Trained to keep a beat: movement-related enhancements to timing perception in percussionists and non-percussionists

A review of psychological and neuroscientific research on musical groove

When listening to music, we naturally move our bodies rhythmically to the beat, which can be pleasurable and difficult to resist. This pleasurable sensation of wanting to move the body to music has been called "groove." Following pioneering humanities research, psychological and neuroscientific studies have provided insights on associated musical features, behavioral responses, phenomenological aspects, and brain structural and functional correlates of the groove experience. Groove research has advanced the field of music science and more generally informed our understanding of bidirectional links between perception and action, and the role of the motor system in prediction. Activity in motor and reward-related brain networks during music listening is associated with the groove experience, and this neural activity is linked to temporal prediction and learning. This article reviews research on groove as a psychological phenomenon with neurophysiological correlates that link musical rhythm perception, sensorimotor prediction, and reward processing. Promising future research directions range from elucidating specific neural mechanisms to exploring clinical applications and socio-cultural implications of groove.

Inner sense of rhythm: percussionist brain activity during rhythmic encoding and synchronization

Introduction

The main objective of this research is to explore the core cognitive mechanisms utilized by exceptionally skilled percussionists as they navigate complex rhythms. Our specific focus is on understanding the dynamic interactions among brain regions, respectively, related to externally directed cognition (EDC), internally directed cognition (IDC), and rhythm processing, defined as the neural correlates of rhythm processing (NCRP).

Methods

The research involved 26 participants each in the percussionist group (PG) and control group (CG), who underwent task-functional magnetic resonance imaging (fMRI) sessions focusing on rhythm encoding and synchronization. Comparative analyses were performed between the two groups under each of these conditions.

Results

Rhythmic encoding showed decreased activity in EDC areas, specifically in the right calcarine cortex, left middle occipital gyrus, right fusiform gyrus, and left inferior parietal lobule, along with reduced NCRP activity in the left dorsal premotor, right sensorimotor cortex, and left superior parietal lobule. During rhythmic synchronization, there was increased activity in IDC areas, particularly in the default mode network, and in NCRP areas including the left inferior frontal gyrus and bilateral putamen. Conversely, EDC areas like the right dorsolateral prefrontal gyrus, right superior temporal gyrus, right middle occipital gyrus, and bilateral inferior parietal lobule showed decreased activity, as did NCRP areas including the bilateral dorsal premotor cortex, bilateral ventral insula, bilateral inferior frontal gyrus, and left superior parietal lobule.

Discussion

PG's rhythm encoding is characterized by reduced cognitive effort compared to CG, as evidenced by decreased activity in brain regions associated with EDC and the NCRP. Rhythmic synchronization reveals up-regulated IDC, down-regulated EDC involvement, and dynamic interplay among regions with the NCRP, suggesting that PG engages in both automatic and spontaneous processing simultaneously. These findings provide valuable insights into expert performance and present opportunities for improving music education.

The Motor of Time: Coupling Action to Temporally Predictable Events Heightens Perception

Timing and motor function share neural circuits and dynamics, which underpin their close and synergistic relationship. For instance, the temporal predictability of a sensory event optimizes motor responses to that event. Knowing when an event is likely to occur lowers response thresholds, leading to faster and more efficient motor behavior though in situations of response conflict can induce impulsive and inappropriate responding. In turn, through a process of active sensing, coupling action to temporally predictable sensory input enhances perceptual processing. Action not only hones perception of the event's onset or duration, but also boosts sensory processing of its non-temporal features such as pitch or shape. The effects of temporal predictability on motor behavior and sensory processing involve motor and left parietal cortices and are mediated by changes in delta and beta oscillations in motor areas of the brain.

Sensorimotor synchronization with visual, auditory, and tactile modalities

While it is well known that humans are highly responsive to rhythm, the factors that influence our ability to synchronize remain unclear. In the current study, we examined how stimulus modality and rhythmic deviation, along with the synchronizer's level of musicality, impacted sensorimotor synchronization (SMS). Utilizing a finger-tapping task and three sensory modalities (visual, auditory, and tactile), we manipulated rhythmic deviation by varying the temporal position, intensity, and availability of cues across four deviation levels. Additionally, to determine our participants' musical familiarity and aptitude, we administered the Goldsmiths Musical Sophistication Index (Gold-MSI) questionnaire. We found that SMS to external rhythmic stimuli was significantly more precise for auditory and tactile than for visual sequences. Further, we found SMS consistency significantly decreased in all modalities with increased rhythmic deviation, suggesting rhythmic deviation directly relates to SMS difficulty. Moreover, a significant correlation was found between Gold-MSI scores and SMS consistency in the most rhythmically deviant level, such that the higher one's musical general sophistication score, the greater one's SMS ability. This held for all three modalities. Combined, these findings suggest that rhythmic synchronization performance is affected not only by the modality and rhythmic deviation of the stimuli but also by the musical general sophistication of the synchronizer.

Sticking choices in timpani sight-reading performance

When sight-reading a score, a timpanist needs to decide in real-time which stick to use to play a specific note while interpreting the musical material. Our main point of inquiry seeks to understand which sticking patterns performers employ and how they are affected by rhythmic stability. This paper analyzes the bi-manual sequencing (i.e., sticking) patterns of 31 timpanists in a sight-reading task. We analyze their results compared to model sticking patterns common in percussion pedagogical literature. Results show that while hand dominance plays an essential role in an individual's sticking pattern, the stability of a rhythmic pattern may also dramatically influence the observed particular sticking strategies. In areas of rhythmic stability, performers largely adhered to one of two conventional sticking patterns in the literature (dominant hand lead & alternating). Where rhythmic patterns became more unstable, the performers separated into diverse sticking groups. Moreover, several performers demonstrated sticking patterns which were hybrids or an inverse of the model sticking patterns, without any impact on the success of their sight-reading abilities. Overall, no two individual performers demonstrated the same sticking pattern. In terms of percussion pedagogy, our findings suggest that performers may benefit from an awareness of the adaptability of model sticking strategies. Lastly, we make the case for further study of rhythmic stability and bi-manual sequencing by locating the difference between notational and aural complexity.

The spontaneous emergence of rhythmic coordination in turn taking

Turn-taking is a feature of many social interactions such as group music-making, where partners must alternate turns with high precision and accuracy. In two studies of musical rhythm coordination, we investigated how joint action partners learn to coordinate the timing of turn-taking. Musically inexperienced individuals learned to tap at the rate of a pacing cue individually or jointly (in turn with a partner), where each tap produced the next tone in a melodic sequence. In Study 1, partners alternated turns every tap, whereas in Study 2 partners alternated turns every two taps. Findings revealed that partners did not achieve the same level of performance accuracy or precision of inter-tap intervals (ITIs) when producing tapping sequences jointly relative to individually, despite showing learning (increased ITI accuracy and precision across the experiment) in both tasks. Strikingly, partners imposed rhythmic patterns onto jointly produced sequences that captured the temporal structure of turns. Together, learning to produce novel temporal sequences in turn with a partner appears to be more challenging than learning to produce the same sequences alone. Critically, partners may impose rhythmic structures onto turn-taking sequences as a strategy for facilitating coordination.

The role of consciously timed movements in shaping and improving auditory timing

Our subjective sense of time is intertwined with a plethora of perceptual, cognitive and motor functions, and likewise, the brain is equipped to expertly filter, weight and combine these signals for seamless interactions with a dynamic world. Until relatively recently, the literature on time perception has excluded the influence of simultaneous motor activity, yet it has been found that motor circuits in the brain are at the core of most timing functions. Several studies have now identified that concurrent movements exert robust effects on perceptual timing estimates, but critically have not assessed how humans consciously judge the duration of their own movements. This creates a gap in our understanding of the mechanisms driving movement-related effects on sensory timing. We sought to address this gap by administering a sensorimotor timing task in which we explicitly compared the timing of isolated auditory tones and arm movements, or both simultaneously. We contextualized our findings within a Bayesian cue combination framework, in which separate sources of temporal information are weighted by their reliability and integrated into a unitary time estimate that is more precise than either unisensory estimate. Our results revealed differences in accuracy between auditory, movement and combined trials, and (crucially) that combined trials were the most accurately timed. Under the Bayesian framework, we found that participants' combined estimates were more precise than isolated estimates, yet were sub-optimal when compared with the model's prediction, on average. These findings elucidate previously unknown qualities of conscious motor timing and propose computational mechanisms that can describe how movements combine with perceptual signals to create unified, multimodal experiences of time.

Sounds familiar(?): Expertise with specific musical genres modulates timing perception and micro-level synchronization to auditory stimuli

Musical expertise improves the precision of timing perception and performance – but is this expertise generic, or is it tied to the specific style(s) and genre(s) of one’s musical training? We asked expert musicians from three musical genres (folk, jazz, and EDM/hip-hop) to align click tracks and tap in synchrony with genre-specific and genre-neutral sound stimuli to determine the perceptual center (“P-center”) and variability (“beat bin”) for each group of experts. We had three stimulus categories – Organic, Electronic, and Neutral sounds – each of which had a 2 × 2 design of the acoustic factors Attack (fast/slow) and Duration (short/long). We found significant effects of Genre expertise, and a significant interaction for both P-center and P-center variability: folk and jazz musicians synchronize to sounds typical of folk and jazz in a different manner than the EDM/hip-hop producers. The results show that expertise in a specific musical genre affects our low-level perceptions of sounds as well as their affordance(s) for joint action/synchronization. The study provides new insights into the effects of active long-term musical enculturation and skill acquisition on basic sensorimotor synchronization and timing perception, shedding light on the important question of how nature and nurture intersect in the development of our perceptual systems.

How movements shape the perception of time

In order to keep up with a changing environment, mobile organisms must be capable of deciding both where and when to move. This precision necessitates a strong sense of time, as otherwise we would fail in many of our movement goals. Yet, despite this intrinsic link, only recently have researchers begun to understand how these two features interact. Primarily, two effects have been observed: movements can bias time estimates, but they can also make them more precise. Here we review this literature and propose that both effects can be explained by a Bayesian cue combination framework, in which movement itself affords the most precise representation of time, which can influence perception in either feedforward or active sensing modes.

Accuracy of Tempo Judgments in Disk Jockeys Compared to Musicians and Untrained Individuals

Professional disk jockeys (DJs) are an under-studied population whose performance involves creating new musical experiences by combining existing musical materials with a high level of temporal precision. In contemporary electronic dance music, these materials have a stable tempo and are composed with the expectation for further transformation during performance by a DJ for the audience of dancers. Thus, a fundamental aspect of DJ performance is synchronizing the tempo and phase of multiple pieces of music, so that over seconds or even minutes, they may be layered and transitioned without disrupting the rhythmic pulse. This has been accomplished traditionally by manipulating the speed of individual music pieces “by ear,” without additional technological synchronization aids. However, the cumulative effect of this repeated practice on auditory tempo perception has not yet been evaluated. Well-known phenomena of experience-dependent plasticity in other populations, such as musicians, prompts the question of whether such effects exist in DJs in their domain of expertise. This pilot study examined auditory judgments of tempo in 10 professional DJs with experience mixing by ear, compared to 7 percussionists, 12 melodic instrumental musicians, and 11 untrained controls. Participants heard metronome sequences between 80 and 160 beats per minute (BPM) and estimated the tempo. In their most-trained tempo range, 120–139 BPM, DJs were more accurate (lower absolute percent error) than untrained participants. Within the DJ group, 120–139 BPM exhibited greater accuracy than slower tempos of 80–99 or 100–119 BPM. DJs did not differ in accuracy compared to percussionists or melodic musicians on any BPM range. Percussionists were more accurate than controls for 100–119 and 120–139 BPM. The results affirm the experience-dependent skill of professional DJs in temporal perception, with comparable performance to conventionally trained percussionists and instrumental musicians. Additionally, the pattern of results suggests a tempo-specific aspect to this training effect that may be more pronounced in DJs than percussionists and musicians. As one of the first demonstrations of enhanced auditory perception in this unorthodox music expert population, this work opens the way to testing whether DJs also have enhanced rhythmic production abilities, and investigating the neural substrates of this skill compared to conventional musicians.

An ecological approach to measuring synchronization abilities across the animal kingdom

In this perspective paper, we focus on the study of synchronization abilities across the animal kingdom. We propose an ecological approach to studying nonhuman animal synchronization that begins from observations about when, how and why an animal might synchronize spontaneously with natural environmental rhythms. We discuss what we consider to be the most important, but thus far largely understudied, temporal, physical, perceptual and motivational constraints that must be taken into account when designing experiments to test synchronization in nonhuman animals. First and foremost, different species are likely to be sensitive to and therefore capable of synchronizing at different timescales. We also argue that it is fruitful to consider the latent flexibility of animal synchronization. Finally, we discuss the importance of an animal's motivational state for showcasing synchronization abilities. We demonstrate that the likelihood that an animal can successfully synchronize with an environmental rhythm is context-dependent and suggest that the list of species capable of synchronization is likely to grow when tested with ecologically honest, species-tuned experiments.

This article is part of the theme issue ‘Synchrony and rhythm interaction: from the brain to behavioural ecology’.

Extreme precision in rhythmic interaction is enabled by role-optimized sensorimotor coupling: analysis and modelling of West African drum ensemble music

Human social interactions often involve carefully synchronized behaviours. Musical performance in particular features precise timing and depends on the differentiation and coordination of musical/social roles. Here, we study the influence of musical/social roles, individual musicians and different ensembles on rhythmic synchronization in Malian drum ensemble music, which features synchronization accuracy near the limits of human performance. We analysed 72 recordings of the same piece performed by four trios, in which two drummers in each trio systematically switched roles (lead versus accompaniment). Musical role, rather than individual or group differences, is the main factor influencing synchronization accuracy. Using linear causal modelling, we found a consistent pattern of bi-directional couplings between players, in which the direction and strength of rhythmic adaptation is asymmetrically distributed across musical roles. This differs from notions of musical leadership, which assume that ensemble synchronization relies predominantly on a single dominant personality and/or musical role. We then ran simulations that varied the direction and strength of sensorimotor coupling and found that the coupling pattern used by the Malian musicians affords nearly optimal synchronization. More broadly, our study showcases the importance of ecologically valid and culturally diverse studies of human behaviour. This article is part of the theme issue 'Synchrony and rhythm interaction: from the brain to behavioural ecology'.

Switching perception of musical meters by listening to different acoustic cues of biphasic sound stimulus

Meter is one of the core features of music perception. It is the cognitive grouping of regular sound sequences, typically for every 2, 3, or 4 beats. Previous studies have suggested that one can not only passively perceive the meter from acoustic cues such as loudness, pitch, and duration of sound elements, but also actively perceive it by paying attention to isochronous sound events without any acoustic cues. Studying the interaction of top-down and bottom-up processing in meter perception leads to understanding the cognitive system’s ability to perceive the entire structure of music. The present study aimed to demonstrate that meter perception requires the top-down process (which maintains and switches attention between cues) as well as the bottom-up process for discriminating acoustic cues. We created a “biphasic” sound stimulus, which consists of successive tone sequences designed to provide cues for both the triple and quadruple meters in different sound attributes, frequency, and duration. Participants were asked to focus on either frequency or duration of the stimulus, and to answer how they perceived meters on a five-point scale (ranged from “strongly triple” to “strongly quadruple”). As a result, we found that participants perceived different meters by switching their attention to specific cues. This result adds evidence to the idea that meter perception involves the interaction between top-down and bottom-up processes.

The early development of tempo adjustment and synchronization during joint drumming: A study of 18- to 42-month-old children

Humans have a unique ability to coordinate their rhythmic behaviors with those of others. Previous studies have demonstrated the early development of spontaneous responses to external rhythmic stimuli; however, there is little evidence regarding when and how infants begin to adjust their movement tempo and synchronize it with that of others, due to the difficulty of detecting continuous rhythmic movements of infants in a laboratory setting. In the current study, we analyzed children in age-groups of 18, 30, and 42 months and adapted a joint-drumming task used by Kirschner and Tomasello (Journal of Experimental Child Psychology, 2009, 102, 299-314). The children were enticed to play the drum under four conditions (Speed: 400 or 600 ms ISI; Partner: mother or robot). The results demonstrated that children's ability to adjust their tempo and synchronize with that of 600 ms ISI, which is slower than the spontaneous motor tempo of children at these ages, starts to develop at around 30-month-olds. We also found early evidence of this ability in 18-month-old infants who drummed with their mother. These findings indicate that children's ability for rhythmic coordination develops dynamically between 18 and 30 months of age, and a child's social partner plays an important role in facilitating this development.

Temporal accuracy of gait after metronome practice

Humans readily entrain their movements to a beat, including matching their gait to a prescribed tempo. Rhythmic auditory cueing tasks have been used to enhance stepping behavior in a variety of clinical populations. However, there is limited understanding of how temporal accuracy of gait changes over practice in healthy young adults. In this study, we examined how inter-step interval and cadence deviated from slow, medium, and fast tempos across steps within trials, across trials within blocks, and across two blocks that bookended a period of practice of walking to each tempo. Participants were accurate in matching the tempo at the slow and medium tempos, while they tended to lag behind the beat at the fast tempo. We also found that participants showed no substantial improvement across steps and trials, nor across blocks, suggesting that participants had a robust ability to entrain their gait to the specified metronome tempo. However, we did find that participants habituated to the prescribed tempo, showing self-paced gait that was faster than self-paced baseline gait after the fast tempo, and slower than self-paced baseline gait after the slow tempo. These findings might represent an "after-effect" in the temporal domain, akin to after-effects consistently shown in other sensorimotor tasks. This knowledge of how healthy participants entrain their gait to temporal cues may have important implications in understanding how clinical populations acquire and modify their gait in rhythmic auditory cueing tasks.

Rhythm Complexity Modulates Behavioral and Neural Dynamics During Auditory–Motor Synchronization

We addressed how rhythm complexity influences auditory–motor synchronization in musically trained individuals who perceived and produced complex rhythms while EEG was recorded. Participants first listened to two-part auditory sequences (Listen condition). Each part featured a single pitch presented at a fixed rate; the integer ratio formed between the two rates varied in rhythmic complexity from low (1:1) to moderate (1:2) to high (3:2). One of the two parts occurred at a constant rate across conditions. Then, participants heard the same rhythms as they synchronized their tapping at a fixed rate (Synchronize condition). Finally, they tapped at the same fixed rate (Motor condition). Auditory feedback from their taps was present in all conditions. Behavioral effects of rhythmic complexity were evidenced in all tasks; detection of missing beats (Listen) worsened in the most complex (3:2) rhythm condition, and tap durations (Synchronize) were most variable and least synchronous with stimulus onsets in the 3:2 condition. EEG power spectral density was lowest at the fixed rate during the 3:2 rhythm and greatest during the 1:1 rhythm (Listen and Synchronize). ERP amplitudes corresponding to an N1 time window were smallest for the 3:2 rhythm and greatest for the 1:1 rhythm (Listen). Finally, synchronization accuracy (Synchronize) decreased as amplitudes in the N1 time window became more positive during the high rhythmic complexity condition (3:2). Thus, measures of neural entrainment corresponded to synchronization accuracy, and rhythmic complexity modulated the behavioral and neural measures similarly.

Audiovisual temporal integration: Cognitive processing, neural mechanisms, developmental trajectory and potential interventions

To integrate auditory and visual signals into a unified percept, the paired stimuli must co-occur within a limited time window known as the Temporal Binding Window (TBW). The width of the TBW, a proxy of audiovisual temporal integration ability, has been found to be correlated with higher-order cognitive and social functions. A comprehensive review of studies investigating audiovisual TBW reveals several findings: (1) a wide range of top-down processes and bottom-up features can modulate the width of the TBW, facilitating adaptation to the changing and multisensory external environment; (2) a large-scale brain network works in coordination to ensure successful detection of audiovisual (a)synchrony; (3) developmentally, audiovisual TBW follows a U-shaped pattern across the lifespan, with a protracted developmental course into late adolescence and rebounding in size again in late life; (4) an enlarged TBW is characteristic of a number of neurodevelopmental disorders; and (5) the TBW is highly flexible via perceptual and musical training. Interventions targeting the TBW may be able to improve multisensory function and ameliorate social communicative symptoms in clinical populations.

Tapping doesn't help: Synchronized self-motion and judgments of musical tempo

For both musicians and music psychologists, beat rate (BPM) has often been regarded as a transparent measure of musical speed or tempo, yet recent research has shown that tempo is more than just BPM. In a previous study, London, Burger, Thompson, and Toiviainen (Acta Psychologica, 164, 70-80, 2016) presented participants with original as well as "time-stretched" versions of classic R&B songs; time stretching slows down or speeds up a recording without changing its pitch or timbre. In that study we discovered a tempo anchoring effect (TAE): Although relative tempo judgments (original vs. time-stretched versions of the same song) were correct, they were at odds with BPM rates of each stimulus. As previous studies have shown that synchronous movement enhances rhythm perception, we hypothesized that tapping along to the beat of these songs would reduce or eliminate the TAE and increase the salience of the beat rate of each stimulus. In the current study participants were presented with the London et al. (Acta Psychologica, 164, 70-80, 2016) stimuli in nonmovement and movement conditions. We found that although participants were able to make BPM-based tempo judgments of generic drumming patterns, and were able to tap along to the R&B stimuli at the correct beat rates, the TAE persisted in both movement and nonmovement conditions. Thus, contrary to our hypothesis that movement would reduce or eliminate the TAE, we found a disjunction between correctly synchronized motor behavior and tempo judgment. The implications of the tapping-TAE dissociation in the broader context of tempo and rhythm perception are discussed, and further approaches to studying the TAE-tapping dissociation are suggested.

Endogenous Expectations for Sequence Continuation after Auditory Beat Accelerations and Decelerations Revealed by P3a and Induced Beta-Band Responses

People commonly synchronize taps to rhythmic sounds and can continue tapping after the sounds stop, indicating that time intervals between sounds can be internalized. Here, we investigate what happens in the brain after simply listening to auditory beats in order to understand more about the automatic internalization of temporal intervals without tapping. Electroencephalograms were recorded while musicians attended to accelerating, decelerating, or steady click sequences. Evoked responses and induced beta power modulations (13-30 Hz) were examined for one beat following the last physical beat of each sequence (termed the silent beat) and compared to responses obtained during physical beats near the sequence endings. In response to the silent beat, P3a was observed with the largest amplitude occurring after accelerations and the smallest after decelerations. Late beta power modulations were also found after the silent beat, and the magnitude of the beta-power suppressions was significantly correlated with the concurrent P3a amplitudes. In contrast, physical beats elicited P2 responses and early beta suppressions, likely reflecting a combination of stimulus-related processing and temporal prediction. These results suggest that the activities observed after the silent beat were not produced via sustained entrainment after the physical beats, but via automatically-formed expectation for an additional beat. Therefore, beta modulations may be generated endogenously by expectation violation, while P3a amplitudes may relate to strength of expectation, with acceleration endings causing the strongest expectations for sequence continuation.

The beneficial effect of synchronized action on motor and perceptual timing in children

We examined the role of action in motor and perceptual timing across development. Adults and children aged 5 or 8 years old learned the duration of a rhythmic interval with or without concurrent action. We compared the effects of sensorimotor versus visual learning on subsequent timing behaviour in three different tasks: rhythm reproduction (Experiment 1), rhythm discrimination (Experiment 2) and interval discrimination (Experiment 3). Sensorimotor learning consisted of sensorimotor synchronization (tapping) to an isochronous visual rhythmic stimulus (ISI = 800 ms), whereas visual learning consisted of simply observing this rhythmic stimulus. Results confirmed our hypothesis that synchronized action during learning systematically benefitted subsequent timing performance, particularly for younger children. Action-related improvements in accuracy were observed for both motor and perceptual timing in 5 years olds and for perceptual timing in the two older age groups. Benefits on perceptual timing tasks indicate that action shapes the cognitive representation of interval duration. Moreover, correlations with neuropsychological scores indicated that while timing performance in the visual learning condition depended on motor and memory capacity, sensorimotor learning facilitated an accurate representation of time independently of individual differences in motor and memory skill. Overall, our findings support the idea that action helps children to construct an independent and flexible representation of time, which leads to coupled sensorimotor coding for action and time.

Superior Visual Timing Sensitivity in Auditory But Not Visual World Class Drum Corps Experts

World class drum corps require cooperation among performance artists to render precisely synchronized and asynchronized events. For example, drum corps visual aesthetics often feature salient radial and rotational motion displays from the color guard. Accordingly, extensive color guard training might predict superior visual timing sensitivity to asynchronies in radial and rotational motion displays. Less intuitively, one might instead predict superior visual timing sensitivity among world class drum corps musicians, who regularly subdivide musical tempos into brief time units. This prediction arises from the possibility that auditory training transfers cross-modally. Here, we investigated whether precise visual temporal order judgments (TOJs) more strongly align with color guard’s visual training or musicians’ auditory training. To mimic color guard visual displays, stimuli comprised bilateral plaid patterns that radiated or rotated before changing direction asynchronously. Human participants indicated whether the direction changed first on the left or right, called a TOJ. Twenty-five percussionists, 67 brass players, and 29 color guard members from a world class drum corps collectively completed 67,760 visual TOJ trials. Percussionists exhibited significantly lower TOJ thresholds than did brass players, who exhibited significantly lower TOJ thresholds than did the color guard. Group median thresholds spanned an order of magnitude, ranging between 29 ms (percussionists judging rotational asynchronies) and 290 ms (color guard judging radial asynchronies). The results suggest that visual timing can improve more by training cross-modally than intramodally, even when intramodal training and testing stimuli closely match. More broadly, pre-existing training histories can provide a unique window into the timing sensitivity of the nervous system.

Living and Working in a Multisensory World: From Basic Neuroscience to the Hospital

The intensive care unit (ICU) of a hospital is an environment subjected to ceaseless noise. Patient alarms contribute to the saturated auditory environment and often overwhelm healthcare providers with constant and false alarms. This may lead to alarm fatigue and prevent optimum patient care. In response, a multisensory alarm system developed with consideration for human neuroscience and basic music theory is proposed as a potential solution. The integration of auditory, visual, and other sensory output within an alarm system can be used to convey more meaningful clinical information about patient vital signs in the ICU and operating room to ultimately improve patient outcomes.

Intrinsic Rhythmicity Predicts Synchronization-Continuation Entrainment Performance

Rhythmic entrainment-defined as a stable temporal relationship between external periodic signals and endogenous rhythmic processes-allows individuals to coordinate with environmental rhythms. However, the impact of inter-individual differences on entrainment processes as a function of the tempo of external periodic signals remain poorly understood. To better understand the effects of endogenous differences and varying tempos on rhythmic entrainment, 20 young healthy adults participated in a spontaneous motor tempo (SMT) task and synchronization-continuation tasks at three experimental tempos (50, 70, and 128 bpm; 1200, 857, and 469 ms inter onset interval (IOI)). We hypothesized that SMT task performance and tempo would influence externally paced synchronization-continuation task behavior. Indeed, intrinsic rhythmicity assessed through the SMT task predicted performance in the externally paced task, allowing us to characterize differences in entrainment behavior between participants with low and high endogenous rhythmicity. High rhythmicity individuals, defined by better SMT performance, deviated from externally paced pulses sooner than individuals with low rhythmicity, who were able to maintain externally paced pulses for longer. The magnitude of these behavioral differences depended on the experimental tempo of the synchronization-continuation task. Our results indicate that differences in intrinsic rhythmicity vary between individuals and relate to tempo-dependent entrainment performance.

Your move or mine? Music training and kinematic compatibility modulate synchronization with self- versus other-generated dance movement

Motor simulation has been implicated in how musicians anticipate the rhythm of another musician's action to achieve interpersonal synchronization. Here, we investigated whether similar mechanisms govern a related form of rhythmic action: dance. We examined (1) whether synchronization with visual dance stimuli was influenced by movement agency, (2) whether music training modulated simulation efficiency, and (3) what cues were relevant for simulating the dance rhythm. Participants were first recorded dancing the basic Charleston steps paced by a metronome, and later in a synchronization task they tapped to the rhythm of their own point-light dance stimuli, stimuli of another physically matched participant or one matched in movement kinematics, and a quantitative average across individuals. Results indicated that, while there was no overall "self advantage" and synchronization was generally most stable with the least variable (averaged) stimuli, motor simulation was driven-indicated by high tap-beat variability correlations-by familiar movement kinematics rather than morphological features. Furthermore, music training facilitated simulation, such that musicians outperformed non-musicians when synchronizing with others' movements but not with their own movements. These findings support action simulation as underlying synchronization in dance, linking action observation and rhythm processing in a common motor framework.

Speech-in-noise perception is linked to rhythm production skills in adult percussionists and non-musicians

Speech rhythms guide perception, especially in noise. We recently revealed that percussionists outperform non-musicians in speech-in-noise perception, with better speech-in-noise perception associated with better rhythm discrimination across a range of rhythmic expertise. Here, we consider rhythm production skills, specifically drumming to a beat (metronome or music) and to sequences (metrical or jittered patterns), as well as speech-in-noise perception in adult percussionists and non-musicians. Given the absence of a regular beat in speech, we hypothesise that processing of sequences is more important for speech-in-noise perception than the ability to entrain to a regular beat. Consistent with our hypotheses, we find that the sequence-based drumming measures predict speech-in-noise perception, above and beyond hearing thresholds and IQ, whereas the beat-based measures do not. Outcomes suggest temporal patterns may help disambiguate speech under degraded listening conditions, extending theoretical considerations about speech rhythm to the everyday challenge of listening in noise.

Musical and linguistic listening modes in the speech-to-song illusion bias timing perception and absolute pitch memory

The speech-to-song (STS) illusion is a phenomenon in which some spoken utterances perceptually transform to song after repetition [Deutsch, Henthorn, and Lapidis (2011). J. Acoust. Soc. Am. 129, 2245-2252]. Tierney, Dick, Deutsch, and Sereno [(2013). Cereb. Cortex. 23, 249-254] developed a set of stimuli where half tend to transform to perceived song with repetition and half do not. Those that transform and those that do not can be understood to induce a musical or linguistic mode of listening, respectively. By comparing performance on perceptual tasks related to transforming and non-transforming utterances, the current study examines whether the musical mode of listening entails higher sensitivity to temporal regularity and better absolute pitch (AP) memory compared to the linguistic mode. In experiment 1, inter-stimulus intervals within STS trials were steady, slightly variable, or highly variable. Participants reported how temporally regular utterance entrances were. In experiment 2, participants performed an AP memory task after a blocked STS exposure phase. Utterances identically matching those used in the exposure phase were targets among transposed distractors in the test phase. Results indicate that listeners exhibit heightened awareness of temporal manipulations but reduced awareness of AP manipulations to transforming utterances. This methodology establishes a framework for implicitly differentiating musical from linguistic perception.

The Paradox of Isochrony in the Evolution of Human Rhythm

Isochrony is crucial to the rhythm of human music. Some neural, behavioral and anatomical traits underlying rhythm perception and production are shared with a broad range of species. These may either have a common evolutionary origin, or have evolved into similar traits under different evolutionary pressures. Other traits underlying rhythm are rare across species, only found in humans and few other animals. Isochrony, or stable periodicity, is common to most human music, but isochronous behaviors are also found in many species. It appears paradoxical that humans are particularly good at producing and perceiving isochronous patterns, although this ability does not conceivably confer any evolutionary advantage to modern humans. This article will attempt to solve this conundrum. To this end, we define the concept of isochrony from the present functional perspective of physiology, cognitive neuroscience, signal processing, and interactive behavior, and review available evidence on isochrony in the signals of humans and other animals. We then attempt to resolve the paradox of isochrony by expanding an evolutionary hypothesis about the function that isochronous behavior may have had in early hominids. Finally, we propose avenues for empirical research to examine this hypothesis and to understand the evolutionary origin of isochrony in general.

Got Rhythm? Better Inhibitory Control Is Linked with More Consistent Drumming and Enhanced Neural Tracking of the Musical Beat in Adult Percussionists and Nonpercussionists

Musical rhythm engages motor and reward circuitry that is important for cognitive control, and there is evidence for enhanced inhibitory control in musicians. We recently revealed an inhibitory control advantage in percussionists compared with vocalists, highlighting the potential importance of rhythmic expertise in mediating this advantage. Previous research has shown that better inhibitory control is associated with less variable performance in simple sensorimotor synchronization tasks; however, this relationship has not been examined through the lens of rhythmic expertise. We hypothesize that the development of rhythm skills strengthens inhibitory control in two ways: by fine-tuning motor networks through the precise coordination of movements "in time" and by activating reward-based mechanisms, such as predictive processing and conflict monitoring, which are involved in tracking temporal structure in music. Here, we assess adult percussionists and nonpercussionists on inhibitory control, selective attention, basic drumming skills (self-paced, paced, and continuation drumming), and cortical evoked responses to an auditory stimulus presented on versus off the beat of music. Consistent with our hypotheses, we find that better inhibitory control is correlated with more consistent drumming and enhanced neural tracking of the musical beat. Drumming variability and the neural index of beat alignment each contribute unique predictive power to a regression model, explaining 57% of variance in inhibitory control. These outcomes present the first evidence that enhanced inhibitory control in musicians may be mediated by rhythmic expertise and provide a foundation for future research investigating the potential for rhythm-based training to strengthen cognitive function.

Auditory-Motor Rhythms and Speech Processing in French and German Listeners

Moving to a speech rhythm can enhance verbal processing in the listener by increasing temporal expectancies (Falk and Dalla Bella, 2016). Here we tested whether this hypothesis holds for prosodically diverse languages such as German (a lexical stress-language) and French (a non-stress language). Moreover, we examined the relation between motor performance and the benefits for verbal processing as a function of language. Sixty-four participants, 32 German and 32 French native speakers detected subtle word changes in accented positions in metrically structured sentences to which they previously tapped with their index finger. Before each sentence, they were cued by a metronome to tap either congruently (i.e., to accented syllables) or incongruently (i.e., to non-accented parts) to the following speech stimulus. Both French and German speakers detected words better when cued to tap congruently compared to incongruent tapping. Detection performance was predicted by participants' motor performance in the non-verbal cueing phase. Moreover, tapping rate while participants tapped to speech predicted detection differently for the two language groups, in particular in the incongruent tapping condition. We discuss our findings in light of the rhythmic differences of both languages and with respect to recent theories of expectancy-driven and multisensory speech processing.

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.

Timing at peak force may be the hidden target controlled in continuation and synchronization tapping

Timing control, such as producing movements at a given rate or synchronizing movements to an external event, has been studied through a finger-tapping task where timing is measured at the initial contact between finger and tapping surface or the point when a key is pressed. However, the point of peak force is after the time registered at the tapping surface and thus is a less obvious but still an important event during finger tapping. Here, we compared the time at initial contact with the time at peak force as participants tapped their finger on a force sensor at a given rate after the metronome was turned off (continuation task) or in synchrony with the metronome (sensorimotor synchronization task). We found that, in the continuation task, timing was comparably accurate between initial contact and peak force. These two timing events also exhibited similar trial-by-trial statistical dependence (i.e., lag-one autocorrelation). However, the central clock variability was lower at the peak force than the initial contact. In the synchronization task, timing control at peak force appeared to be less variable and more accurate than that at initial contact. In addition to lower central clock variability, the mean SE magnitude at peak force (SEP) was around zero while SE at initial contact (SEC) was negative. Although SEC and SEP demonstrated the same trial-by-trial statistical dependence, we found that participants adjusted the time of tapping to correct SEP, but not SEC, toward zero. These results suggest that timing at peak force is a meaningful target of timing control, particularly in synchronization tapping. This result may explain the fact that SE at initial contact is typically negative as widely observed in the preexisting literature.

The Impact of Instrument-Specific Musical Training on Rhythm Perception and Production

Studies comparing musicians and non-musicians have shown that musical training can improve rhythmic perception and production. These findings tell us that training can result in rhythm processing advantages, but they do not tell us whether practicing a particular instrument could lead to specific effects on rhythm perception or production. The current study used a battery of four rhythm perception and production tasks that were designed to test both higher- and lower-level aspects of rhythm processing. Four groups of musicians (drummers, singers, pianists, string players) and a control group of non-musicians were tested. Within-task differences in performance showed that factors such as meter, metrical complexity, tempo, and beat phase significantly affected the ability to perceive and synchronize taps to a rhythm or beat. Musicians showed better performance on all rhythm tasks compared to non-musicians. Interestingly, our results revealed no significant differences between musician groups for the vast majority of task measures. This was despite the fact that all musicians were selected to have the majority of their training on the target instrument, had on average more than 10 years of experience on their instrument, and were currently practicing. These results suggest that general musical experience is more important than specialized musical experience with regards to perception and production of rhythms.