Multilevel coordination stability: integrated goal representations in simultaneous intra-personal and inter-agent coordination

Cortico-cerebellar audio-motor regions coordinate self and other in musical joint action

Joint music performance requires flexible sensorimotor coordination between self and other. Cognitive and sensory parameters of joint action-such as shared knowledge or temporal (a)synchrony-influence this coordination by shifting the balance between self-other segregation and integration. To investigate the neural bases of these parameters and their interaction during joint action, we asked pianists to play on an MR-compatible piano, in duet with a partner outside of the scanner room. Motor knowledge of the partner's musical part and the temporal compatibility of the partner's action feedback were manipulated. First, we found stronger activity and functional connectivity within cortico-cerebellar audio-motor networks when pianists had practiced their partner's part before. This indicates that they simulated and anticipated the auditory feedback of the partner by virtue of an internal model. Second, we observed stronger cerebellar activity and reduced behavioral adaptation when pianists encountered subtle asynchronies between these model-based anticipations and the perceived sensory outcome of (familiar) partner actions, indicating a shift towards self-other segregation. These combined findings demonstrate that cortico-cerebellar audio-motor networks link motor knowledge and other-produced sounds depending on cognitive and sensory factors of the joint performance, and play a crucial role in balancing self-other integration and segregation.

Time Perception for Musical Rhythms: Sensorimotor Perspectives on Entrainment, Simulation, and Prediction

Neural mechanisms supporting time perception in continuously changing sensory environments may be relevant to a broader understanding of how the human brain utilizes time in cognition and action. In this review, we describe current theories of sensorimotor engagement in the support of subsecond timing. We focus on musical timing due to the extensive literature surrounding movement with and perception of musical rhythms. First, we define commonly used but ambiguous concepts including neural entrainment, simulation, and prediction in the context of musical timing. Next, we summarize the literature on sensorimotor timing during perception and performance and describe current theories of sensorimotor engagement in the support of subsecond timing. We review the evidence supporting that sensorimotor engagement is critical in accurate time perception. Finally, potential clinical implications for a sensorimotor perspective of timing are highlighted.

The Groove Enhancement Machine (GEM): A Multi-Person Adaptive Metronome to Manipulate Sensorimotor Synchronization and Subjective Enjoyment

Synchronization of movement enhances cooperation and trust between people. However, the degree to which individuals can synchronize with each other depends on their ability to perceive the timing of others’ actions and produce movements accordingly. Here, we introduce an assistive device—a multi-person adaptive metronome—to facilitate synchronization abilities. The adaptive metronome is implemented on Arduino Uno circuit boards, allowing for negligible temporal latency between tapper input and adaptive sonic output. Across five experiments—two single-tapper, and three group (four tapper) experiments, we analyzed the effects of metronome adaptivity (percent correction based on the immediately preceding tap-metronome asynchrony) and auditory feedback on tapping performance and subjective ratings. In all experiments, tapper synchronization with the metronome was significantly enhanced with 25–50% adaptivity, compared to no adaptation. In group experiments with auditory feedback, synchrony remained enhanced even at 70–100% adaptivity; without feedback, synchrony at these high adaptivity levels returned to near baseline. Subjective ratings of being in the groove, in synchrony with the metronome, in synchrony with others, liking the task, and difficulty all reduced to one latent factor, which we termed enjoyment. This same factor structure replicated across all experiments. In predicting enjoyment, we found an interaction between auditory feedback and metronome adaptivity, with increased enjoyment at optimal levels of adaptivity only with auditory feedback and a severe decrease in enjoyment at higher levels of adaptivity, especially without feedback. Exploratory analyses relating person-level variables to tapping performance showed that musical sophistication and trait sadness contributed to the degree to which an individual differed in tapping stability from the group. Nonetheless, individuals and groups benefitted from adaptivity, regardless of their musical sophistication. Further, individuals who tapped less variably than the group (which only occurred ∼25% of the time) were more likely to feel “in the groove.” Overall, this work replicates previous single person adaptive metronome studies and extends them to group contexts, thereby contributing to our understanding of the temporal, auditory, psychological, and personal factors underlying interpersonal synchrony and subjective enjoyment during sensorimotor interaction. Further, it provides an open-source tool for studying such factors in a controlled way.

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.

Simultaneous self-other integration and segregation support real-time interpersonal coordination in a musical joint action task

The ability to distinguish between an individual's own actions and those of another person is a requirement for successful joint action, particularly in domains such as group music making where precise interpersonal coordination ensures perceptual overlap in the effects of co-performers' actions. We tested the hypothesis that such coordination benefits from simultaneous integration and segregation of information about 'self' and 'other' in an experiment using a musical joint action paradigm. Sixteen pairs of individuals with little or no musical training performed a dyadic synchronization task on a pair of electronic music boxes. The relationship between pitches produced by paired participants (same vs. different) and the relationship between movement frequencies required to trigger synchronous tones (congruent vs. incongruent) were varied in a repeated measures design. The results indicate that interpersonal coordination was most accurate when sounds were different in pitch but movement frequency was congruent. Under other conditions, participants often drifted apart, resulting in poor coordination, especially with same sounds and incongruent movements across co-performers. These findings suggest that interpersonal coordination was facilitated when simultaneous self-other integration and segregation occurred across sensory modalities in an asymmetrical manner where pitch relations favoured segregation via auditory streaming while movement congruence favoured integration via visuo-motor coupling. Such self-other representational balance may enable co-performers to maintain autonomous control while attending, anticipating, and adapting to each other's timing when joint action requires precise temporal coordination.

Differences in anchoring strategy underlie differences in coordination in novice jugglers

The learning process of ball juggling is characterized by considerable individual differences in acquired coordination patterns. Previous research has shown that the coordination patterns observed in novice jugglers can be roughly divided into two classes: the high ratio pattern, in which the ball is held for a relatively long time, and the low ratio pattern, in which the ball is held for a relatively short time. To account for these differences in coordination patterns, we examined the anchoring strategies employed by novice jugglers for controlling the juggling movements. Analyses of the correlation between coordination patterns and selected spatiotemporal variabilities revealed that the coordination patterns with a high dwell ratio had lower temporal variability than patterns with a low dwell ratio, which in turn had lower variability of spatial variables than patterns with a high dwell ratio. These findings indicate that individual differences in the coordination patterns adopted by novice jugglers, and hence their learning paths, result from differences in the control strategies employed.

The influence of visual cues on temporal anticipation and movement synchronization with musical sequences

Music presents a complex case of movement timing, as one to several dozen musicians coordinate their actions at short time-scales. This process is often directed by a conductor who provides a visual beat and guides the ensemble through tempo changes. The current experiment tested the ways in which audio-motor coordination is influenced by visual cues from a conductor's gestures, and how this influence might manifest in two ways: movements used to produce sound related to the music, and movements of the upper-body that do not directly affect sound output. We designed a virtual conductor that was derived from morphed motion capture recordings of human conductors. Two groups of participants (29 musicians and 28 nonmusicians, to test the generalizability of visuo-motor synchronization to non-experts) were shown the virtual conductor, a simple visual metronome, or a stationary circle while completing a drumming task that required synchronization with tempo-changing musical sequences. We measured asynchronies and temporal anticipation in the drumming task, as well as participants' upper-body movement using motion capture. Drumming results suggest the conductor generally improves synchronization by facilitating anticipation of tempo changes in the music. Motion capture results showed that the conductor visual cue elicited more structured head movements than the other two visual cues for nonmusicians only. Multiple regression analysis showed that the nonmusicians with less rigid movement and high anticipation had lower asynchronies. Thus, the visual cues provided by a conductor might serve to facilitate temporal anticipation and more synchronous movement in the general population, but might also cause rigid ancillary movements in some non-experts.

Practice effects in bimanual force control: does age matter?

The authors examined age-related differences in fine motor control during a bimanual coordination task. The task required the modulation of fingertip forces in the precision grip according to a visually presented sinusoidal antiphase pattern (force range 2-12 N; frequency 0.2 Hz). Thirty-four right-handed participants of three age groups (young, early middle-aged, and late middle-aged) practiced 30 trials of the task. Accuracy and variability of relative timing and relative forces at minima and maxima of the sine wave were analyzed for hand-hand and hand-stimulus couplings and compared between age groups. Analysis showed for relative timing and force weaker hand-hand than hand-stimulus coupling as well as lower accuracy and higher variability for minima as compared to maxima. Further, we analyzed practice effects by comparing the first and last trials and characterized the course of practice by detecting the transition of a steeper to a shallower acquisition slope for the different age groups. Late middle-aged participants demonstrated poorer performance than both other groups for all parameters. All groups improved performance to a similar amount. However, an age-related difference in acquisition strategy is visible. Late middle-aged participants seemed to have focused on improvement of force amplitude, whereas young and early middle-aged focused on timing.

Hunting for the beat in the body: on period and phase locking in music-induced movement

Music has the capacity to induce movement in humans. Such responses during music listening are usually spontaneous and range from tapping to full-body dancing. However, it is still unclear how humans embody musical structures to facilitate entrainment. This paper describes two experiments, one dealing with period locking to different metrical levels in full-body movement and its relationships to beat- and rhythm-related musical characteristics, and the other dealing with phase locking in the more constrained condition of sideways swaying motions. Expected in Experiment 1 was that music with clear and strong beat structures would facilitate more period-locked movement. Experiment 2 was assumed to yield a common phase relationship between participants' swaying movements and the musical beat. In both experiments optical motion capture was used to record participants' movements. In Experiment 1 a window-based period-locking probability index related to four metrical levels was established, based on acceleration data in three dimensions. Subsequent correlations between this index and musical characteristics of the stimuli revealed pulse clarity to be related to periodic movement at the tactus level, and low frequency flux to mediolateral and anteroposterior movement at both tactus and bar levels. At faster tempi higher metrical levels became more apparent in participants' movement. Experiment 2 showed that about half of the participants showed a stable phase relationship between movement and beat, with superior-inferior movement most often being synchronized to the tactus level, whereas mediolateral movement was rather synchronized to the bar level. However, the relationship between movement phase and beat locations was not consistent between participants, as the beat locations occurred at different phase angles of their movements. The results imply that entrainment to music is a complex phenomenon, involving the whole body and occurring at different metrical levels.

Physical and neural entrainment to rhythm: human sensorimotor coordination across tasks and effector systems

The human sensorimotor system can be readily entrained to environmental rhythms, through multiple sensory modalities. In this review, we provide an overview of theories of timekeeping that make this neuroentrainment possible. First, we present recent evidence that contests the assumptions made in classic timekeeper models. The role of state estimation, sensory feedback and movement parameters on the organization of sensorimotor timing are discussed in the context of recent experiments that examined simultaneous timing and force control. This discussion is extended to the study of coordinated multi-effector movements and how they may be entrained.

Music-supported motor training after stroke reveals no superiority of synchronization in group therapy

Background: Music-supported therapy has been shown to be an effective tool for rehabilitation of motor deficits after stroke. A unique feature of music performance is that it is inherently social: music can be played together in synchrony.

Aim: The present study explored the potential of synchronized music playing during therapy, asking whether synchronized playing could improve fine motor rehabilitation and mood.

Method: Twenty-eight patients in neurological early rehabilitation after stroke with no substantial previous musical training were included. Patients learned to play simple finger exercises and familiar children's songs on the piano for 10 sessions of half an hour. Patients first received three individual therapy sessions and then continued in pairs. The patient pairs were divided into two groups. Patients in one group played synchronously (together group) whereas the patients in the other group played one after the other (in-turn group). To assess fine motor skill recovery the patients performed standard clinical tests such as the nine-hole-pegboard test (9HPT) and index finger-tapping speed and regularity, and metronome-paced finger tapping. Patients' mood was established using the Profile of Mood States (POMS).

Results: Both groups showed improvements in fine motor control. In metronome-paced finger tapping, patients in both groups improved significantly. Mood tests revealed reductions in depression and fatigue in both groups. During therapy, patients in the in-turn group rated their partner as more sympathetic than the together-group in a visual-analog scale.

Conclusions: Our results suggest that music-supported stroke rehabilitation can improve fine motor control and mood not only individually but also in patient pairs. Patients who were playing in turn rather than simultaneously tended to reveal greater improvement in fine motor skill. We speculate that patients in the former group may benefit from the opportunity to learn from observation.

Effects of angular gain transformations between movement and visual feedback on coordination performance in unimanual circling

Tool actions are characterized by a transformation (of spatio-temporal and/or force-related characteristics) between movements and their resulting consequences in the environment. This transformation has to be taken into account, when planning and executing movements and its existence may affect performance. In the present study we investigated how angular gain transformations between movement and visual feedback during circling movements affect coordination performance. Participants coordinated the visual feedback (feedback dot) with a continuously circling stimulus (stimulus dot) on a computer screen in order to produce mirror symmetric trajectories of them. The movement angle was multiplied by a gain factor (0.5-2; nine levels) before it was presented on the screen. Thus, the angular gain transformations changed the spatio-temporal relationship between the movement and its feedback in visual space, and resulted in a non-constant mapping of movement to feedback positions. Coordination performance was best with gain = 1. With high gains the feedback dot was in lead of the stimulus dot, with small gains it lagged behind. Anchoring (reduced movement variability) occurred when the two trajectories were close to each other. Awareness of the transformation depended on the deviation of the gain from 1. In conclusion, the size of an angular gain transformation as well as its mere presence influence performance in a situation in which the mapping of movement positions to visual feedback positions is not constant. When designing machines or tools that involve transformations between movements and their external consequences, one should be aware that the mere presence of angular gains may result in performance decrements and that there can be flaws in the representation of the transformation.

Sensorimotor synchronization: a review of recent research (2006-2012)

Sensorimotor synchronization (SMS) is the coordination of rhythmic movement with an external rhythm, ranging from finger tapping in time with a metronome to musical ensemble performance. An earlier review (Repp, 2005) covered tapping studies; two additional reviews (Repp, 2006a, b) focused on music performance and on rate limits of SMS, respectively. The present article supplements and extends these earlier reviews by surveying more recent research in what appears to be a burgeoning field. The article comprises four parts, dealing with (1) conventional tapping studies, (2) other forms of moving in synchrony with external rhythms (including dance and nonhuman animals' synchronization abilities), (3) interpersonal synchronization (including musical ensemble performance), and (4) the neuroscience of SMS. It is evident that much new knowledge about SMS has been acquired in the last 7 years.

The ecology of entrainment: Foundations of coordinated rhythmic movement

Entrainment has been studied in a variety of contexts including music perception, dance, verbal communication and motor coordination more generally. Here we seek to provide a unifying framework that incorporates the key aspects of entrainment as it has been studied in these varying domains. We propose that there are a number of types of entrainment that build upon pre-existing adaptations that allow organisms to perceive stimuli as rhythmic, to produce periodic stimuli, and to integrate the two using sensory feedback. We suggest that social entrainment is a special case of spatiotemporal coordination where the rhythmic signal originates from another individual. We use this framework to understand the function and evolutionary basis for coordinated rhythmic movement and to explore questions about the nature of entrainment in music and dance. The framework of entrainment presented here has a number of implications for the vocal learning hypothesis and other proposals for the evolution of coordinated rhythmic behavior across an array of species.

Effects of feedback from active and passive body parts on spatial and temporal parameters in sensorimotor synchronization

Previous research on sensorimotor synchronization has manipulated the somatosensory information received from the tapping finger to investigate how feedback from an active effector affects temporal coordination. The current study explored the role of feedback from passive body parts in the regulation of spatiotemporal motor control parameters by employing a task that required finger tapping on one's own skin at anatomical locations of varying tactile sensitivity. A motion capture system recorded participants' movements as they synchronized with an auditory pacing signal by tapping with the right index finger on either their left index fingertip (Finger/Finger) or forearm (Finger/Forearm). Results indicated that tap timing was more variable, and movement amplitude was larger and more variable, when tapping on the finger than when tapping on the less sensitive forearm. Finger/Finger tapping may be impaired relative to Finger/Forearm tapping due to ambiguity arising through overlap in neural activity associated with tactile feedback from the active and the passive limb in the former. To compensate, the control system may strengthen the assignment of tap-related feedback to the active finger by generating correlated noise in movement kinematics and tap dynamics.