily movements based on rhythm, may lead to an accumulation of experience that enhances specific sensorimotor skills related to synchronizing movements with external stimuli or continuing rhythmic movements temporally.

Tactile cues are more intrinsically linked to motor timing than visual cues in visual-tactile sensorimotor synchronization

Many tasks require precise synchronization with external sensory stimuli, such as driving a car. This study investigates whether combined visual-tactile information provides additional benefits to movement synchrony over separate visual and tactile stimuli and explores the relationship with the temporal binding window for multisensory integration. In Experiment 1, participants completed a sensorimotor synchronization task to examine movement variability and a simultaneity judgment task to measure the temporal binding window. Results showed similar synchronization variability between visual-tactile and tactile-only stimuli, but significantly lower than visual only. In Experiment 2, participants completed a visual-tactile sensorimotor synchronization task with cross-modal stimuli presented inside (stimulus onset asynchrony 80 ms) and outside (stimulus-onset asynchrony 400 ms) the temporal binding window to examine temporal accuracy of movement execution. Participants synchronized their movement with the first stimulus in the cross-modal pair, either the visual or tactile stimulus. Results showed significantly greater temporal accuracy when only one stimulus was presented inside the window and the second stimulus was outside the window than when both stimuli were presented inside the window, with movement execution being more accurate when attending to the tactile stimulus. Overall, these findings indicate there may be a modality-specific benefit to sensorimotor synchronization performance, such that tactile cues are weighted more strongly than visual information as tactile information is more intrinsically linked to motor timing than visual information. Further, our findings indicate that the visual-tactile temporal binding window is related to the temporal accuracy of movement execution.

The influence of sound waves and musical experiences on movement coordination with beats

Synchronizing movement with external stimuli is important in musicians and athletes. This study investigated the effects of sound characteristics, including sound with harmonics (square wave) and without harmonics (sine wave) and levels of expertise in sports and music on rhythmic ability. Thirty-two university students participated in the study. The participants were divided into sixteen music education (ME) and sixteen physical education (PE) majors. They were asked to perform finger tapping tasks with 1,2 and 3 Hz beat rates, tapping in time with the sine and square wave beat produced by a metronome. The relative phase angle of finger tapping and the onset time of metronome sound were calculated using circular statistics. The results showed that type of wave and music experience affected the rhythmic ability of participants. Our study highlights the importance of types of waves on rhythmic ability, especially for participants with no background in music. The square wave is recommended for athletes to learn to synchronize their movement with beats.

Space-time mapping relationships in sensorimotor communication during asymmetric joint action

Background

Sensorimotor communication is frequently observed in complex joint actions and social interactions. However, it remains challenging to explore the cognitive foundations behind sensorimotor communication.

Methods

The present study extends previous research by introducing a single-person baseline condition and formulates two distinct categories of asymmetric joint action tasks: distance tasks and orientation tasks. This research investigates the action performance of 65 participants under various experimental conditions utilizing a 2 (cooperative intention: Coop, No-coop) × 2 (task characteristic: distance, orientation) × 4 (target: T1, T2, T3, T4) repeated-measures experimental design to investigate the cognitive mechanisms underlying sensorimotor communication between individuals.

Results

The results showed that (1) target key dwell time, motion time, total motion time, and maximum motion height in the Coop condition are more than in the No-coop condition. (2) In the distance task without cooperative intention, the dwell time of T4 is smaller than T1, T2, T3, and its variability of T1, T2, T3, and T4 were no different. In the distance task with cooperative intention, the dwell time and its variability of T1, T2, T3, and T4 displayed an increasing trend. (3) In the orientation task without cooperative intention, the dwell time of T1 is smaller than T2, T3, T4, and variability of the target keys T1, T2, T3, and T4 had no difference. In the orientation task with cooperative intention, the dwell time and variability of the target keys T1, T2, T3, and T4 had increasing trends.

Conclusions

Those findings underscore the importance of cooperative intention for sensorimotor communication. In the distance task with cooperative intention, message senders establish a mapping relationship characterized by "near-small, far-large" between the task distance and the individual's action characteristics through sensorimotor experience. In the orientation task with cooperative intention, message senders combined sensorimotor experience and verbal metaphors to establish a mapping relationship between task orientation and action characteristics, following the sequence of "left-up, right-up, left-down, right-down" to transmit the message to others.

Exploring the transformative power of dance: A scoping review of dance interventions for adults with intellectual disabilities

The aim of this scoping literature review (SCR) was to analyze the impact of dance on adults with intellectual disabilities, specifically examining its influence on their mobility, interpersonal relationships, well-being, and overall quality of life. A total of 15 papers were reviewed in order to explore the effects of dance on the well-being and quality of life of adults with intellectual disabilities. The findings indicated significant improvements in body awareness, increased engagement in physical activity, and enhanced mental health. This SCR demonstrates that dance is an effective means of facilitating social interaction among adults with intellectual disabilities, both with their therapists and family members. Additionally, the review uncovered valuable data on dance therapy programs designed for adults with intellectual disabilities, highlighting their potential to promote physical activity and reduce stress levels.

Benefits of dance for Parkinson's: The music, the moves, and the company

Dance classes designed for people with Parkinson's are very popular and associated not only with increasing individuals' motor control abilities but also their mood; not least by providing a social network and the enjoyment of the music. However, quantitative evidence of the benefits is inconsistent and often lacks in power. For a better understanding of the contradictory findings between participants' felt experiences and existing quantitative findings in response to dance classes, we employed a mixed method approach that focussed on the effects of music. Participant experience of the dance class was explored by means of semi-structured interviews and gait changes were measured in a within-subjects design through the Timed Up and Go (TUG) test before and after class, with and without music. We chose the TUG test for its ecological validity, as it is a simple test that resembles movements done in class. We hypothesised that the music and the dance class would have a facilitating effect on the TUG performance. In line with existing research, we found that before class, the gait of 26 participants was significantly improved when accompanied by a soundtrack. However, after class, music did not have a significantly facilitating effect, yet gait without music significantly improved after class compared to before. We suggest that whilst the music acts as an external stimulator for movement before the dance class, after the dance class, participants have an internalised music or rhythm that supports their motor control. Thus, externally played music is of less relevance. The importance of music was further emphasised in the qualitative data alongside social themes. A better understanding of how music and dance affects Parkinson's symptoms and what aspects make individuals 'feel better' will help in the design of future interventions.

Spontaneous emergence of leadership patterns drives synchronization in complex human networks

Synchronization of human networks is fundamental in many aspects of human endeavour. Recently, much research effort has been spent on analyzing how motor coordination emerges in human groups (from rocking chairs to violin players) and how it is affected by coupling structure and strength. Here we uncover the spontaneous emergence of leadership (based on physical signaling during group interaction) as a crucial factor steering the occurrence of synchronization in complex human networks where individuals perform a joint motor task. In two experiments engaging participants in an arm movement synchronization task, in the physical world as well as in the digital world, we found that specific patterns of leadership emerged and increased synchronization performance. Precisely, three patterns were found, involving a subtle interaction between phase of the motion and amount of influence. Such patterns were independent of the presence or absence of physical interaction, and persisted across manipulated spatial configurations. Our results shed light on the mechanisms that drive coordination and leadership in human groups, and are consequential for the design of interactions with artificial agents, avatars or robots, where social roles can be determinant for a successful interaction.

Dance Improves Motor, Cognitive, and Social Skills in Children With Developmental Cerebellar Anomalies

In this multiple single-cases study, we used dance to train sensorimotor synchronization (SMS), motor, and cognitive functions in children with developmental cerebellar anomalies (DCA). DCA are rare dysfunctions of the cerebellum that affect motor and cognitive skills. The cerebellum plays an important role in temporal cognition, including SMS, which is critical for motor and cognitive development. Dancing engages the SMS neuronal circuitry, composed of the cerebellum, the basal ganglia, and the motor cortices. Thus, we hypothesized that dance has a beneficial effect on SMS skills and associated motor and cognitive functions in children with DCA. Seven children (aged 7-11) with DCA participated in a 2-month dance training protocol (3 h/week). A test-retest design protocol with multiple baselines was used to assess children's SMS skills as well as motor, cognitive, and social abilities. SMS skills were impaired in DCA before the training. The training led to improvements in SMS (reduced variability in paced tapping), balance, and executive functioning (cognitive flexibility), as well as in social skills (social cognition). The beneficial effects of the dance training were visible in all participants. Notably, gains were maintained 2 months after the intervention. These effects are likely to be sustained by enhanced activity in SMS brain networks due to the dance training protocol.

Dance on the Brain: Enhancing Intra- and Inter-Brain Synchrony

Dance has traditionally been viewed from a Eurocentric perspective as a mode of self-expression that involves the human body moving through space, performed for the purposes of art, and viewed by an audience. In this Hypothesis and Theory article, we synthesize findings from anthropology, sociology, psychology, dance pedagogy, and neuroscience to propose The Synchronicity Hypothesis of Dance, which states that humans dance to enhance both intra- and inter-brain synchrony. We outline a neurocentric definition of dance, which suggests that dance involves neurobehavioral processes in seven distinct areas including sensory, motor, cognitive, social, emotional, rhythmic, and creative. We explore The Synchronicity Hypothesis of Dance through several avenues. First, we examine evolutionary theories of dance, which suggest that dance drives interpersonal coordination. Second, we examine fundamental movement patterns, which emerge throughout development and are omnipresent across cultures of the world. Third, we examine how each of the seven neurobehaviors increases intra- and inter-brain synchrony. Fourth, we examine the neuroimaging literature on dance to identify the brain regions most involved in and affected by dance. The findings presented here support our hypothesis that we engage in dance for the purpose of intrinsic reward, which as a result of dance-induced increases in neural synchrony, leads to enhanced interpersonal coordination. This hypothesis suggests that dance may be helpful to repattern oscillatory activity, leading to clinical improvements in autism spectrum disorder and other disorders with oscillatory activity impairments. Finally, we offer suggestions for future directions and discuss the idea that our consciousness can be redefined not just as an individual process but as a shared experience that we can positively influence by dancing together.

Multimodal Sensory-Spatial Integration and Retrieval of Trained Motor Patterns for Body Coordination in Musicians and Dancers

Dancers and musicians are experts in spatial and temporal processing, which allows them to coordinate movement with music. This high-level processing has been associated with structural and functional adaptation of the brain for high performance sensorimotor integration. For these integration processes, adaptation does not only take place in primary and secondary sensory and motor areas but also in tertiary brain areas, such as the lateral prefrontal cortex (lPFC) and the intraparietal sulcus (IPS), providing vital resources for highly specialized performance. Here, we review evidence for the role of these brain areas in multimodal training protocols and integrate these findings into a new model of sensorimotor processing in complex motor learning.

Moving in unison after perceptual interruption

Humans interact in groups through various perception and action channels. The continuity of interaction despite a transient loss of perceptual contact often exists and contributes to goal achievement. Here, we study the dynamics of this continuity, in two experiments involving groups of participants ([Formula: see text]) synchronizing their movements in space and in time. We show that behavioural unison can be maintained after perceptual contact has been lost, for about 7s. Agent similarity and spatial configuration in the group modulated synchronization performance, differently so when perceptual interaction was present or when it was memorized. Modelling these data through a network of oscillators enabled us to clarify the double origin of this memory effect, of individual and social nature. These results shed new light into why humans continue to move in unison after perceptual interruption, and are consequential for a wide variety of applications at work, in art and in sport.

Differences in limb coordination in polyrhythmic production among water polo players, artistic swimmers and drummers

This study compares polyrhythmic production ability between water polo players (WPs), artistic swimmers (ASs) and drummers (Ds), to assess how their differing experiences in coordinating complex inter-limb activity with music affected this ability. Eight ASs, eight WPs and eight Ds participated. They were asked to perform finger and foot taps in a single-rhythm task (every 750 ms) and two polyrhythmic tasks (finger and foot taps at 750 and 500 ms, respectively, and vice versa). The percentage of correct response cycles (PCRC), subjective difficulty scores were collected and analysed using a two-way mixed analysis of variance (ANOVA) and coefficients of variation of the inter-tap interval (CV_ITI) were collected and analysed using a three-way mixed analysis of variance (ANOVA). The three groups showed no statistically significant differences in the single-rhythm task. However, on polyrhythmic tasks, the WPs were significantly outperformed by the other two groups in PCRC and CV_ITI. These results suggest that the experience of coordinating limbs with music has positive impacts on polyrhythmic production ability. They also imply that ASs and Ds have similar polyrhythmic production ability despite the apparent differences in task complexity in their daily training and performances.