Effects of pitch and tempo of auditory rhythms on spontaneous movement entrainment and stabilisation

Increased body movement equals better performance? Not always! Musical style determines motion degree perceived as optimal in music performance

Musicians' body behaviour has a preponderant role in audience perception. We investigated how performers' motion is perceived depending on the musical style and musical expertise. To further explore the effect of visual input, stimuli were presented in audio-only, audio-visual and visual-only conditions. We used motion and audio recordings of expert saxophone players playing two contrasting excerpts (positively and negatively valenced). For each excerpt, stimuli represented five motion degrees with increasing quantity of motion (QoM) and distinct predominant gestures. In the experiment (online and in-person), 384 participants rated performance recordings for expressiveness, professionalism and overall quality. Results revealed that, for the positively valenced excerpt, ratings increased as a function of QoM, whilst for the negatively valenced, the recording with predominant flap motion was favoured. Musicianship did not have a significant effect in motion perception. Concerning multisensory integration, both musicians and non-musicians presented visual dominance in the positively valenced excerpt, whereas in the negatively valenced, musicians shifted to auditory dominance. Our findings demonstrate that musical style not only determines the way observers perceive musicians' movement as adequate, but also that it can promote changes in multisensory integration.

A machine-learning method isolating changes in wrist kinematics that identify age-related changes in arm movement

Normal aging often results in an increase in physiological tremors and slowing of the movement of the hands, which can impair daily activities and quality of life. This study, using lightweight wearable non-invasive sensors, aimed to detect and identify age-related changes in wrist kinematics and response latency. Eighteen young (ages 18-20) and nine older (ages 49-57) adults performed two standard tasks with wearable inertial measurement units on their wrists. Frequency analysis revealed 5 kinematic variables distinguishing older from younger adults in a postural task, with best discrimination occurring in the 9-13 Hz range, agreeing with previously identified frequency range of age-related tremors, and achieving excellent classifier performance (0.86 AUROC score and 89% accuracy). In a second pronation-supination task, analysis of angular velocity in the roll axis identified a 71 ms delay in initiating arm movement in the older adults. This study demonstrates that an analysis of simple kinematic variables sampled at 100 Hz frequency with commercially available sensors is reliable, sensitive, and accurate at detecting age-related increases in physiological tremor and motor slowing. It remains to be seen if such sensitive methods may be accurate in distinguishing physiological tremors from tremors that occur in neurological diseases, such as Parkinson's Disease.

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.

Step-adaptive sound guidance enhances locomotor-respiratory coupling in novice female runners: A proof-of-concept study

Introduction

Many runners struggle to find a rhythm during running. This may be because 20-40% of runners experience unexplained, unpleasant breathlessness at exercise onset. Locomotor-respiratory coupling (LRC), a synchronization phenomenon in which the breath is precisely timed with the steps, may provide metabolic or perceptual benefits to address these limitations. It can also be consciously performed. Hence, we developed a custom smartphone application to provide real-time LRC guidance based on individual step rate.

Methods

Sixteen novice-intermediate female runners completed two control runs outdoors and indoors at a self-selected speed with auditory step rate feedback. Then, the runs were replicated with individualized breath guidance at specific LRC ratios. Hexoskin smart shirts were worn and analyzed with custom algorithms to estimate continuous LRC frequency and phase coupling.

Results

LRC guidance led to a large significant increase in frequency coupling outdoor from 26.3 ± 10.7 (control) to 69.9 ± 20.0 % (LRC) "attached". There were similarly large differences in phase coupling between paired trials, and LRC adherence was stronger for the indoor treadmill runs versus outdoors. There was large inter-individual variability in running pace, preferred LRC ratio, and instruction adherence metrics.

Discussion

Our approach demonstrates how personalized, step-adaptive sound guidance can be used to support this breathing strategy in novice runners. Subsequent investigations should evaluate the skill learning of LRC on a longer time basis to effectively clarify its risks and advantages.

Lateralised dynamic modulations of corticomuscular coherence associated with bimanual learning of rhythmic patterns

Human movements are spontaneously attracted to auditory rhythms, triggering an automatic activation of the motor system, a central phenomenon to music perception and production. Cortico-muscular coherence (CMC) in the theta, alpha, beta and gamma frequencies has been used as an index of the synchronisation between cortical motor regions and the muscles. Here we investigated how learning to produce a bimanual rhythmic pattern composed of low- and high-pitch sounds affects CMC in the beta frequency band. Electroencephalography (EEG) and electromyography (EMG) from the left and right First Dorsal Interosseus and Flexor Digitorum Superficialis muscles were concurrently recorded during constant pressure on a force sensor held between the thumb and index finger while listening to the rhythmic pattern before and after a bimanual training session. During the training, participants learnt to produce the rhythmic pattern guided by visual cues by pressing the force sensors with their left or right hand to produce the low- and high-pitch sounds, respectively. Results revealed no changes after training in overall beta CMC or beta oscillation amplitude, nor in the correlation between the left and right sides for EEG and EMG separately. However, correlation analyses indicated that left- and right-hand beta EEG-EMG coherence were positively correlated over time before training but became uncorrelated after training. This suggests that learning to bimanually produce a rhythmic musical pattern reinforces lateralised and segregated cortico-muscular communication.

Regular rhythmic and audio-visual stimulations enhance procedural learning of a perceptual-motor sequence in healthy adults: A pilot study

Procedural learning is essential for the effortless execution of many everyday life activities. However, little is known about the conditions influencing the acquisition of procedural skills. The literature suggests that sensory environment may influence the acquisition of perceptual-motor sequences, as tested by a Serial Reaction Time Task. In the current study, we investigated the effects of auditory stimulations on procedural learning of a visuo-motor sequence. Given that the literature shows that regular rhythmic auditory rhythm and multisensory stimulations improve motor speed, we expected to improve procedural learning (reaction times and errors) with repeated practice with auditory stimulations presented either simultaneously with visual stimulations or with a regular tempo, compared to control conditions (e.g., with irregular tempo). Our results suggest that both congruent audio-visual stimulations and regular rhythmic auditory stimulations promote procedural perceptual-motor learning. On the contrary, auditory stimulations with irregular or very quick tempo alter learning. We discuss how regular rhythmic multisensory stimulations may improve procedural learning with respect of a multisensory rhythmic integration process.

When Musical Accompaniment Allows the Preferred Spatio-Temporal Pattern of Movement

A musical accompaniment is often used in movement coordination and stability exercise modalities, although considered obstructive for their fundament of preferred movement pace. This study examined if the rhythmic strength of musical excerpts used in movement coordination and exercise modalities allows the preferred spatio-temporal pattern of movement. Voluntary and spontaneous body sway (70 s) were tested (N=20 young women) in a non-musical (preferred) and two rhythmic strength (RS) musical conditions (Higher:HrRS, Lower:LrRS). The center of pressure trajectory was used for the body sway spatio-temporal characteristics (Kistler forceplate, 100 Hz). Statistics included paired t-tests between each musical condition and the non-musical one, as well as between musical conditions (p≤0.05). Results indicated no significant difference between the musical and the non-musical conditions (p>0.05). The HrRS differed significantly from LrRS only in the voluntary body sway, with increased sway duration (p=0.03), center of pressure path (p=0.04) and velocity (p=0.01). The findings provide evidence-based support for the rhythmic strength recommendations in movement coordination and stability exercise modalities. The HrRS to LrRS differences in voluntary body sway most possibly indicate that low-frequency musical features rather than just tempo and pulse clarity are also important.

The influence of auditory rhythms on the speed of inferred motion

The present research explored the influence of isochronous auditory rhythms on the timing of movement-related prediction in two experiments. In both experiments, participants observed a moving disc that was visible for a predetermined period before disappearing behind a small, medium, or large occluded area for the remainder of its movement. In Experiment 1, the disc was visible for 1 s. During this period, participants were exposed to either a fast or slow auditory rhythm, or they heard nothing. They were instructed to press a key to indicate when they believed the moving disc had reached a specified location on the other side of the occluded area. The procedure measured the (signed) error in participants' estimate of the time it would take for a moving object to contact a stationary one. The principal results of Experiment 1 were main effects of the rate of the auditory rhythm and of the size of the occlusion on participants' judgments. In Experiment 2, the period of visibility was varied with size of the occlusion area to keep the total movement time constant for all three levels of occlusion. The results replicated the main effect of rhythm found in Experiment 1 and showed a small, significant interaction, but indicated no main effect of occlusion size. Overall, the results indicate that exposure to fast isochronous auditory rhythms during an interval of inferred motion can influence the imagined rate of such motion and suggest a possible role of an internal rhythmicity in the maintenance of temporally accurate dynamic mental representations.

Beat perception in polyrhythms: Time is structured in binary units

In everyday life, we group and subdivide time to understand the sensory environment surrounding us. Organizing time in units, such as diurnal rhythms, phrases, and beat patterns, is fundamental to behavior, speech, and music. When listening to music, our perceptual system extracts and nests rhythmic regularities to create a hierarchical metrical structure that enables us to predict the timing of the next events. Foot tapping and head bobbing to musical rhythms are observable evidence of this process. In the special case of polyrhythms, at least two metrical structures compete to become the reference for these temporal regularities, rendering several possible beats with which we can synchronize our movements. While there is general agreement that tempo, pitch, and loudness influence beat perception in polyrhythms, we focused on the yet neglected influence of beat subdivisions, i.e., the least common denominator of a polyrhythm ratio. In three online experiments, 300 participants listened to a range of polyrhythms and tapped their index fingers in time with the perceived beat. The polyrhythms consisted of two simultaneously presented isochronous pulse trains with different ratios (2:3, 2:5, 3:4, 3:5, 4:5, 5:6) and different tempi. For ratios 2:3 and 3:4, we additionally manipulated the pitch of the pulse trains. Results showed a highly robust influence of subdivision grouping on beat perception. This was manifested as a propensity towards beats that are subdivided into two or four equally spaced units, as opposed to beats with three or more complex groupings of subdivisions. Additionally, lower pitched pulse trains were more often perceived as the beat. Our findings suggest that subdivisions, not beats, are the basic unit of beat perception, and that the principle underlying the binary grouping of subdivisions reflects a propensity towards simplicity. This preference for simple grouping is widely applicable to human perception and cognition of time.

Dynamic Modulation of Beta Band Cortico-Muscular Coupling Induced by Audio-Visual Rhythms

Human movements often spontaneously fall into synchrony with auditory and visual environmental rhythms. Related behavioral studies have shown that motor responses are automatically and unintentionally coupled with external rhythmic stimuli. However, the neurophysiological processes underlying such motor entrainment remain largely unknown. Here, we investigated with electroencephalography (EEG) and electromyography (EMG) the modulation of neural and muscular activity induced by periodic audio and/or visual sequences. The sequences were presented at either 1 or 2 Hz, while participants maintained constant finger pressure on a force sensor. The results revealed that although there was no change of amplitude in participants' EMG in response to the sequences, the synchronization between EMG and EEG recorded over motor areas in the beta (12-40 Hz) frequency band was dynamically modulated, with maximal coherence occurring about 100 ms before each stimulus. These modulations in beta EEG-EMG motor coherence were found for the 2-Hz audio-visual sequences, confirming at a neurophysiological level the enhancement of motor entrainment with multimodal rhythms that fall within preferred perceptual and movement frequency ranges. Our findings identify beta band cortico-muscular coupling as a potential underlying mechanism of motor entrainment, further elucidating the nature of the link between sensory and motor systems in humans.

Dynamic modulation of cortico-muscular coupling during real and imagined sensorimotor synchronisation

People have a natural and intrinsic ability to coordinate body movements with rhythms surrounding them, known as sensorimotor synchronisation. This can be observed in daily environments, when dancing or singing along with music, or spontaneously walking, talking or applauding in synchrony with one another. However, the neurophysiological mechanisms underlying accurately synchronised movement with selected rhythms in the environment remain unclear. Here we studied real and imagined sensorimotor synchronisation with interleaved auditory and visual rhythms using cortico-muscular coherence (CMC) to better understand the processes underlying the preparation and execution of synchronised movement. Electroencephalography (EEG), electromyography (EMG) from the finger flexors, and continuous force signals were recorded in 20 participants during tapping and imagined tapping with discrete stimulus sequences consisting of alternating auditory beeps and visual flashes. The results show that the synchronisation between cortical and muscular activity in the beta (14-38 Hz) frequency band becomes time-locked to the taps executed in synchrony with the visual and auditory stimuli. Dynamic modulation in CMC also occurred when participants imagined tapping with the visual stimuli, but with lower amplitude and a different temporal profile compared to real tapping. These results suggest that CMC does not only reflect changes related to the production of the synchronised movement, but also to its preparation, which appears heightened under higher attentional demands imposed when synchronising with the visual stimuli. These findings highlight a critical role of beta band neural oscillations in the cortical-muscular coupling underlying sensorimotor synchronisation.

Keeping in time with social and non-social stimuli: Synchronisation with auditory, visual, and audio-visual cues

Everyday social interactions require us to closely monitor, predict, and synchronise our movements with those of an interacting partner. Experimental studies of social synchrony typically examine the social-cognitive outcomes associated with synchrony, such as affiliation. On the other hand, research on the sensorimotor aspects of synchronisation generally uses non-social stimuli (e.g. a moving dot). To date, the differences in sensorimotor aspects of synchronisation to social compared to non-social stimuli remain largely unknown. The present study aims to address this gap using a verbal response paradigm where participants were asked to synchronise a 'ba' response in time with social and non-social stimuli, which were presented auditorily, visually, or audio-visually combined. For social stimuli a video/audio recording of an actor performing the same verbal 'ba' response was presented, whereas for non-social stimuli a moving dot, an auditory metronome or both combined were presented. The impact of autistic traits on participants' synchronisation performance was examined using the Autism Spectrum Quotient (AQ). Our results revealed more accurate synchronisation for social compared to non-social stimuli, suggesting that greater familiarity with and motivation in attending to social stimuli may enhance our ability to better predict and synchronise with them. Individuals with fewer autistic traits demonstrated greater social learning, as indexed through an improvement in synchronisation performance to social vs non-social stimuli across the experiment.

Concurrent Validity of Inertially Sensed Measures during Voluntary Body Sway in Silence and while Exposed to a Rhythmic Acoustic Stimulus: A Pilot Study

Introduction

The effect of rhythmic acoustic stimuli on body sway is of increasing interest due to their positive contribution when training or restoring the control of movement. Inertial sensors show promise as a portable, easier, and more affordable method compared to the force plate "gold standard" concerning the evaluation of postural sway. This study examined the concurrent validity of inertially sensed measures of voluntary body sway against those obtained with a force plate, in silence and while exposed to a rhythmic acoustic stimulus.

Methods

Temporal (sway duration and variability) and spatial (trajectory length, variability, range, velocity, and area) body sway variables were extracted using an inertial sensor (at L5) in synchronization with a force plate, during anteroposterior body sway in silence and while exposed to a rhythmic acoustic stimulus (n = 18 young women; two 70-s trials in each condition). Statistics included bivariate correlations between the inertially sensed and the force plate measures, separately, in silence and with a rhythmic acoustic stimulus, as well as for the effect of the rhythmic acoustic stimulus (percentage difference from silence) (p ≤ 0.05, SPSS v25.0).

Results

The inertially sensed measures demonstrated good-to-excellent concurrent validity for all temporal and almost all spatial variables, both in silence and with rhythmic acoustic stimulus (r > 0.75, p = 0.000), as well as for the rhythmic acoustic-stimulus effect (r > 0.75, p ≤ 0.05).

Conclusion

The inertially sensed measures of the voluntary anteroposterior body sway demonstrated an overall good-to-excellent concurrent validity against those obtained with the force plate "gold standard," both in the silence and the rhythmic acoustic stimulus conditions, as well as for the rhythmic acoustic-stimulus effect. The findings of this pilot study allow the recommendation of inertial sensing for the evaluation of postural control alterations when exposed to rhythmic acoustic stimuli, a condition of increasing interest due to the positive contribution of such stimuli when training or restoring the control of movement.

Turn the beat around: Commentary on "Slow and fast beat sequences are represented differently through space" (De Tommaso & Prpic, 2020, in Attention, Perception, & Psychophysics)

There has been increasing interest in the spatial mapping of various perceptual and cognitive magnitudes, such as expanding the spatial-numerical association of response codes (SNARC) effect into domains outside of numerical cognition. Recently, De Tommaso and Prpic (Attention, Perception, & Psychophysics, 82, 2765–2773, 2020) reported in this journal that only fast tempos over 104 beats per minute have spatial associations, with more right-sided associations and faster responses for faster tempos. After discussing the role of perceived loudness and possible response strategies, we propose and recommend methodological improvements for further research.

Accent-induced Modulation of Neural and Movement Patterns during Spontaneous Synchronization to Auditory Rhythms

Human rhythmic movements spontaneously synchronize with auditory rhythms at various frequency ratios. The emergence of more complex relationships—for instance, frequency ratios of 1:2 and 1:3—is enhanced by adding a congruent accentuation pattern (binary for 1:2 and ternary for 1:3), resulting in a 1:1 movement–accentuation relationship. However, this benefit of accentuation on movement synchronization appears to be stronger for the ternary pattern than for the binary pattern. Here, we investigated whether this difference in accent-induced movement synchronization may be related to a difference in the neural tracking of these accentuation profiles. Accented and control unaccented auditory sequences were presented to participants who concurrently produced finger taps at their preferred frequency, and spontaneous movement synchronization was measured. EEG was recorded during passive listening to each auditory sequence. The results revealed that enhanced movement synchronization with ternary accentuation was accompanied by enhanced neural tracking of this pattern. Larger EEG responses at the accentuation frequency were found for the ternary pattern compared with the binary pattern. Moreover, the amplitude of accent-induced EEG responses was positively correlated with the magnitude of accent-induced movement synchronization across participants. Altogether, these findings show that the dynamics of spontaneous auditory–motor synchronization is strongly driven by the multi-time-scale sensory processing of auditory rhythms, highlighting the importance of considering neural responses to rhythmic sequences for understanding and enhancing synchronization performance.

Interpersonal and intrapersonal entrainment of self-paced tapping rate

Entrainment is a ubiquitous property not only of interacting non-linear dynamical systems but also of human movements. In the study reported here, two premises of entrainment theory were investigated in a tapping task conducted in both interpersonal (i.e. between individuals) and intrapersonal (i.e. between effectors) conditions. Hypothesis 1 was that interacting oscillatory systems should demonstrate synchronisation, which was predicted to emerge as in-phase tapping behaviour in both inter- and intrapersonal conditions. Support for Hypothesis 1 was observed in the in-phase synchronisation of tapping in both individual bimanual trials and uni-manual and bimanual tapping in dyads. By contrast, Hypothesis 2 was that the oscillatory system with the faster initial rate would decelerate, whereas the one with the slower initial rate would accelerate, as manifest in increased self-paced tapping rates amongst participants with initially slower rates and decreased rates amongst ones who initially tapped at faster rates. However, that pattern predicted in Hypothesis 2 was not observed; on the contrary, all participants increased their tapping rates in interpersonal conditions, which occurred significantly amongst participants with the lowest preferred tapping rates. Such an outcome indicates a novel aspect of synchronised movement in humans that warrants further investigation.

Accent-induced stabilization of spontaneous auditory-motor synchronization

Humans spontaneously synchronize their movements with external auditory rhythms such as a metronome or music. Although such synchronization preferentially occurs toward a simple 1:1 movement-sound frequency ratio, the parameters facilitating spontaneous synchronization to more complex frequency ratios remain largely unclear. The present study investigates the dynamics of spontaneous auditory-motor synchronization at a range of frequency ratios between movement and sound, and examines the benefit of simple accentuation pattern on synchronization emergence and stability. Participants performed index finger oscillations at their preferred tempo while listening to a metronome presented at either their preferred tempo, or twice or three times faster (frequency ratios of 1:1, 1:2 or 1:3) with different patterns of accentuation (unaccented, binary or ternary accented), and no instruction to synchronize. Participants' movements were spontaneously entrained to the auditory stimuli in the three different frequency ratio conditions. Moreover, the emergence and stability of the modes of coordination were influenced by the interaction between frequency ratio and pattern of accentuation. Coherent patterns, such as a 1:3 frequency ratio supported by a ternary accentuation, facilitated the emergence and stability of the corresponding mode of coordination. Furthermore, ternary accentuation induced a greater gain in stability for the corresponding mode of coordination than was observed with binary accentuation. Together, these findings demonstrate the importance of matching accentuation pattern and movement tempo for enhanced synchronization, opening new perspectives for stabilizing complex rhythmic motor behaviors, such as running.

Increased levels of bass in popular music recordings 1955-2016 and their relation to loudness

The sound of recorded music has changed over time. These changes can be captured by different audio features. Over the past decades, popular songs have shown clear increases in RMS energy and loudness, but far less attention has addressed whether this upward trend is more prevalent in specific frequency bands, such as the bass. Bass frequencies are especially important for movement induction, such as foot tapping or dancing, and might offer competitive advantages of capturing attention and increasing engagement. Here, the authors examined the evolution of audio features, such as root-mean-square (RMS) energy, loudness, and spectral fluctuations (changes in the audio signal's frequency content) in ten frequency bands from songs on the Billboard Hot 100 charts from 1955 to 2016. Over time, RMS energy and loudness increased while dynamic range decreased. The largest increases were found in the bass range: Spectral flux increased most strongly in the lowest frequency bands (0-100 Hz), and when controlling for overall RMS, only the lowest frequency bands showed an increase over time. The upward trend of bass could reflect changes in technology and style; but based on links between bass and movement, it is likely a widespread technique to increase engagement and contribute to chart success.