Musicians react faster and are better multisensory integrators

Evaluation of physiological response and synchronisation errors during synchronous and pseudosynchronous stimulation trials

Rhythm perception and synchronisation is musical ability with neural basis defined as the ability to perceive rhythm in music and synchronise body movements with it. The study aimed to check the errors of synchronisation and physiological response as a reaction of the subjects to metrorhythmic stimuli of synchronous and pseudosynchronous stimulation (synchronisation with an externally controlled rhythm, but in reality controlled or produced tone by tapping) Nineteen subjects without diagnosed motor disorders participated in the study. Two tests were performed, where the electromyography signal and reaction time were recorded using the NORAXON system. In addition, physiological signals such as electrodermal activity and blood volume pulse were measured using the Empatica E4. Study 1 consisted of adapting the finger tapping test in pseudosynchrony with a given metrorhythmic stimulus with a selection of preferred, choices of decreasing and increasing tempo. Study 2 consisted of metrorhythmic synchronisation during the heel stomping test. Numerous correlations and statistically significant parameters were found between the response of the subjects with respect to their musical education, musical and sports activities. Most of the differentiating characteristics shown evidence of some group division in the undertaking of musical activities. The use of detailed analyses of synchronisation errors can contribute to the development of methods to improve the rehabilitation process of subjects with motor dysfunction, and this will contribute to the development of an expert system that considers personalised musical preferences.

Neural correlates of bilateral proprioception and adaptation with training

Bilateral proprioception includes the ability to sense the position and motion of one hand relative to the other, without looking. This sensory ability allows us to perform daily activities seamlessly, and its impairment is observed in various neurological disorders such as cerebral palsy and stroke. It can undergo experience-dependent plasticity, as seen in trained piano players. If its neural correlates were better understood, it would provide a useful assay and target for neurorehabilitation for people with impaired proprioception. We designed a non-invasive electroencephalography-based paradigm to assess the neural features relevant to proprioception, especially focusing on bilateral proprioception, i.e., assessing the limb distance from the body with the other limb. We compared it with a movement-only task, with and without the visibility of the target hand. Additionally, we explored proprioceptive accuracy during the tasks. We tested eleven Controls and nine Skilled musicians to assess whether sensorimotor event-related spectral perturbations in μ (8-12Hz) and low-β (12-18Hz) rhythms differ in people with musical instrument training, which intrinsically involves a bilateral proprioceptive component, or when new sensor modalities are added to the task. The Skilled group showed significantly reduced μ and low-β suppression in bilateral tasks compared to movement-only, a significative difference relative to Controls. This may be explained by reduced top-down control due to intensive training, despite this, proprioceptive errors were not smaller for this group. Target visibility significantly reduced proprioceptive error in Controls, while no change was observed in the Skilled group. During visual tasks, Controls exhibited significant μ and low-β power reversals, with significant differences relative to proprioceptive-only tasks compared to the Skilled group-possibly due to reduced uncertainty and top-down control. These results provide support for sensorimotor μ and low-β suppression as potential neuromarkers for assessing proprioceptive ability. The identification of these features is significant as they could be used to quantify altered proprioceptive neural processing in skill and movement disorders. This in turn can be useful as an assay for pre and post sensory-motor intervention research.

Understanding functional brain reorganization for naturalistic piano playing in novice pianists

Learning to play the piano is a unique complex task, integrating multiple sensory modalities and higher order cognitive functions. Longitudinal neuroimaging studies on adult novice musicians show training-related functional changes in music perception tasks. The reorganization of brain activity while actually playing an instrument was studied only on a very short time frame of a single fMRI session, and longer interventions have not yet been performed. Thus, our aim was to investigate the dynamic complexity of functional brain reorganization while playing the piano within the first half year of musical training. We scanned 24 novice keyboard learners (female, 18-23 years old) using fMRI while they played increasingly complex musical pieces after 1, 6, 13, and 26 weeks of training. Playing music evoked responses bilaterally in the auditory, inferior frontal, and supplementary motor areas, and the left sensorimotor cortex. The effect of training over time, however, invoked widespread changes encompassing the right sensorimotor cortex, cerebellum, superior parietal cortex, anterior insula and hippocampus, among others. As the training progressed, the activation of these regions decreased while playing music. Post hoc analysis revealed region-specific time-courses for independent auditory and motor regions of interest. These results suggest that while the primary sensory, motor, and frontal regions are associated with playing music, the training decreases the involvement of higher order cognitive control and integrative regions, and basal ganglia. Moreover, training might affect distinct brain regions in different ways, providing evidence in favor of the dynamic nature of brain plasticity.

Audiovisual spatial ventriloquism is reduced in musicians

There is great scientific and public interest in claims that musical training improves general cognitive and perceptual abilities. While this is controversial, recent and rather convincing evidence suggests that musical training refines the temporal integration of auditory and visual stimuli at a general level. We investigated whether musical training also affects integration in the spatial domain, via an auditory localisation experiment that measured ventriloquism (where localisation is biased towards visual stimuli on audiovisual trials) and recalibration (a unimodal localisation aftereffect). While musicians (n = 22) and non-musicians (n = 22) did not have significantly different unimodal precision or accuracy, musicians were significantly less susceptible than non-musicians to ventriloquism, with large effect sizes. We replicated these results in another experiment with an independent sample of 24 musicians and 21 non-musicians. Across both experiments, spatial recalibration did not significantly differ between the groups even though musicians resisted ventriloquism. Our results suggest that the multisensory expertise afforded by musical training refines spatial integration, a process that underpins multisensory perception.

Misjudgement of One's Own Performance? Exploring Attention Deficit (Hyperactivity) Disorder (ADHD) and Individual Difference in Complex Music and Foreign Language Perception

In previous research, we detected that children and adolescents who were diagnosed with ADHD showed deficits in both complex auditory processing of musical stimuli and in musical performance when compared to controls. In this study, we were interested in whether we could detect similar or distinct findings when we use foreign speech perception tasks. Therefore, we recruited musically naïve participants (n = 25), music-educated participants (n = 25) and participants diagnosed with ADHD (n = 25) who were assessed for their short-term memory (STM) capacity and the ability to discriminate music and speech stimuli and we collected self-ratings of the participants' music and language performances. As expected, we found that young adults with ADHD show deficits in the perception of complex music and difficult speech perception stimuli. We also found that STM capacity was not impaired in young adults with ADHD and may not persist into young adulthood. In addition, subjective self-estimation about the participants' language and music performances revealed that the ADHD group overestimated their performance competence relatively compared to both control groups. As a result, the findings of our study suggest that individuals diagnosed with ADHD require a special training program that not only focuses on improving performance in perceptual skills of music and language but also requires metacognitive training to develop realistic self-assessment skills.

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.

Extensive sensorimotor training enhances nociceptive cortical responses in healthy individuals

BACKGROUND

Prolonged and repeated sensorimotor training is a crucial driver for promoting use-dependent plasticity, but also a main risk factor for developing musculoskeletal pain syndromes, yet the neural underpinnings that link repetitive movements to abnormal pain processing are unknown.

METHODS

Twenty healthy musicians, one of the best in vivo models to study use-dependent plasticity, and 20 healthy non-musicians were recruited. Perceptual thresholds, reaction times (RTs) and event-related potentials (ERPs) were recorded using nociceptive intra-epidermal and non-nociceptive transcutaneous electrical stimulation.

RESULTS

In response to comparable stimulus intensities, musicians compared to non-musicians showed larger non-nociceptive N140 (associated with higher activation of regions within the salience network), higher nociceptive N200 ERPs (associated with higher activation of regions within the sensorimotor network) and faster RTs to both stimuli. Non-musicians showed larger non-nociceptive P200 ERP. Notably, a similar P200 component prominently emerged during nociceptive stimulation in non-musicians. Across participants, larger N140 and N200 ERPs were associated with RTs, whereas the amount of daily practice in musicians explained non-nociceptive P200 and nociceptive P300 ERPs.

CONCLUSIONS

These novel findings indicate that the mechanisms by which extensive sensorimotor training promotes use-dependent plasticity in multisensory neural structures may also shape the neural signatures of nociceptive processing in healthy individuals.

SIGNIFICANCE

Repetitive sensorimotor training may increase the responsiveness of nociceptive evoked potentials. These novel data highlight the importance of repetitive sensorimotor practice as a contributing factor to the interindividual variability of nociceptive-related potentials.

Multisensory interactions on auditory and somatosensory information in expert pianists

Fine-tuned sensory functions typically characterize skilled individuals. Although numerous studies demonstrated enhanced unimodal sensory functions at both neural and behavioral levels in skilled individuals, little is known about their multisensory interaction function, especially multisensory integration and selective attention that involve volitional control of information derived from multiple sensory organs. In the current study, expert pianists and musically untrained individuals performed five sets of intensity discrimination tasks at the auditory and somatosensory modalities with different conditions: (1) auditory stimulus, (2) somatosensory stimulus, (3) congruent auditory and somatosensory stimuli (i.e., multisensory integration), (4) auditory and task-irrelevant somatosensory stimuli, and (5) somatosensory and task-irrelevant auditory stimuli. In the fourth and fifth conditions, participants were instructed to ignore a task-irrelevant stimulus and to pay attention to a task-relevant stimulus (i.e., selective attention), respectively. While the discrimination perception was superior in the condition (3) compared to the better one of the individual unimodal conditions only in the pianists, the task-irrelevant somatosensory stimulus worsened the auditory discrimination more in the pianists than the nonmusicians. These findings indicate unique multisensory interactions in expert pianists, which enables pianists to efficiently integrate the auditory and somatosensory information, but exacerbates top-down selective inhibition of somatosensory information during auditory processing.

Consciousness as a Memory System

We suggest that there is confusion between why consciousness developed and what additional functions, through continued evolution, it has co-opted. Consider episodic memory. If we believe that episodic memory evolved solely to accurately represent past events, it seems like a terrible system-prone to forgetting and false memories. However, if we believe that episodic memory developed to flexibly and creatively combine and rearrange memories of prior events in order to plan for the future, then it is quite a good system. We argue that consciousness originally developed as part of the episodic memory system-quite likely the part needed to accomplish that flexible recombining of information. We posit further that consciousness was subsequently co-opted to produce other functions that are not directly relevant to memory per se, such as problem-solving, abstract thinking, and language. We suggest that this theory is compatible with many phenomena, such as the slow speed and the after-the-fact order of consciousness, that cannot be explained well by other theories. We believe that our theory may have profound implications for understanding intentional action and consciousness in general. Moreover, we suggest that episodic memory and its associated memory systems of sensory, working, and semantic memory as a whole ought to be considered together as the conscious memory system in that they, together, give rise to the phenomenon of consciousness. Lastly, we suggest that the cerebral cortex is the part of the brain that makes consciousness possible, and that every cortical region contributes to this conscious memory system.

Integration of somatosensory and motor-related information in the auditory system

An ability to integrate information provided by different sensory modalities is a fundamental feature of neurons in many brain areas. Because visual and auditory inputs often originate from the same external object, which may be located some distance away from the observer, the synthesis of these cues can improve localization accuracy and speed up behavioral responses. By contrast, multisensory interactions occurring close to the body typically involve a combination of tactile stimuli with other sensory modalities. Moreover, most activities involving active touch generate sound, indicating that stimuli in these modalities are frequently experienced together. In this review, we examine the basis for determining sound-source distance and the contribution of auditory inputs to the neural encoding of space around the body. We then consider the perceptual consequences of combining auditory and tactile inputs in humans and discuss recent evidence from animal studies demonstrating how cortical and subcortical areas work together to mediate communication between these senses. This research has shown that somatosensory inputs interface with and modulate sound processing at multiple levels of the auditory pathway, from the cochlear nucleus in the brainstem to the cortex. Circuits involving inputs from the primary somatosensory cortex to the auditory midbrain have been identified that mediate suppressive effects of whisker stimulation on auditory thalamocortical processing, providing a possible basis for prioritizing the processing of tactile cues from nearby objects. Close links also exist between audition and movement, and auditory responses are typically suppressed by locomotion and other actions. These movement-related signals are thought to cancel out self-generated sounds, but they may also affect auditory responses via the associated somatosensory stimulation or as a result of changes in brain state. Together, these studies highlight the importance of considering both multisensory context and movement-related activity in order to understand how the auditory cortex operates during natural behaviors, paving the way for future work to investigate auditory-somatosensory interactions in more ecological situations.

Musical training refines audiovisual integration but does not influence temporal recalibration

When the brain is exposed to a temporal asynchrony between the senses, it will shift its perception of simultaneity towards the previously experienced asynchrony (temporal recalibration). It is unknown whether recalibration depends on how accurately an individual integrates multisensory cues or on experiences they have had over their lifespan. Hence, we assessed whether musical training modulated audiovisual temporal recalibration. Musicians (n = 20) and non-musicians (n = 18) made simultaneity judgements to flash-tone stimuli before and after adaptation to asynchronous (± 200 ms) flash-tone stimuli. We analysed these judgements via an observer model that described the left and right boundaries of the temporal integration window (decisional criteria) and the amount of sensory noise that affected these judgements. Musicians’ boundaries were narrower (closer to true simultaneity) than non-musicians’, indicating stricter criteria for temporal integration, and they also exhibited enhanced sensory precision. However, while both musicians and non-musicians experienced cumulative and rapid recalibration, these recalibration effects did not differ between the groups. Unexpectedly, cumulative recalibration was caused by auditory-leading but not visual-leading adaptation. Overall, these findings suggest that the precision with which observers perceptually integrate audiovisual temporal cues does not predict their susceptibility to recalibration.

Asymmetrical influence of bi-thermal caloric vestibular stimulation on a temporal order judgment task

Recent evidences suggest that binaural vestibular stimulation affects tactile temporal processing. However, it remains difficult to determine the physiological mechanisms supporting the vestibular-somatosensory interactions observed during a TOJ task. Controlling the activation of the right or left vestibular system separately could allow to better understand the physiological bases of these findings and reconcile previous studies. The objective of the present study was to examine tactile temporal processing using a temporal order judgment task following selective stimulation of the right and left vestibular system with bi-thermal caloric vestibular stimulation (CVS). A total of 24 right-handed participants received bi-thermal CVS either in the right ear (n = 12) or the left ear (n = 12). Participants held vibrators in both hands which delivered a signal temporally separated by a variable asynchrony. Participants had to report the hand where the vibration was perceived first. The task was performed in three different CVS conditions: (1) baseline, (2) warm CVS, and (3) cold CVS. Analysis of the logistics curve parameters-just noticeable difference (JND) and point of subjective simultaneity (PSS)-for each participant in each CVS conditions revealed an increase in JND greater following warm CVS. A significant increase in JND following warm CVS was measured bilaterally. However, cold CVS increased JND only when CVS was applied in the left ear, but not in the right ear. Finally, no influence of CVS on PSS was observed.

Musical Interaction Reveals Music as Embodied Language

Life and social sciences often focus on the social nature of music (and language alike). In biology, for example, the three main evolutionary hypotheses about music (i.e., sexual selection, parent-infant bond, and group cohesion) stress its intrinsically social character (Honing et al., 2015). Neurobiology thereby has investigated the neuronal and hormonal underpinnings of musicality for more than two decades (Chanda and Levitin, 2013; Salimpoor et al., 2015; Mehr et al., 2019). In line with these approaches, the present paper aims to suggest that the proper way to capture the social interactive nature of music (and, before it, musicality), is to conceive of it as an embodied language, rooted in culturally adapted brain structures (Clarke et al., 2015; D'Ausilio et al., 2015). This proposal heeds Ian Cross' call for an investigation of music as an "interactive communicative process" rather than "a manifestation of patterns in sound" (Cross, 2014), with an emphasis on its embodied and predictive (coding) aspects (Clark, 2016; Leman, 2016; Koelsch et al., 2019). In the present paper our goal is: (i) to propose a framework of music as embodied language based on a review of the major concepts that define joint musical action, with a particular emphasis on embodied music cognition and predictive processing, along with some relevant neural underpinnings; (ii) to summarize three experiments conducted in our laboratories (and recently published), which provide evidence for, and can be interpreted according to, the new conceptual framework. In doing so, we draw on both cognitive musicology and neuroscience to outline a comprehensive framework of musical interaction, exploring several aspects of making music in dyads, from a very basic proto-musical action, like tapping, to more sophisticated contexts, like playing a jazz standard and singing a hocket melody. Our framework combines embodied and predictive features, revolving around the concept of joint agency (Pacherie, 2012; Keller et al., 2016; Bolt and Loehr, 2017). If social interaction is the "default mode" by which human brains communicate with their environment (Hari et al., 2015), music and musicality conceived of as an embodied language may arguably provide a route toward its navigation.

The prevalence of the Val66Met polymorphism in musicians: Possible evidence for compensatory neuroplasticity from a pilot study

The study compared the prevalence of the Val66Met Brain-derived Neurotrophic Factor single nucleotide polymorphism (rs6265) in a sample of musicians (N = 50) to an ethnically matched general population sample from the 1000 Human Genome Project (N = 424). Met-carriers of the polymorphism (Val/Met and Met/Met genotypes) are typically present in 25–30% of the general population and have associated deficits in motor learning and plasticity. Many studies have assessed the benefits of long-term music training for neuroplasticity and motor learning. This study takes a unique genetic approach investigating if the prevalence of the Val66Met BDNF polymorphism, which negatively affects motor learning, is significantly different in musicians from the general population. Our genotype and allele frequency analyses revealed that the distribution of the Val66Met polymorphism was not significantly different in musicians versus the general population (p = 0.6447 for genotype analysis and p = 0.8513 allele analysis). In the Musician sample (N = 50), the prevalence of the Val/Met genotype was 40% and the prevalence of the Met/Met genotype was 2%. In the 1000 Human Genome Project subset (N = 424), the prevalence of Val/Met was 33.25% and the Met/Met genotype prevalence was 4%. Therefore, musicians do exist with the Val66Met polymorphism and the characteristics of long-term music training may compensate for genetic predisposition to motor learning deficits. Since the polymorphism has significant implications for stroke rehabilitation, future studies may consider the implications of the polymorphism in music-based interventions such as Neurologic Music Therapy.

Audio Feedback for Device-Supported Balance Training: Parameter Mapping and Influencing Factors

Recent studies suggest that real-time auditory feedback is an effective method to facilitate motor learning. The evaluation of the parameter mapping (sound-to-movement mapping) is a crucial, yet frequently neglected step in the development of audio feedback. We therefore conducted two experiments to evaluate audio parameters with target finding exercises designed for balance training. In the first experiment with ten participants, five different audio parameters were evaluated on the X-axis (mediolateral movement). Following that, in a larger experiment with twenty participants in a two-dimensional plane (mediolateral and anterior-posterior movement), a basic and synthetic audio model was compared to a more complex audio model with musical characteristics. Participants were able to orient themselves and find the targets with the audio models. In the one-dimensional condition of experiment one, percussion sounds and synthetic sound wavering were the overall most effective audio parameters. In experiment two, the synthetic model was more effective and better evaluated by the participants. In general, basic sounds were more helpful than complex (musical) sound models. Musical abilities and age were correlated with certain exercise scores. Audio feedback is a promising approach for balance training and should be evaluated with patients. Preliminary evaluation of the respective parameter mapping is highly advisable.

Does musical interaction in a jazz duet modulate peripersonal space?

Researchers have widely studied peripersonal space (the space within reach) in the last 20 years with a focus on its plasticity following the use of tools and, more recently, social interactions. Ensemble music is a sophisticated joint action that is typically explored in its temporal rather than spatial dimensions, even within embodied approaches. We, therefore, devised a new paradigm in which two musicians could perform a jazz standard either in a cooperative (correct harmony) or uncooperative (incorrect harmony) condition, under the hypothesis that their peripersonal spaces are modulated by the interaction. We exploited a well-established audio-tactile integration task as a proxy for such a space. After the performances, we measured reaction times to tactile stimuli on the subjects' right hand and auditory stimuli delivered at two different distances, (next to the subject and next to the partner). Considering previous literature's evidence that integration of two different stimuli (e.g. a tactile and an auditory stimulus) is faster in near space compared to far space, we predicted that a cooperative interaction would have extended the peripersonal space of the musicians towards their partner, facilitating reaction times to bimodal stimuli in both spaces. Surprisingly, we obtained complementary results in terms of an increase of reaction times to tactile-auditory near stimuli, but only following the uncooperative condition. We interpret this finding as a suppression of the subject's peripersonal space or as a withdrawal from the uncooperative partner. Subjective reports and correlations between these reports and reaction times comply with that interpretation. Finally, we determined an overall better multisensory integration competence in musicians compared to non-musicians tested in the same task.

Attentional networks functioning and vigilance in expert musicians and non-musicians

Previous literature has shown cognitive improvements related to musical training. Attention is one cognitive aspect in which musicians exhibit improvements compared to non-musicians. However, previous studies show inconsistent results regarding certain attentional processes, suggesting that benefits associated with musical training appear only in some processes. The present study aimed to investigate the attentional and vigilance abilities in expert musicians with a fine-grained measure: the ANTI-Vea (ANT for Interactions and Vigilance-executive and arousal components; Luna et al. in J Neurosci Methods 306:77-87, https://doi.org/10.1016/j.jneumeth.2018.05.011 , 2018). This task allows measuring the functioning of the three Posner and Petersen's networks (alerting, orienting, and executive control) along with two different components of vigilance (executive and arousal vigilance). Using propensity-score matching, 49 adult musicians (18-35 years old) were matched in an extensive set of confounding variables with a control group of 49 non-musicians. Musicians showed advantages in processing speed and in the two components of vigilance, with some specific aspects of musicianship such as years of practice or years of lessons correlating with these measures. Although these results should be taken with caution, given its correlational nature, one possible explanation is that musical training can specifically enhance some aspects of attention. Nevertheless, our correlational design does not allow us to rule out other possibilities such as the presence of cognitive differences prior to the onset of training. Moreover, the advantages were observed in an extra-musical context, which suggests that musical training could transfer its benefits to cognitive processes loosely related to musical skills. The absence of effects in executive control, frequently reported in previous literature, is discussed based on our extensive control of confounds.

Emotional Training and Modification of Disruptive Behaviors through Computer-Game-Based Music Therapy in Secondary Education

Music education research has shown interest in music therapy for integral development of the person, both in their performance and academic knowledge and in their personality. This project aims to analyze the benefits of music therapy in the comprehensive training of students with disruptive behaviors (n = 6). Tests designed by Gallego, Alonso, Cruz, and Lizama (1999) were conducted to assess emotional intelligence, which showed very low results. A series of activities were designed based on the use of the music videogame Musichao, the curricular content of which was adapted for this pilot experience. Subsequently, the emotional intelligence tests were applied again to determine the effectiveness of the teaching experience. The results indicate that, with the use of this videogame, significant improvements were obtained, both in the development of multiple intelligences and in self-motivation, self-awareness, self-control, and more specifically, in social skills, minimizing behaviors that were classified as inappropriate and/or aggressive, and becoming more skilled in their interactions with the surrounding environment.

Musical Training Improves Audiovisual Integration Capacity under Conditions of High Perceptual Load

In considering capacity measures of audiovisual integration, it has become apparent that there is a wide degree of variation both within (based on unimodal and multimodal stimulus characteristics) and between participants. Recent work has discussed performance on a number of cognitive tasks that can form a regression model accounting for nearly a quarter of the variation in audiovisual integration capacity. The current study involves an investigation of whether different elements of musicality in participants can contribute to additional variation in capacity. Participants were presented with a series of rapidly changing visual displays and asked to note which elements of that display changed in synchrony with a tone. Results were fitted to a previously used model to establish capacity estimates, and these estimates were included in correlational analyses with musical training, musical perceptual abilities, and active engagement in music. We found that audiovisual integration capacity was positively correlated with amount of musical training, and that this correlation was statistically significant under the most difficult perceptual conditions. Results are discussed in the context of the boosting of perceptual abilities due to musical training, even under conditions that have been previously found to be overly demanding for participants.

Musicians Show Better Auditory and Tactile Identification of Emotions in Music

Musicians are better at processing sensory information and at integrating multisensory information in detection and discrimination tasks, but whether these enhanced abilities extend to more complex processes is still unknown. Emotional appeal is a crucial part of musical experience, but whether musicians can better identify emotions in music throughout different sensory modalities has yet to be determined. The goal of the present study was to investigate the auditory, tactile and audiotactile identification of emotions in musicians. Melodies expressing happiness, sadness, fear/threat, and peacefulness were played and participants had to rate each excerpt on a 10-point scale for each of the four emotions. Stimuli were presented through headphones and/or a glove with haptic audio exciters. The data suggest that musicians and control are comparable in the identification of the most basic (happiness and sadness) emotions. However, in the most difficult unisensory identification conditions (fear/threat and peacefulness), significant differences emerge between groups, suggesting that musical training enhances the identification of emotions, in both the auditory and tactile domains. These results support the hypothesis that musical training has an impact at all hierarchical levels of sensory and cognitive processing.

Improved tactile frequency discrimination in musicians

Music practice is a multisensory training that is of great interest to neuroscientists because of its implications for neural plasticity. Music-related modulation of sensory systems has been observed in neuroimaging data, and has been supported by results in behavioral tasks. Some studies have shown that musicians react faster than non-musicians to visual, tactile and auditory stimuli. Behavioral enhancement in more complex tasks has received considerably less attention in musicians. This study aims to investigate unisensory and multisensory discrimination capabilities in musicians. More specifically, the goal of this study is to examine auditory, tactile and auditory-tactile discrimination in musicians. The literature suggesting better auditory and auditory-tactile discrimination in musicians is scarce, and no study to date has examined pure tactile discrimination capabilities in musicians. A two-alternative forced-choice frequency discrimination task was used in this experiment. The task was inspired by musical production, and participants were asked to identify whether a frequency was the same as or different than a standard stimulus of 160 Hz in three conditions: auditory only, auditory-tactile only and tactile only. Three waveforms were used to replicate the variability of pitch that can be found in music. Stimuli were presented through headphones for auditory stimulation and a glove with haptic audio exciters for tactile stimulation. Results suggest that musicians have lower discrimination thresholds than non-musicians for auditory-only and auditory-tactile conditions for all waveforms. The results also revealed that musicians have lower discrimination thresholds than non-musicians in the tactile condition for sine and square waveforms. Taken together, these results support the hypothesis that musical training can lead to better unisensory tactile discrimination which is in itself a new and major finding.

Motor Lateralization May Be Influenced by Long-Term Piano Playing Practice

Motor lateralization is viewed as anatomical or functional asymmetry of the two sides of the body. Functional motor asymmetry can be influenced by musical practice. This study explored whether piano playing experience modulates motor asymmetry and leads to an altered pattern of hand selection, reflecting an altered handedness. We asked two groups of right-handed participants-piano players and non-piano players-to reach targets in their frontal space with both arms, and we tested the motor performance of each arm on this task and then on an arm preference test. As musical practice can decrease motor asymmetry between arms, we hypothesized that participants with piano playing experience would display less interlimb asymmetry and that this, in turn, would change their arm preference pattern, compared with participants without piano playing experience. We found support for both hypotheses, and we conclude that arm selection (preference) is not biologically fixed, but, rather, can be modulated through long-term piano playing.

Causal inference and temporal predictions in audiovisual perception of speech and music

To form a coherent percept of the environment, the brain must integrate sensory signals emanating from a common source but segregate those from different sources. Temporal regularities are prominent cues for multisensory integration, particularly for speech and music perception. In line with models of predictive coding, we suggest that the brain adapts an internal model to the statistical regularities in its environment. This internal model enables cross-sensory and sensorimotor temporal predictions as a mechanism to arbitrate between integration and segregation of signals from different senses.

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.

Insula-based networks in professional musicians: Evidence for increased functional connectivity during resting state fMRI

Despite considerable research on experience-dependent neuroplasticity in professional musicians, detailed understanding of an involvement of the insula is only now beginning to emerge. We investigated the effects of musical training on intrinsic insula-based connectivity in professional classical musicians relative to nonmusicians using resting-state functional MRI. Following a tripartite scheme of insula subdivisions, coactivation profiles were analyzed for the posterior, ventral anterior, and dorsal anterior insula in both hemispheres. While whole-brain connectivity across all participants confirmed previously reported patterns, between-group comparisons revealed increased insular connectivity in musicians relative to nonmusicians. Coactivated regions encompassed constituents of large-scale networks involved in salience detection (e.g., anterior and middle cingulate cortex), affective processing (e.g., orbitofrontal cortex and temporal pole), and higher order cognition (e.g., dorsolateral prefrontal cortex and the temporoparietal junction), whereas no differences were found for the reversed group contrast. Importantly, these connectivity patterns were stronger in musicians who experienced more years of musical practice, including also sensorimotor regions involved in music performance (M1 hand area, S1, A1, and SMA). We conclude that musical training triggers significant reorganization in insula-based networks, potentially facilitating high-level cognitive and affective functions associated with the fast integration of multisensory information in the context of music performance. Hum Brain Mapp 38:4834-4849, 2017. © 2017 Wiley Periodicals, Inc.

Perception and Cognition Are Largely Independent, but Still Affect Each Other in Systematic Ways: Arguments from Evolution and the Consciousness-Attention Dissociation

The main thesis of this paper is that two prevailing theories about cognitive penetration are too extreme, namely, the view that cognitive penetration is pervasive and the view that there is a sharp and fundamental distinction between cognition and perception, which precludes any type of cognitive penetration. These opposite views have clear merits and empirical support. To eliminate this puzzling situation, we present an alternative theoretical approach that incorporates the merits of these views into a broader and more nuanced explanatory framework. A key argument we present in favor of this framework concerns the evolution of intentionality and perceptual capacities. An implication of this argument is that cases of cognitive penetration must have evolved more recently and that this is compatible with the cognitive impenetrability of early perceptual stages of processing information. A theoretical approach that explains why this should be the case is the consciousness and attention dissociation framework. The paper discusses why concepts, particularly issues concerning concept acquisition, play an important role in the interaction between perception and cognition.