Perception in action: the impact of sensory information on sensorimotor synchronization in musicians and non-musicians

Auditory-motor entrainment and listening experience shape the perceptual learning of concurrent speech

Background

Plasticity from auditory experience shapes the brain's encoding and perception of sound. Though prior research demonstrates that neural entrainment (i.e., brain-to-acoustic synchronization) aids speech perception, how long- and short-term plasticity influence entrainment to concurrent speech has not been investigated. Here, we explored neural entrainment mechanisms and the interplay between short- and long-term neuroplasticity for rapid auditory perceptual learning of concurrent speech sounds in young, normal-hearing musicians and nonmusicians.

Method

Participants learned to identify double-vowel mixtures during ∼45 min training sessions with concurrent high-density EEG recordings. We examined the degree to which brain responses entrained to the speech-stimulus train (∼9 Hz) to investigate whether entrainment to speech prior to behavioral decision predicted task performance. Source and directed functional connectivity analyses of the EEG probed whether behavior was driven by group differences auditory-motor coupling.

Results

Both musicians and nonmusicians showed rapid perceptual learning in accuracy with training. Interestingly, listeners' neural entrainment strength prior to target speech mixtures predicted behavioral identification performance; stronger neural synchronization was observed preceding incorrect compared to correct trial responses. We also found stark hemispheric biases in auditory-motor coupling during speech entrainment, with greater auditory-motor connectivity in the right compared to left hemisphere for musicians (R>L) but not in nonmusicians (R=L).

Conclusions

Our findings confirm stronger neuroacoustic synchronization and auditory-motor coupling during speech processing in musicians. Stronger neural entrainment to rapid stimulus trains preceding incorrect behavioral responses supports the notion that alpha-band (∼10 Hz) arousal/suppression in brain activity is an important modulator of trial-by-trial success in perceptual processing.

Head movements induced by voluntary neck flexion stabilize sensorimotor synchronization of the finger to syncopated auditory rhythms

Head movements that are synchronized with musical rhythms often emerge during musical activities, such as hip hop dance. Although such movements are known to affect the meter and pulse perception of complex auditory rhythms, no studies have investigated their contribution to the performance of sensorimotor synchronization (SMS). In the present study, participants listened to syncopated auditory rhythms and flexed their dominant hand index finger in time with the perceived pulses (4/4 meters). In the first experiment (Exp. 1), the participants moved their heads via voluntary neck flexion to the pulses in parallel with finger SMS (Nodding condition, ND). This performance was compared with finger SMS without nodding (Without Nodding condition, WN). In the second experiment (Exp. 2), we investigated the specificity of the effect of head SMS on finger SMS confirmed in Exp. 1 by asking participants to flex their bilateral index fingers to the pulses (Bimanual condition, BM). We compared the performance of dominant hand finger SMS between the BM and ND conditions. In Exp. 1, we found that dominant hand finger SMS was significantly more stable (smaller standard deviation of asynchrony) in the ND versus WN condition (p < 0.001). In Exp. 2, dominant hand finger SMS was significantly more accurate (smaller absolute value of asynchrony) in the ND versus BM condition (p = 0.037). In addition, the stability of dominant hand finger SMS was significantly correlated with the index of phase locking between the pulses and head SMS across participants in the ND condition (r = -0.85, p < 0.001). In contrast, the stability of dominant hand finger SMS was not significantly correlated with the index of phase locking between pulses and non-dominant hand finger SMS in the BM condition (r = -0.25, p = 0.86 after multiple comparison correction). These findings suggest that SMS modulation depends on the motor effectors simultaneously involved in synchronization: simultaneous head SMS stabilizes the timing of dominant hand finger SMS, while simultaneous non-dominant hand finger SMS deteriorates the timing accuracy of dominant hand finger SMS. The present study emphasizes the unique and crucial role of head movements in rhythmic behavior.

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

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

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

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

What is a Rhythm for the Brain? The Impact of Contextual Temporal Variability on Auditory Perception

Temporal predictions can be formed and impact perception when sensory timing is fully predictable: for instance, the discrimination of a target sound is enhanced if it is presented on the beat of an isochronous rhythm. However, natural sensory stimuli, like speech or music, are not entirely predictable, but still possess statistical temporal regularities. We investigated whether temporal expectations can be formed in non-fully predictable contexts, and how the temporal variability of sensory contexts affects auditory perception. Specifically, we asked how "rhythmic" an auditory stimulation needs to be in order to observe temporal predictions effects on auditory discrimination performances. In this behavioral auditory oddball experiment, participants listened to auditory sound sequences where the temporal interval between each sound was drawn from gaussian distributions with distinct standard deviations. Participants were asked to discriminate sounds with a deviant pitch in the sequences. Auditory discrimination performances, as measured with deviant sound discrimination accuracy and response times, progressively declined as the temporal variability of the sound sequence increased. Moreover, both global and local temporal statistics impacted auditory perception, suggesting that temporal statistics are promptly integrated to optimize perception. Altogether, these results suggests that temporal predictions can be set up quickly based on the temporal statistics of past sensory events and are robust to a certain amount of temporal variability. Therefore, temporal predictions can be built on sensory stimulations that are not purely periodic nor temporally deterministic.

The effects of rhythmic structure on tapping accuracy

Prior investigations of simple rhythms in familiar time signatures have shown the importance of several mechanisms; notably, those related to metricization and grouping. But there has been limited study of complex rhythms, including those in unfamiliar time signatures, such as are found outside mainstream Western music. Here, we investigate how the structures of 91 rhythms with nonisochronous onsets (mostly complex, several in unfamiliar time signatures) influence the accuracy, velocity, and timing of taps made by participants attempting to synchronize with these onsets. The onsets were piano-tone cues sounded at a well-formed subset of isochronous cymbal pulses; the latter occurring every 234 ms. We modelled tapping at both the rhythm level and the pulse level; the latter provides insight into how rhythmic structure makes some cues easier to tap and why incorrect (uncued) taps may occur. In our models, we use a wide variety of quantifications of rhythmic features, several of which are novel and many of which are indicative of underlying mechanisms, strategies, or heuristics. The results show that, for these tricky rhythms, taps are disrupted by unfamiliar period lengths and are guided by crude encodings of each rhythm: the density of rhythmic cues, their circular mean and variance, and recognizing common small patterns and the approximate positions of groups of cues. These lossy encodings are often counterproductive for discriminating between cued and uncued pulses and are quite different to mechanisms-such as metricization and emphasizing group boundaries-thought to guide tapping behaviours in learned and familiar rhythms.

Cathodal high-definition transcranial direct current stimulation (HD-tDCS) of the left ventral prefrontal cortex (vPFC) interferes with conscious error correction

Precise motor timing requires the ability to flexibly adapt one's own movements with respect to changes in the environment. Previous studies suggest that the correction of perceived as compared to non-perceived timing errors involves at least partially distinct brain networks. The dorsolateral prefrontal cortex (dPFC) has been linked to the correction of perceived timing errors and evidence for a contribution of the ventrolateral PFC (vPFC) specifically to the correction of non-perceived errors exists. The present study aimed at clarifying the functional contribution of the left vPFC for the correction of timing errors by adopting high-definition transcranial direct current stimulation (HD-tDCS). Twenty-one young healthy volunteers synchronized their right index finger taps with respect to an isochronous auditory pacing signal. Perceivable and non-perceivable step-changes of the metronome were interspersed, and error correction was analyzed by means of the phase-correction response (PCR). In subsequent sessions anodal and cathodal HD-tDCS was applied to the left vPFC to establish a brain-behavior relationship. Sham stimulation served as control condition. Synchronization accuracy as well as error correction were determined immediately prior to and after HD-tDCS. The analysis suggests a detrimental effect of cathodal HD-tDCS distinctively on error correction in trials with perceived timing errors. The data support the significance of the left vPFC for error correction in the temporal domain but contradicts the view of a role in the correction of non-perceived errors.

Higher synchronization stability with piano experience: relationship with finger and presentation modality

BACKGROUND

Synchronous finger tapping to external sensory stimuli is more stable for audiovisual combined stimuli than sole auditory or visual stimuli. In addition, piano players are superior in synchronous tapping and manipulating the ring and little fingers as compared to inexperienced individuals. However, it is currently unknown whether the ability to synchronize to external sensory stimuli with the ring finger is at the level of the index finger in piano players. The aim of this study was to compare the effect of piano experience on synchronization stability between the index and ring fingers using auditory, visual, and audiovisual combined stimuli.

METHODS

Thirteen piano players and thirteen novices participated in this study. They were instructed to tap with their index or ring finger synchronously to auditory, visual, and audiovisual combined stimuli. The stimuli were presented from an electronic metronome at 1 Hz, and the tapping was performed 30 times in each condition. We analyzed standard deviation of intervals between the stimulus onset and the tap onset as synchronization stability.

RESULTS

Synchronization stability for visual stimuli was lower during ring than index finger tapping in novices; however, this decline was absent in piano players. Also, piano players showed the higher synchronization stability for audiovisual combined stimuli than sole visual and auditory stimuli when tapping with the index finger. On the other hand, in novices, synchronization stability was higher for audiovisual combined stimuli than only visual stimuli.

CONCLUSIONS

These findings suggest that improvements of both sensorimotor processing and finger motor control by piano practice would contribute to superior synchronization stability.

Rhythmic tapping difficulties in adults who stutter: A deficit in beat perception, motor execution, or sensorimotor integration?

OBJECTIVES

The study aims to better understand the rhythmic abilities of people who stutter and to identify which processes potentially are impaired in this population: (1) beat perception and reproduction; (2) the execution of movements, in particular their initiation; (3) sensorimotor integration.

MATERIAL AND METHOD

Finger tapping behavior of 16 adults who stutter (PWS) was compared with that of 16 matching controls (PNS) in five rhythmic tasks of various complexity: three synchronization tasks - a simple 1:1 isochronous pattern, a complex non-isochronous pattern, and a 4 tap:1 beat isochronous pattern -, a reaction task to an aperiodic and unpredictable pattern, and a reproduction task of an isochronous pattern after passively listening.

RESULTS

PWS were able to reproduce an isochronous pattern on their own, without external auditory stimuli, with similar accuracy as PNS, but with increased variability. This group difference in variability was observed immediately after passive listening, without prior motor engagement, and was not enhanced or reduced after several seconds of tapping. Although PWS showed increased tapping variability in the reproduction task as well as in synchronization tasks, this timing variability did not correlate significantly with the variability in reaction times or tapping force. Compared to PNS, PWS exhibited larger negative mean asynchronies, and increased synchronization variability in synchronization tasks. These group differences were not affected by beat hierarchy (i.e., "strong" vs. "weak" beats), pattern complexity (non-isochronous vs. isochronous) or presence versus absence of external auditory stimulus (1:1 vs. 1:4 isochronous pattern). Differences between PWS and PNS were not enhanced or reduced with sensorimotor learning, over the first taps of a synchronization task.

CONCLUSION

Our observations support the hypothesis of a deficit in neuronal oscillators coupling in production, but not in perception, of rhythmic patterns, and a larger delay in multi-modal feedback processing for PWS.

Beat alignment ability is associated with formal musical training not current music playing

The ability to perceive the beat in music is crucial for both music listeners and players with expert musicians being notably skilled at noticing fine deviations in the beat. However, it is unclear whether this beat perception ability is enhanced in trained musicians who continue to practice relative to musicians who no longer play. Thus, we investigated this by comparing active musicians', inactive musicians', and nonmusicians' beat alignment ability scores on the Computerized Adaptive Beat Alignment Test (CA-BAT). 97 adults with diverse musical experience participated in the study, reporting their years of formal musical training, number of instruments played, hours of weekly music playing, and hours of weekly music listening, in addition to their demographic information. While initial tests between groups indicated active musicians outperformed inactive musicians and nonmusicians on the CA-BAT, a generalized linear regression analysis showed that there was no significant difference once differences in musical training had been accounted for. To ensure that our results were not impacted by multicollinearity between music-related variables, nonparametric and nonlinear machine learning regressions were employed and confirmed that years of formal musical training was the only significant predictor of beat alignment ability. These results suggest that expertly perceiving fine differences in the beat is not a use-dependent ability that degrades without regular maintenance through practice or musical engagement. Instead, better beat alignment appears to be associated with more musical training regardless of continued use.

Age interferes with sensorimotor timing and error correction in the supra-second range

Introduction

Precise motor timing including the ability to adjust movements after changes in the environment is fundamental to many daily activities. Sensorimotor timing in the sub-and supra-second range might rely on at least partially distinct brain networks, with the latter including the basal ganglia (BG) and the prefrontal cortex (PFC). Since both structures are particularly vulnerable to age-related decline, the present study investigated whether age might distinctively affect sensorimotor timing and error correction in the supra-second range.

Methods

A total of 50 healthy right-handed volunteers with 22 older (age range: 50-60 years) and 28 younger (age range: 20-36 years) participants synchronized the tap-onsets of their right index finger with an isochronous auditory pacing signal. Stimulus onset asynchronies were either 900 or 1,600 ms. Positive or negative step-changes that were perceivable or non-perceivable were occasionally interspersed to the fixed intervals to induce error correction. A simple reaction time task served as control condition.

Results and Discussion

In line with our hypothesis, synchronization variability in trials with supra-second intervals was larger in the older group. While reaction times were not affected by age, the mean negative asynchrony was significantly smaller in the elderly in trials with positive step-changes, suggesting more pronounced tolerance of positive deviations at older age. The analysis of error correction by means of the phase correction response (PCR) suggests reduced error correction in the older group. This effect emerged in trials with supra-second intervals and large positive step-changes, only. Overall, these results support the hypothesis that sensorimotor synchronization in the sub-second range is maintained but synchronization accuracy and error correction in the supra-second range is reduced in the elderly as early as in the fifth decade of life suggesting that these measures are suitable for the early detection of age-related changes of the motor system.

Effects of interoceptive accuracy on timing control in the synchronization tapping task

Humans often perform rhythmic synchronized movements. Professional musicians and dancers particularly perform such movement tasks well and have a higher interoceptive accuracy (IAcc) than non-musicians and non-dancers. We thus hypothesized that rhythmic synchronized movements might be enhanced by a higher IAcc. To investigate this hypothesis, this study conducted a heartbeat counting task and a rhythmic synchronization tapping task with normal (easier) and slow (harder) tempi metronomes. Inconsistent with our hypothesis, however, a higher IAcc was negatively correlated with timing control, but only in the slow tempo condition [r (30) = 0.46, p < 0.05]. This suggests that a higher IAcc did not enhance timing control in rhythmic synchronized movements but rather weakened it, resting heart rate variability was not correlated with timing control.

Neural correlates with individual differences in temporal prediction during auditory-motor synchronization

Temporal prediction ability is vital for movement synchronization with external rhythmic stimuli (sensorimotor synchronization); however, little is known regarding individual variations in temporal prediction ability and its neural correlates. We determined the underlying neural correlates of temporal prediction and individual variations during auditory-motor synchronization. We hypothesized that the non-primary motor cortices, such as the premotor cortex and supplementary motor area, are the key brain regions that correlate individual variations in prediction ability. Functional magnetic resonance imaging (7T) was performed for 18 healthy volunteers who tapped to 3 types of auditory metronome beats: isochronous, tempo change, and random. The prediction ability was evaluated using prediction/tracking ratios that were computed based on cross-correlations between tap timing and pacing events. Participants with a higher prediction/tracking ratio (i.e. stronger predictive tendency) tapped to metronome beats more accurately and precisely. The prediction/tracking ratio was positively correlated with the activity in the bilateral dorsal premotor cortex (PMd), suggesting that the bilateral PMd explains the individual variation in prediction ability. These results indicate that the PMd is involved in generating a model for temporal prediction of auditory rhythm patterns and its activity would reflect model accuracy, which is critical for accurate and precise sensorimotor synchronization.

The Role of Awareness on Motor-Sensory Temporal Recalibration

Temporal recalibration (TR) may arise to realign asynchronous stimuli after exposure to a short, constant delay between voluntary movement and sensory stimulus. The objective of this study was to determine if awareness of the temporal lag between a motor response (i.e., a keypress) and a sensory event (i.e., a visual flash) is necessary for TR to occur. We further investigated whether manipulating the required motor and perceptual judgment tasks modified the influence of awareness on TR. Participants (n = 48) were randomly divided between two groups (Group 1: Aware and Group 2: Unaware). The Aware group was told of the temporal lag between their keypress and visual flash at the beginning of the experiment, whereas the Unaware group was not. All participants completed eight blocks of trials, in which the motor task (single or repetitive tap), perceptual judgment task (judging the temporal order of the keypress in relation to the visual flash or judging whether the two stimuli were simultaneous or not), and fixed temporal lag between keypress and visual flash (0 or 100 ms) varied. TR was determined by comparing judgments between corresponding blocks of trials in which the temporal lag was 0 or 100 ms. Results revealed that both the Aware and Unaware groups demonstrated a similar magnitude of TR across all motor and perceptual judgment tasks, such that the magnitude of TR did not vary between Aware and Unaware participants. These results suggest that awareness of a temporal lag does not influence the magnitude of TR achieved and that motor and perceptual judgment task demands do not modulate the influence of awareness on TR.

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.

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.

A simple and cheap setup for timing tapping responses synchronized to auditory stimuli

Measuring human capabilities to synchronize in time, adapt to perturbations to timing sequences, or reproduce time intervals often requires experimental setups that allow recording response times with millisecond precision. Most setups present auditory stimuli using either MIDI devices or specialized hardware such as Arduino and are often expensive or require calibration and advanced programming skills. Here, we present in detail an experimental setup that only requires an external sound card and minor electronic skills, works on a conventional PC, is cheaper than alternatives, and requires almost no programming skills. It is intended for presenting any auditory stimuli and recording tapping response times with within 2-ms precision (up to - 2 ms lag). This paper shows why desired accuracy in recording response times against auditory stimuli is difficult to achieve in conventional computer setups, presents an experimental setup to overcome this, and explains in detail how to set it up and use the provided code. Finally, the code for analyzing the recorded tapping responses was evaluated, showing that no spurious or missing events were found in 94% of the analyzed recordings.

Reading ability in children relates to rhythm perception across modalities

The onset of reading ability is rife with individual differences, with some children termed "early readers" and some falling behind from the very beginning. Reading skill in children has been linked to an ability to remember nonverbal rhythms, specifically in the auditory modality. It has been hypothesized that the link between rhythm skills and reading reflects a shared reliance on the ability to extract temporal structure from sound. Here we tested this hypothesis by investigating whether the link between rhythm memory and reading depends on the modality in which rhythms are presented. We tested 75 primary school-aged children aged 7-11 years on a within-participants battery of reading and rhythm tasks. Participants received a reading efficiency task followed by three rhythm tasks (auditory, visual, and audiovisual). Results showed that children who performed poorly on the reading task also performed poorly on the tasks that required them to remember and repeat back nonverbal rhythms. In addition, these children showed a rhythmic deficit not just in the auditory domain but also in the visual domain. However, auditory rhythm memory explained additional variance in reading ability even after controlling for visual memory. These results suggest that reading ability and rhythm memory rely both on shared modality-general cognitive processes and on the ability to perceive the temporal structure of sound.

Time-oriented attention improves accuracy in a paced finger-tapping task

Finger tapping is a task widely used in a variety of experimental paradigms, in particular to understand sensorimotor synchronization and time processing in the range of hundreds of milliseconds (millisecond timing). Normally, subjects do not receive any instruction about what to attend to and the results are seldom interpreted taking into account the possible effects of attention. In this work we show that attention can be oriented to the purely temporal aspects of a paced finger-tapping task and that it affects performance. Specifically, time-oriented attention improves the accuracy in paced finger tapping and it also increases the resynchronization efficiency after a period perturbation. We use two markers of the attention level: auditory ERPs and subjective report of the mental workload. In addition, we propose a novel algorithm to separate the auditory, stimulus-related components from the somatosensory, response-related ones, which are naturally overlapped in the recorded EEG.

The challenge of being slow: Effects of tempo, laterality, and experience on dance movement consistency

In dance, music, or sports, reproducibility and consistency as well as bilateral dexterity/coordination of movement are crucial for motor control. Research into the biomechanics of movement consistency and variability is important for motor learning to achieve proficiency and maximize outcome reproduction and stability as well as to reduce the risk of injury. Thirty-six participants were instructed to perform a repetitive circular, ipsilateral motion of arms and legs at three different tempi, while being recorded with optical motion capture. Two velocity-based consistency measures were developed an overall measure of consistency and a laterality difference measure. Maintaining velocity consistency was more challenging at slower than at faster tempi, suggesting that slow movement could require more attentional focus and thus become more variable. Music experience resulted in higher consistency, especially on the subdominant body side, possibly due to extensive bilateral training. Outcomes could have potential implications for music instrument, dance, and sports practice and training.

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

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

Embodying melody through a conducting baton: a pilot comparison between musicians and non-musicians

Finger-tapping tasks have been widely adopted to investigate auditory-motor synchronization, i.e., the coupling of movement with an external auditory rhythm. However, the discrete nature of these movements usually limits their application to the study of beat perception in the context of isochronous rhythms. The purpose of the present pilot study was to test an innovative task that allows investigating bodily responses to complex, non-isochronous rhythms. A conductor's baton was provided to 16 healthy subjects, divided into 2 different groups depending on the years of musical training they had received (musicians or non-musicians). Ad hoc-created melodies, including notes of different durations, were played to the subjects. Each subject was asked to move the baton up and down according to the changes in pitch contour. Software for video analysis and modelling (Tracker®) was used to track the movement of the baton tip. The main parameters used for the analysis were the velocity peaks in the vertical axis. In the musician group, the number of velocity peaks exactly matched the number of notes, while in the non-musician group, the number of velocity peaks exceeded the number of notes. An exploratory data analysis using Poincaré plots suggested a greater degree of coupling between hand-arm movements and melody in musicians both with isochronous and non-isochronous rhythms. The calculated root mean square error (RMSE) between the note onset times and the velocity peaks, and the analysis of the distribution of velocity peaks in relationship to note onset times confirmed the effect of musical training. Notwithstanding the small number of participants, these results suggest that this novel behavioural task could be used to investigate auditory-motor coupling in the context of music in an ecologically valid setting. Furthermore, the task may be used for rhythm training and rehabilitation in neurological patients with movement disorders.

The influence of a conductor and co-performer on auditory-motor synchronisation, temporal prediction, and ancillary entrainment in a musical drumming task

Interpersonal coordination is exemplified in ensemble musicians, who coordinate their actions deliberately in order to achieve temporal synchronisation in their performances. However, musicians also move parts of their bodies unintentionally or spontaneously, sometimes in ways that do not directly produce sound from their instruments. Musicians' movements-intentional or otherwise-provide visual signals to co-performers, which might facilitate temporal synchronisation. In large ensembles, a conductor also provides a visual cue, which has been shown to enhance synchronisation. In the present study, we tested how visual cues from a co-performer and a conductor affect processes of temporal anticipation, synchronisation, and ancillary movements in a sample of primarily non-musicians. We used a dyadic synchronisation drumming task, in which paired participants drummed to the beat of tempo-changing music. We manipulated visual access between partners and a virtual conductor. Results showed that the conductor improved synchronisation with the music, but synchrony with the music did not improve when partners could see each other. Temporal prediction was improved when partners saw the conductor, but not each other. Ancillary movements of the head were more synchronised between partners when they could see each other, and greater ancillary synchrony at beat-related frequencies of movement was associated with greater drumming synchrony. These results suggest that compatible audio-visual cues can improve intentional synchronisation, that ancillary movements are affected by seeing a partner, and that attended vs. incidental visual cues thus have partially dissociable effects on temporal coordination during joint action.

Musical Training for Auditory Rehabilitation in Hearing Loss

Despite the overall success of cochlear implantation, language outcomes remain suboptimal and subject to large inter-individual variability. Early auditory rehabilitation techniques have mostly focused on low-level sensory abilities. However, a new body of literature suggests that cognitive operations are critical for auditory perception remediation. We argue in this paper that musical training is a particularly appealing candidate for such therapies, as it involves highly relevant cognitive abilities, such as temporal predictions, hierarchical processing, and auditory-motor interactions. We review recent studies demonstrating that music can enhance both language perception and production at multiple levels, from syllable processing to turn-taking in natural conversation.

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

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

Musical training enhances temporal adaptation of auditory-motor synchronization

To coordinate their actions successfully with auditory events, individuals must be able to adapt their behaviour flexibly to environmental changes. Previous work has shown that musical training enhances the flexibility to synchronize behaviour with a wide range of stimulus periods. The current experiment investigated whether musical training enhances temporal adaptation to period perturbations as listeners tapped with a metronome, and whether this enhancement is specific to individuals' Spontaneous Production Rates (SPRs; individuals' natural uncued rates). Both musicians and nonmusicians adapted more quickly to period perturbations that slowed down than to those that sped up. Importantly, musicians adapted more quickly to all period perturbations than nonmusicians. Fits of a damped harmonic oscillator model to the tapping measures confirmed musicians' faster adaptation and greater responsiveness to period perturbations. These results suggest that, even when the task is tailored to individual SPRs, musical training increases the flexibility with which individuals can adapt to changes in their environment during auditory-motor tasks.

Temporal predictions provided by musical rhythm influence visual memory encoding

Selective attention plays a key role in determining what aspects of our environment are encoded into long-term memory. Auditory rhythms with a regular beat provide temporal expectations that entrain attention and facilitate perception of visual stimuli aligned with the beat. The current study investigated whether entrainment to background auditory rhythms also facilitates higher-level cognitive functions such as episodic memory. In a series of experiments, we manipulated temporal attention through the use of rhythmic, instrumental music. In Experiment 1A and 1B, we found that background musical rhythm influenced the encoding of visual targets into memory, evident in enhanced subsequent memory for targets that appeared in-synchrony compared to out-of-synchrony with the background beat. Response times at encoding did not differ for in-synchrony compared to out-of-synchrony stimuli, suggesting that the rhythmic modulation of memory does not simply reflect rhythmic effects on perception and action. Experiment 2 investigated whether rhythmic effects on response times emerge when task procedures more closely match prior studies that have demonstrated significant auditory entrainment effects. Responses were faster for in-synchrony compared to out-of-synchrony stimuli when participants performed a more perceptually-oriented task that did not contain intervening recognition memory tests, suggesting that rhythmic effects on perception and action depend on the nature of the task demands. Together, these results support the hypothesis that rhythmic temporal regularities provided by background music can entrain attention and influence the encoding of visual stimuli into memory.

Cross-feedback with Partner Contributes to Performance Accuracy in Finger-tapping Rhythm Synchronization between One Leader and Two Followers

As observed in musical ensembles, people synchronize with a leader together with other people. This study aimed to investigate whether interdependency with a partner improves performance accuracy in rhythm synchronization with the leader. Participants performed a synchronization task via auditory signal by finger tapping in which two followers simultaneously synchronized with a leader: an isochronous metronome or a human leader with or without feedback from the followers. This task was conducted with and without cross-feedback (CFB) between the followers. The followers’ weak mutual tempo tracking via the CFB and the followers’ strong tempo tracking to the leader improved the tempo stability. Additionally, because the interdependency between the followers was weaker than the followers’ dependency on the human leader, the CFB did not enlarge the synchronization error between the human leader and the followers, which occurred in synchronization with the metronome. Thus, the CFB between the followers contributed to accuracy in synchronization with the human leader. The results suggest that in ensembles, players should strongly attend to the leader and should attempt to be less conscious of partners to maintain the appropriate balance between influences from the leader and partners.

Successful second language learning is tied to robust domain-general auditory processing and stable neural representation of sound

There is a great deal of individual variability in outcome in second language learning, the sources of which are still poorly understood. We hypothesized that individual differences in auditory processing may account for some variability in second language learning. We tested this hypothesis by examining psychoacoustic thresholds, auditory-motor temporal integration, and auditory neural encoding in adult native Polish speakers living in the UK. We found that precise English vowel perception and accurate English grammatical judgment were linked to lower psychoacoustic thresholds, better auditory-motor integration, and more consistent frequency-following responses to sound. Psychoacoustic thresholds and neural sound encoding explained independent variance in vowel perception, suggesting that they are dissociable indexes of sound processing. These results suggest that individual differences in second language acquisition success stem at least in part from domain-general difficulties with auditory perception, and that auditory training could help facilitate language learning in some individuals with specific auditory impairments.

The roles of musical expertise and sensory feedback in beat keeping and joint action

Auditory feedback of actions provides additional information about the timing of one’s own actions and those of others. However, little is known about how musicians and nonmusicians integrate auditory feedback from multiple sources to regulate their own timing or to (intentionally or unintentionally) coordinate with a partner. We examined how musical expertise modulates the role of auditory feedback in a two-person synchronization–continuation tapping task. Pairs of individuals were instructed to tap at a rate indicated by an initial metronome cue in all four auditory feedback conditions: no feedback, self-feedback (cannot hear their partner), other feedback (cannot hear themselves), or full feedback (both self and other). Participants within a pair were either both musically trained (musicians), both untrained (nonmusicians), or one musically trained and one untrained (mixed). Results demonstrated that all three pair types spontaneously synchronized with their partner when receiving other or full feedback. Moreover, all pair types were better at maintaining the metronome rate with self-feedback than with no feedback. Musician pairs better maintained the metronome rate when receiving other feedback than when receiving no feedback; in contrast, nonmusician pairs were worse when receiving other or full feedback compared to no feedback. Both members of mixed pairs maintained the metronome rate better in the other and full feedback conditions than in the no feedback condition, similar to musician pairs. Overall, nonmusicians benefited from musicians’ expertise without negatively influencing musicians’ ability to maintain the tapping rate. One implication is that nonmusicians may improve their beat-keeping abilities by performing tasks with musically skilled individuals.

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

Sensorimotor synchronization is the coordination of rhythmic movement with an external beat. Dancers often synchronize each beat of their motion with an external rhythm. Compared with social dancing, competitive ballroom dancing requires a higher level of sensorimotor ability. Although previous studies have found that dance experience may facilitate sensorimotor synchronization, they did not examine this in competitive ballroom dancers. Thus, the present study compared sensorimotor synchronization in 41 nondancers and 41 skilled, competitive ballroom dancers as they performed a simple beat synchronization finger-tapping task. All participants finger-tapped freely at their preferred tempo before the formal experiments. Participants were then required to synchronize their finger-tapping with auditory, visual, or combined audiovisual signals in separate experiments and at varying tempos. To assess sensorimotor plasticity, the participants then repeated the free-tapping task after completing all three finger-tapping experiments. Compared with nondancers, dancers showed more accurate and stable beat synchronization. Dancers tapped before onset of all three types of sensorimotor stimulation, indicating a significant negative mean asynchrony and had a tendency to anticipate (predict) the stimuli. Dancers tended to auditory stimulation for beat sensorimotor synchronization, whereas nondancers tended to visual stimuli. Dancers had a faster tempo preference in the initial free-tapping task; however, the preferred tapping tempo increased in all participants in the second free-tapping task, suggesting that beat induction is affected by practice. Together these findings suggest that dance experience enhances sensorimotor synchronization and sensorimotor plasticity, with ballroom dancers tending to auditory stimulation for beat induction.

Tapping ahead of time: its association with timing variability

Researchers have puzzled over the phenomenon in sensorimotor timing that people tend to tap ahead of time. When synchronizing movements (e.g., finger taps) with an external sequence (e.g., a metronome), humans typically tap tens of milliseconds before event onsets, producing the elusive negative asynchrony. Here, we present 24 metronome-tapping data sets from 8 experiments with different experimental settings, showing that less negative asynchrony is associated with lower tapping variability. Further analyses reveal that this negative mean-SD correlation of asynchrony is likely to be observed for sequence types appropriate for synchronization, as indicated by the statistically negative lag 1 autocorrelation of inter-response intervals. The reported findings indicate an association between negative asynchrony and timing variability.

Tapping Into Rate Flexibility: Musical Training Facilitates Synchronization Around Spontaneous Production Rates

The ability to flexibly adapt one’s behavior is critical for social tasks such as speech and music performance, in which individuals must coordinate the timing of their actions with others. Natural movement frequencies, also called spontaneous rates, constrain synchronization accuracy between partners during duet music performance, whereas musical training enhances synchronization accuracy. We investigated the combined influences of these factors on the flexibility with which individuals can synchronize their actions with sequences at different rates. First, we developed a novel musical task capable of measuring spontaneous rates in both musicians and non-musicians in which participants tapped the rhythm of a familiar melody while hearing the corresponding melody tones. The novel task was validated by similar measures of spontaneous rates generated by piano performance and by the tapping task from the same pianists. We then implemented the novel task with musicians and non-musicians as they synchronized tapping of a familiar melody with a metronome at their spontaneous rates, and at rates proportionally slower and faster than their spontaneous rates. Musicians synchronized more flexibly across rates than non-musicians, indicated by greater synchronization accuracy. Additionally, musicians showed greater engagement of error correction mechanisms than non-musicians. Finally, differences in flexibility were characterized by more recurrent (repetitive) and patterned synchronization in non-musicians, indicative of greater temporal rigidity.

Long-Term Musical Training Alters Tactile Temporal-Order Judgment

Long-term musical training is an enriched multisensory training environment that can alter uni- and multisensory substrates and abilities. Amongst these altered abilities are faster reaction times for simple and complex sensory tasks. The crossed arm temporal-order judgement (TOJ) task is a complex tactile task in which TOJ error rate increases when arms are crossed. Reaction times (RTs) for this task are typically proportionate to the difficulty of the stimulus onset asynchrony (SOA) and increase more when the arms are crossed than when uncrossed. The objective of this study was to study the impact of musical training on RTs and accuracy for the crossed arm TOJ task. Seventeen musicians and 20 controls were tested. Musicians had significantly faster RTs for all crossed arm conditions and half of the uncrossed conditions. However, musicians had significantly more TOJ errors for the crossed posture. We speculate that faster musician TOJ RTs leave little time to consolidate conflicting internal and external task-related information when crossing the arms, leading to increased incorrect responses. These results provide novel insights on the potential mechanisms underlying the increased TOJ error rates when arms are crossed. Moreover, they add to the growing literature of altered sensory ability in musicians and propose an unexpected consequence of faster reaction times.

Coupling of Action-Perception Brain Networks during Musical Pulse Processing: Evidence from Region-of-Interest-Based Independent Component Analysis

Our sense of rhythm relies on orchestrated activity of several cerebral and cerebellar structures. Although functional connectivity studies have advanced our understanding of rhythm perception, this phenomenon has not been sufficiently studied as a function of musical training and beyond the General Linear Model (GLM) approach. Here, we studied pulse clarity processing during naturalistic music listening using a data-driven approach (independent component analysis; ICA). Participants' (18 musicians and 18 controls) functional magnetic resonance imaging (fMRI) responses were acquired while listening to music. A targeted region of interest (ROI) related to pulse clarity processing was defined, comprising auditory, somatomotor, basal ganglia, and cerebellar areas. The ICA decomposition was performed under different model orders, i.e., under a varying number of assumed independent sources, to avoid relying on prior model order assumptions. The components best predicted by a measure of the pulse clarity of the music, extracted computationally from the musical stimulus, were identified. Their corresponding spatial maps uncovered a network of auditory (perception) and motor (action) areas in an excitatory-inhibitory relationship at lower model orders, while mainly constrained to the auditory areas at higher model orders. Results revealed (a) a strengthened functional integration of action-perception networks associated with pulse clarity perception hidden from GLM analyses, and (b) group differences between musicians and non-musicians in pulse clarity processing, suggesting lifelong musical training as an important factor that may influence beat processing.

Neural Entrainment to Polyrhythms: A Comparison of Musicians and Non-musicians

Music can be thought of as a dynamic path over time. In most cases, the rhythmic structure of this path, such as specific sequences of strong and weak beats or recurring patterns, allows us to predict what and particularly when sounds are going to happen. Without this ability we would not be able to entrain body movements to music, like we do when we dance. By combining EEG and behavioral measures, the current study provides evidence illustrating the importance of ongoing neural oscillations at beat-related frequencies-i.e., neural entrainment-for tracking and predicting musical rhythms. Participants (13 musicians and 13 non-musicians) listened to drum rhythms that switched from a quadruple rhythm to a 3-over-4 polyrhythm. After a silent period of ~2-3 s, participants had to decide whether a target stimulus was presented on time with the triple beat of the polyrhythm, too early, or too late. Results showed that neural oscillations reflected the rhythmic structure of both the simple quadruple rhythm and the more complex polyrhythm with no differences between musicians and non-musicians. During silent periods, the observation of time-frequency plots and more commonly used frequency spectra analyses suggest that beat-related neural oscillations were more pronounced in musicians compared to non-musicians. Neural oscillations during silent periods are not driven by an external input and therefore are thought to reflect top-down controlled endogenous neural entrainment. The functional relevance of endogenous neural entrainment was demonstrated by a positive correlation between the amplitude of task-relevant neural oscillations during silent periods and the number of correctly identified target stimuli. In sum, our findings add to the evidence supporting the neural resonance theory of pulse and meter. Furthermore, they indicate that beat-related top-down controlled neural oscillations can exist without external stimulation and suggest that those endogenous oscillations are strengthened by musical expertise. Finally, this study shows that the analysis of neural oscillations can be a useful tool to assess how we perceive and process complex auditory stimuli such as polyrhythms.

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.

Individual Differences in Rhythm Skills: Links with Neural Consistency and Linguistic Ability

Durational patterns provide cues to linguistic structure, thus so variations in rhythm skills may have consequences for language development. Understanding individual differences in rhythm skills, therefore, could help explain variability in language abilities across the population. We investigated the neural foundations of rhythmic proficiency and its relation to language skills in young adults. We hypothesized that rhythmic abilities can be characterized by at least two constructs, which are tied to independent language abilities and neural profiles. Specifically, we hypothesized that rhythm skills that require integration of information across time rely upon the consistency of slow, low-frequency auditory processing, which we measured using the evoked cortical response. On the other hand, we hypothesized that rhythm skills that require fine temporal precision rely upon the consistency of fast, higher-frequency auditory processing, which we measured using the frequency-following response. Performance on rhythm tests aligned with two constructs: rhythm sequencing and synchronization. Rhythm sequencing and synchronization were linked to the consistency of slow cortical and fast frequency-following responses, respectively. Furthermore, whereas rhythm sequencing ability was linked to verbal memory and reading, synchronization ability was linked only to nonverbal auditory temporal processing. Thus, rhythm perception at different time scales reflects distinct abilities, which rely on distinct auditory neural resources. In young adults, slow rhythmic processing makes the more extensive contribution to language skills.

Moving Stimuli Facilitate Synchronization But Not Temporal Perception

Recent studies have shown that a moving visual stimulus (e.g., a bouncing ball) facilitates synchronization compared to a static stimulus (e.g., a flashing light), and that it can even be as effective as an auditory beep. We asked a group of participants to perform different tasks with four stimulus types: beeps, siren-like sounds, visual flashes (static) and bouncing balls. First, participants performed synchronization with isochronous sequences (stimulus-guided synchronization), followed by a continuation phase in which the stimulus was internally generated (imagery-guided synchronization). Then they performed a perception task, in which they judged whether the final part of a temporal sequence was compatible with the previous beat structure (stimulus-guided perception). Similar to synchronization, an imagery-guided variant was added, in which sequences contained a gap in between (imagery-guided perception). Balls outperformed flashes and matched beeps (powerful ball effect) in stimulus-guided synchronization but not in perception (stimulus- or imagery-guided). In imagery-guided synchronization, performance accuracy decreased for beeps and balls, but not for flashes and sirens. Our findings suggest that the advantages of moving visual stimuli over static ones are grounded in action rather than perception, and they support the hypothesis that the sensorimotor coupling mechanisms for auditory (beeps) and moving visual stimuli (bouncing balls) overlap.

Influence of pacer continuity on continuous and discontinuous visuo-motor synchronisation

Previous research has reported that synchronising movements with an external pacer, known as sensorimotor synchronisation (SMS), is more stable when the movements are discrete/discontinuous rather than continuous. A standard explanation considers that more efficient mechanisms are involved for regulating synchronisation when producing discontinuous movements. To date, however, only discontinuous pacers (e.g., metronomes) have been investigated to compare discontinuous and continuous SMS. We propose an alternative explanation whereby the discontinuous SMS has benefited from the matching between the (dis)continuous nature of the pacer and the (dis)continuous nature of the movements of synchronisation. The present experiment tested this explanation by examining the relative stability of discontinuous and continuous SMS when synchronising with a continuous pacer. Twelve participants finger tapped (discontinuous SMS) or continuously oscillated their forearm (continuous SMS) in synchrony with an oscillatory visual target. The continuity of the pacer was manipulated by varying the kinematic (harmonic to Rayleigh-like oscillations) and the frequency (0.5 and 1Hz) of the target oscillations. Overall, the results showed a more stable continuous than discontinuous SMS. Furthermore, the stability of the discontinuous SMS improved when increasing the discontinuity of the target displacements (high nonlinear kinematic and low frequency), showing an interaction between movement type and pacer continuity in SMS.

High post-movement parietal low-beta power during rhythmic tapping facilitates performance in a stop task

Voluntary movements are followed by a post-movement electroencephalography (EEG) beta rebound, which increases with practice and confidence in a task. We hypothesized that greater beta modulation reflects less load on cognitive resources and may thus be associated with faster reactions to new stimuli. EEG was recorded in 17 healthy subjects during rhythmically paced index finger tapping. In a STOP condition, participants had to interrupt the upcoming tap in response to an auditory cue, which was timed such that stopping was successful only in ~ 50% of all trials. In a second condition, participants carried on tapping twice after the stop signal (CONTINUE condition). Thus the conditions were distinct in whether abrupt stopping was required as a second task. Modulation of 12-20 Hz power over motor and parietal areas developed with time on each trial and more so in the CONTINUE condition. Reduced modulation in the STOP condition went along with reduced negative mean asynchronies suggesting less confident anticipation of the timing of the next tap. Yet participants were more likely to stop when beta modulation prior to the stop cue was more pronounced. In the STOP condition, expectancy of the stop signal may have increased cognitive load during movement execution given that the task might have to be stopped abruptly. However, within this condition, stopping ability was increased if the preceding tap was followed by a relatively larger beta increase. Significant, albeit weak, correlations confirmed that increased post-movement beta power was associated with faster reactions to new stimuli, consistent with reduced cognitive load.

Look at the Beat, Feel the Meter: Top-Down Effects of Meter Induction on Auditory and Visual Modalities

Recent research has demonstrated top-down effects on meter induction in the auditory modality. However, little is known about these effects in the visual domain, especially without the involvement of motor acts such as tapping. In the present study, we aim to assess whether the projection of meter on auditory beats is also present in the visual domain. We asked 16 musicians to internally project binary (i.e., a strong-weak pattern) and ternary (i.e., a strong-weak-weak pattern) meter onto separate, but analog, visual and auditory isochronous stimuli. Participants were presented with sequences of tones or blinking circular shapes (i.e., flashes) at 2.4 Hz while their electrophysiological responses were recorded. A frequency analysis of the elicited steady-state evoked potentials allowed us to compare the frequencies of the beat (2.4 Hz), its first harmonic (4.8 Hz), the binary subharmonic (1.2 Hz), and the ternary subharmonic (0.8 Hz) within and across modalities. Taking the amplitude spectra into account, we observed an enhancement of the amplitude at 0.8 Hz in the ternary condition for both modalities, suggesting meter induction across modalities. There was an interaction between modality and voltage at 2.4 and 4.8 Hz. Looking at the power spectra, we also observed significant differences from zero in the auditory, but not in the visual, binary condition at 1.2 Hz. These findings suggest that meter processing is modulated by top-down mechanisms that interact with our perception of rhythmic events and that such modulation can also be found in the visual domain. The reported cross-modal effects of meter may shed light on the origins of our timing mechanisms, partially developed in primates and allowing humans to synchronize across modalities accurately.

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.

Auditory dominance in motor-sensory temporal recalibration

Perception of synchrony between one’s own action (e.g. a finger tap) and the sensory feedback thereof (e.g. a flash or click) can be shifted after exposure to an induced delay (temporal recalibration effect, TRE). It remains elusive, however, whether the same mechanism underlies motor-visual (MV) and motor-auditory (MA) TRE. We examined this by measuring crosstalk between MV- and MA-delayed feedbacks. During an exposure phase, participants pressed a mouse at a constant pace while receiving visual or auditory feedback that was either delayed (+150 ms) or subjectively synchronous (+50 ms). During a post-test, participants then tried to tap in sync with visual or auditory pacers. TRE manifested itself as a compensatory shift in the tap–pacer asynchrony (a larger anticipation error after exposure to delayed feedback). In experiment 1, MA and MV feedback were either both synchronous (MV-sync and MA-sync) or both delayed (MV-delay and MA-delay), whereas in experiment 2, different delays were mixed across alternating trials (MV-sync and MA-delay or MV-delay and MA-sync). Exposure to consistent delays induced equally large TREs for auditory and visual pacers with similar build-up courses. However, with mixed delays, we found that synchronized sounds erased MV-TRE, but synchronized flashes did not erase MA-TRE. These results suggest that similar mechanisms underlie MA- and MV-TRE, but that auditory feedback is more potent than visual feedback to induce a rearrangement of motor-sensory timing.

Cortical entrainment to music and its modulation by expertise

Recent studies establish that cortical oscillations track naturalistic speech in a remarkably faithful way. Here, we test whether such neural activity, particularly low-frequency (<8 Hz; delta-theta) oscillations, similarly entrain to music and whether experience modifies such a cortical phenomenon. Music of varying tempi was used to test entrainment at different rates. In three magnetoencephalography experiments, we recorded from nonmusicians, as well as musicians with varying years of experience. Recordings from nonmusicians demonstrate cortical entrainment that tracks musical stimuli over a typical range of tempi, but not at tempi below 1 note per second. Importantly, the observed entrainment correlates with performance on a concurrent pitch-related behavioral task. In contrast, the data from musicians show that entrainment is enhanced by years of musical training, at all presented tempi. This suggests a bidirectional relationship between behavior and cortical entrainment, a phenomenon that has not previously been reported. Additional analyses focus on responses in the beta range (∼15-30 Hz)-often linked to delta activity in the context of temporal predictions. Our findings provide evidence that the role of beta in temporal predictions scales to the complex hierarchical rhythms in natural music and enhances processing of musical content. This study builds on important findings on brainstem plasticity and represents a compelling demonstration that cortical neural entrainment is tightly coupled to both musical training and task performance, further supporting a role for cortical oscillatory activity in music perception and cognition.

Beat Synchronization across the Lifespan: Intersection of Development and Musical Experience

Rhythmic entrainment, or beat synchronization, provides an opportunity to understand how multiple systems operate together to integrate sensory-motor information. Also, synchronization is an essential component of musical performance that may be enhanced through musical training. Investigations of rhythmic entrainment have revealed a developmental trajectory across the lifespan, showing synchronization improves with age and musical experience. Here, we explore the development and maintenance of synchronization in childhood through older adulthood in a large cohort of participants (N = 145), and also ask how it may be altered by musical experience. We employed a uniform assessment of beat synchronization for all participants and compared performance developmentally and between individuals with and without musical experience. We show that the ability to consistently tap along to a beat improves with age into adulthood, yet in older adulthood tapping performance becomes more variable. Also, from childhood into young adulthood, individuals are able to tap increasingly close to the beat (i.e., asynchronies decline with age), however, this trend reverses from younger into older adulthood. There is a positive association between proportion of life spent playing music and tapping performance, which suggests a link between musical experience and auditory-motor integration. These results are broadly consistent with previous investigations into the development of beat synchronization across the lifespan, and thus complement existing studies and present new insights offered by a different, large cross-sectional sample.