Syntax in a pianist's hand: ERP signatures of “embodied” syntax processing in music

Neural mechanisms of musical structure and tonality, and the effect of musicianship

Introduction

The neural basis for the processing of musical syntax has previously been examined almost exclusively in classical tonal music, which is characterized by a strictly organized hierarchical structure. Musical syntax may differ in different music genres caused by tonality varieties.

Methods

The present study investigated the neural mechanisms for processing musical syntax across genres varying in tonality - classical, impressionist, and atonal music - and, in addition, examined how musicianship modulates such processing.

Results

Results showed that, first, the dorsal stream, including the bilateral inferior frontal gyrus and superior temporal gyrus, plays a key role in the perception of tonality. Second, right frontotemporal regions were crucial in allowing musicians to outperform non-musicians in musical syntactic processing; musicians also benefit from a cortical-subcortical network including pallidum and cerebellum, suggesting more auditory-motor interaction in musicians than in non-musicians. Third, left pars triangularis carries out online computations independently of tonality and musicianship, whereas right pars triangularis is sensitive to tonality and partly dependent on musicianship. Finally, unlike tonal music, the processing of atonal music could not be differentiated from that of scrambled notes, both behaviorally and neurally, even among musicians.

Discussion

The present study highlights the importance of studying varying music genres and experience levels and provides a better understanding of musical syntax and tonality processing and how such processing is modulated by music experience.

Lateral Prefrontal Cortex Is a Hub for Music Production from Structural Rules to Movements

Complex sequential behaviors, such as speaking or playing music, entail flexible rule-based chaining of single acts. However, it remains unclear how the brain translates abstract structural rules into movements. We combined music production with multimodal neuroimaging to dissociate high-level structural and low-level motor planning. Pianists played novel musical chord sequences on a muted MR-compatible piano by imitating a model hand on screen. Chord sequences were manipulated in terms of musical harmony and context length to assess structural planning, and in terms of fingers used for playing to assess motor planning. A model of probabilistic sequence processing confirmed temporally extended dependencies between chords, as opposed to local dependencies between movements. Violations of structural plans activated the left inferior frontal and middle temporal gyrus, and the fractional anisotropy of the ventral pathway connecting these two regions positively predicted behavioral measures of structural planning. A bilateral frontoparietal network was instead activated by violations of motor plans. Both structural and motor networks converged in lateral prefrontal cortex, with anterior regions contributing to musical structure building, and posterior areas to movement planning. These results establish a promising approach to study sequence production at different levels of action representation.

Hierarchical control as a shared neurocognitive mechanism for language and music

Although comparative research has made substantial progress in clarifying the relationship between language and music as neurocognitive systems from both a theoretical and empirical perspective, there is still no consensus about which mechanisms, if any, are shared and how they bring about different neurocognitive systems. In this paper, we tackle these two questions by focusing on hierarchical control as a neurocognitive mechanism underlying syntax in language and music. We put forward the Coordinated Hierarchical Control (CHC) hypothesis: linguistic and musical syntax rely on hierarchical control, but engage this shared mechanism differently depending on the current control demand. While linguistic syntax preferably engages the abstract rule-based control circuit, musical syntax rather employs the coordination of the abstract rule-based and the more concrete motor-based control circuits. We provide evidence for our hypothesis by reviewing neuroimaging as well as neuropsychological studies on linguistic and musical syntax. The CHC hypothesis makes a set of novel testable predictions to guide future work on the relationship between language and music.

Language and action in Broca's area: Computational differentiation and cortical segregation

Actions have been proposed to follow hierarchical principles similar to those hypothesized for language syntax. These structural similarities are claimed to be reflected in the common involvement of certain neural populations of Broca's area, in the Inferior Frontal Gyrus (IFG). In this position paper, we follow an influential hypothesis in linguistic theory to introduce the syntactic operation Merge and the corresponding motor/conceptual interfaces. We argue that actions hierarchies do not follow the same principles ruling language syntax. We propose that hierarchy in the action domain lies in predictive processing mechanisms mapping sensory inputs and statistical regularities of action-goal relationships. At the cortical level, distinct Broca's subregions appear to support different types of computations across the two domains. We argue that anterior BA44 is a major hub for the implementation of the syntactic operation Merge. On the other hand, posterior BA44 is recruited in selecting premotor mental representations based on the information provided by contextual signals. This functional distinction is corroborated by a recent meta-analysis (Papitto, Friederici, & Zaccarella, 2020). We conclude by suggesting that action and language can meet only where the interfaces transfer abstract computations either to the external world or to the internal mental world.

Increased fronto-temporal connectivity by modified melody in real music

In real music, the original melody may appear intact, with little elaboration only, or significantly modified. Since a melody is most easily perceived in music, hearing significantly modified melody may change a brain connectivity. Mozart KV 265 is comprised of a theme with an original melody of “Twinkle Twinkle Little Star” and its significant variations. We studied whether effective connectivity changes with significantly modified melody, between bilateral inferior frontal gyri (IFGs) and Heschl’s gyri (HGs) using magnetoencephalography (MEG). Among the 12 connectivities, the connectivity from the left IFG to the right HG was consistently increased with significantly modified melody compared to the original melody in 2 separate sets of the same rhythmic pattern with different melody (p = 0.005 and 0.034, Bonferroni corrected). Our findings show that the modification of an original melody in a real music changes the brain connectivity.

Music predictability and liking enhance pupil dilation and promote motor learning in non-musicians

Humans can anticipate music and derive pleasure from it. Expectations facilitate the learning of movements associated with anticipated events, and they are also linked with reward, which may further facilitate learning of the anticipated rewarding events. The present study investigates the synergistic effects of predictability and hedonic responses to music on arousal and motor-learning in a naïve population. Novel melodies were manipulated in their overall predictability (predictable/unpredictable) as objectively defined by a model of music expectation, and ranked as high/medium/low liked based on participants' self-reports collected during an initial listening session. During this session, we also recorded ocular pupil size as an implicit measure of listeners' arousal. During the following motor task, participants learned to play target notes of the melodies on a keyboard (notes were of similar motor and musical complexity across melodies). Pupil dilation was greater for liked melodies, particularly when predictable. Motor performance was facilitated in predictable rather than unpredictable melodies, but liked melodies were learned even in the unpredictable condition. Low-liked melodies also showed learning but mostly in participants with higher scores of task perceived competence. Taken together, these results highlight  the effects of stimuli predictability on learning, which can be however overshadowed by the effects of stimulus liking or task-related intrinsic motivation.

Role of sensorimotor areas in early detection of motor errors: An EEG and TMS study

Action execution is prone to errors and, while engaged in interaction, our brain is tuned to detect deviations from what one expects from other's action. Prior research has shown that Event-Related-Potentials (ERPs) are specifically modulated by the observation of action mistakes interfering with goal achievement. However, in complex and modular actions, embedded motor errors do not necessarily produce an immediate effect on the global goal. Here we dissociate embedded motor goals from global action goals by asking subjects to observe familiar but untrained knotting actions. During knotting an embedded motor error (i.e. the rope is inserted top-down instead of bottom-up during the formation of a loop) while not producing any immediate mistake, may strongly affect the final result. We found that embedded errors elicit in the observer specific early fronto-central negativity (120-180 ms). In a second experiment, we online administered exicitatory transcranial magnetic stimulation (TMS) over central (C3) or occipital (Oz) scalp locations, at the timing of the ERP components observed in the first experiment. C3 stimulation produced a significant improvement in embedded error discrimination performance. These results show that sensorimotor areas are instrumental in the early detection of embedded motor errors. We conclude that others' embedded errors provide fundamental cues which, inserted within a complex hierarchical action plan, might be used by the observer to anticipate whether an action will eventually fail.

Cross-Modal Audiovisual Modulation of Corticospinal Motor Synergies in Professional Piano Players: A TMS Study during Motor Imagery

Transcranial magnetic stimulation was used to investigate corticospinal output changes in 10 professional piano players during motor imagery of triad chords in C major to be “mentally” performed with three fingers of the right hand (thumb, index, and little finger). Five triads were employed in the task; each composed by a stable 3rd interval (C4-E4) and a varying third note that could generate a 5th (G4), a 6th (A4), a 7th (B4), a 9th (D5), or a 10th (E5) interval. The 10th interval chord was thought to be impossible in actual execution for biomechanical reasons, as long as the thumb and the index finger remained fixed on the 3rd interval. Chords could be listened from loudspeakers, read on a staff, or listened and read at the same time while performing the imagery task. The corticospinal output progressively increased along with task demands in terms of mental representation of hand extension. The effects of audio, visual, or audiovisual musical stimuli were generally similar, unless motor imagery of kinetically impossible triads was required. A specific three-effector motor synergy was detected, governing the representation of the progressive mental extension of the hand. Results demonstrate that corticospinal facilitation in professional piano players can be modulated according to the motor plan, even if simply “dispatched” without actual execution. Moreover, specific muscle synergies, usually encoded in the motor cortex, emerge along the cross-modal elaboration of musical stimuli and in motor imagery of musical performances.

Hierarchical structure priming from mathematics to two- and three-site relative clause attachment

A number of recent studies found evidence for shared structural representations across different cognitive domains such as mathematics, music, and language. For instance, Scheepers et al. (2011) showed that English speakers' choices of relative clause (RC) attachments in partial sentences like The tourist guide mentioned the bells of the church that … can be influenced by the structure of previously solved prime equations such as 80-(9 + 1) × 5 (making high RC-attachments more likely) versus 80-9 + 1 × 5 (making low RC-attachments more likely). Using the same sentence completion task, Experiment 1 of the present paper fully replicated this cross-domain structural priming effect in Russian, a morphologically rich language. More interestingly, Experiment 2 extended this finding to more complex three-site attachment configurations and showed that, relative to a structurally neutral baseline prime condition, N1-, N2-, and N3-attachments of RCs in Russian were equally susceptible to structural priming from mathematical equations such as 18+(7+(3 + 11)) × 2, 18 + 7+(3 + 11) × 2, and 18 + 7 + 3 + 11 × 2, respectively. The latter suggests that cross-domain structural priming from mathematics to language must rely on detailed, domain-general representations of hierarchical structure.

Cumulative culture in the laboratory: methodological and theoretical challenges

In the last decade, cultural transmission experiments (transmission chains, replacement, closed groups and seeded groups) have become important experimental tools in investigating cultural evolution. However, these methods face important challenges, especially regarding the operationalization of theoretical claims. In this review, we focus on the study of cumulative cultural evolution, the process by which traditions are gradually modified and, for technological traditions in particular, improved upon over time. We identify several mismatches between theoretical definitions of cumulative culture and their implementation in cultural transmission experiments. We argue that observed performance increase can be the result of participants learning faster in a group context rather than effectively leading to a cumulative effect. We also show that in laboratory experiments, participants are asked to complete quite simple tasks, which can undermine the evidential value of the diagnostic criterion traditionally used for cumulative culture (i.e. that cumulative culture is a process that produces solutions that no single individual could have invented on their own). We show that the use of unidimensional metrics of cumulativeness drastically curtail the variation that may be observed, which raises specific issues in the interpretation of the experimental evidence. We suggest several solutions to these mismatches (learning times, task complexity and variation) and develop the use of design spaces in experimentally investigating old and new questions about cumulative culture.

Probing sensorimotor integration during musical performance

An integration of afferent sensory information from the visual, auditory, and proprioceptive systems into execution and update of motor programs plays crucial roles in control and acquisition of skillful sequential movements in musical performance. However, conventional behavioral and neurophysiological techniques that have been applied to study simplistic motor behaviors limit elucidating online sensorimotor integration processes underlying skillful musical performance. Here, we propose two novel techniques that were developed to investigate the roles of auditory and proprioceptive feedback in piano performance. First, a closed-loop noninvasive brain stimulation system that consists of transcranial magnetic stimulation, a motion sensor, and a microcomputer enabled to assess time-varying cortical processes subserving auditory-motor integration during piano playing. Second, a force-field system capable of manipulating the weight of a piano key allowed for characterizing movement adaptation based on the feedback obtained, which can shed light on the formation of an internal representation of the piano. Results of neurophysiological and psychophysics experiments provided evidence validating these systems as effective means for disentangling computational and neural processes of sensorimotor integration in musical performance.

Interaction between Perceived Action and Music Sequences in the Left Prefrontal Area

Observing another person's piano play and listening to a melody interact with the observer's execution of piano play. This interaction is thought to occur because the execution of musical-action and the perception of both musical-action and musical-sound share a common representation in which the frontoparietal network is involved. However, it is unclear whether the perceptions of observed piano play and listened musical sound use a common neural resource. The present study used near-infrared spectroscopy to determine whether the interaction between the perception of musical-action and musical-sound sequences appear in the left prefrontal area. Measurements were obtained while participants watched videos that featured hands playing familiar melodies on a piano keyboard. Hand movements were paired with either a congruent or an incongruent melody. Two groups of participants (nine well-trained and nine less-trained) were instructed to identify the melody according to hand movements and to ignore the accompanying auditory track. Increased cortical activation was detected in the well-trained participants when hand movements were paired with incongruent melodies. Therefore, an interference effect was detected regarding the processing of action and sound sequences, indicating that musical-action sequences may be perceived with a representation that is also used for the perception of musical-sound sequences. However, in less-trained participants, such a contrast was not detected between conditions despite both groups featuring comparable key-touch reading abilities. Therefore, the current results imply that the left prefrontal area is involved in translating temporally structured sequences between domains. Additionally, expertise may be a crucial factor underlying this translation.

Processing structure in language and music: a case for shared reliance on cognitive control

The relationship between structural processing in music and language has received increasing interest in the past several years, spurred by the influential Shared Syntactic Integration Resource Hypothesis (SSIRH; Patel, Nature Neuroscience, 6, 674-681, 2003). According to this resource-sharing framework, music and language rely on separable syntactic representations but recruit shared cognitive resources to integrate these representations into evolving structures. The SSIRH is supported by findings of interactions between structural manipulations in music and language. However, other recent evidence suggests that such interactions also can arise with nonstructural manipulations, and some recent neuroimaging studies report largely nonoverlapping neural regions involved in processing musical and linguistic structure. These conflicting results raise the question of exactly what shared (and distinct) resources underlie musical and linguistic structural processing. This paper suggests that one shared resource is prefrontal cortical mechanisms of cognitive control, which are recruited to detect and resolve conflict that occurs when expectations are violated and interpretations must be revised. By this account, musical processing involves not just the incremental processing and integration of musical elements as they occur, but also the incremental generation of musical predictions and expectations, which must sometimes be overridden and revised in light of evolving musical input.

Sensory, Cognitive, and Sensorimotor Learning Effects in Recognition Memory for Music

Recent research suggests that perception and action are strongly interrelated and that motor experience may aid memory recognition. We investigated the role of motor experience in auditory memory recognition processes by musicians using behavioral, ERP, and neural source current density measures. Skilled pianists learned one set of novel melodies by producing them and another set by perception only. Pianists then completed an auditory memory recognition test during which the previously learned melodies were presented with or without an out-of-key pitch alteration while the EEG was recorded. Pianists indicated whether each melody was altered from or identical to one of the original melodies. Altered pitches elicited a larger N2 ERP component than original pitches, and pitches within previously produced melodies elicited a larger N2 than pitches in previously perceived melodies. Cortical motor planning regions were more strongly activated within the time frame of the N2 following altered pitches in previously produced melodies compared with previously perceived melodies, and larger N2 amplitudes were associated with greater detection accuracy following production learning than perception learning. Early sensory (N1) and later cognitive (P3a) components elicited by pitch alterations correlated with predictions of sensory echoic and schematic tonality models, respectively, but only for the perception learning condition, suggesting that production experience alters the extent to which performers rely on sensory and tonal recognition cues. These findings provide evidence for distinct time courses of sensory, schematic, and motoric influences within the same recognition task and suggest that learned auditory-motor associations influence responses to out-of-key pitches.

Syntax in Action Has Priority over Movement Selection in Piano Playing: An ERP Study

Complex human behavior is hierarchically organized. Whether or not syntax plays a role in this organization is currently under debate. The present ERP study uses piano performance to isolate syntactic operations in action planning and to demonstrate their priority over nonsyntactic levels of movement selection. Expert pianists were asked to execute chord progressions on a mute keyboard by copying the posture of a performing model hand shown in sequences of photos. We manipulated the final chord of each sequence in terms of Syntax (congruent/incongruent keys) and Manner (conventional/unconventional fingering), as well as the strength of its predictability by varying the length of the Context (five-chord/two-chord progressions). The production of syntactically incongruent compared to congruent chords showed a response delay that was larger in the long compared to the short context. This behavioral effect was accompanied by a centroparietal negativity in the long but not in the short context, suggesting that a syntax-based motor plan was prepared ahead. Conversely, the execution of the unconventional manner was not delayed as a function of Context and elicited an opposite electrophysiological pattern (a posterior positivity). The current data support the hypothesis that motor plans operate at the level of musical syntax and are incrementally translated to lower levels of movement selection.

Syntax in language and music: what is the right level of comparison?

It is often claimed that music and language share a process of hierarchical structure building, a mental “syntax.” Although several lines of research point to commonalities, and possibly a shared syntactic component, differences between “language syntax” and “music syntax” can also be found at several levels: conveyed meaning, and the atoms of combination, for example. To bring music and language closer to one another, some researchers have suggested a comparison between music and phonology (“phonological syntax”), but here too, one quickly arrives at a situation of intriguing similarities and obvious differences. In this paper, we suggest that a fruitful comparison between the two domains could benefit from taking the grammar of action into account. In particular, we suggest that what is called “syntax” can be investigated in terms of goal of action, action planning, motor control, and sensory-motor integration. At this level of comparison, we suggest that some of the differences between language and music could be explained in terms of different goals reflected in the hierarchical structures of action planning: the hierarchical structures of music arise to achieve goals with a strong relation to the affective-gestural system encoding tension-relaxation patterns as well as socio-intentional system, whereas hierarchical structures in language are embedded in a conceptual system that gives rise to compositional meaning. Similarities between music and language are most clear in the way several hierarchical plans for executing action are processed in time and sequentially integrated to achieve various goals.

Degree of automaticity and the prefrontal cortex

The dorsolateral prefrontal cortex (PFC), with more anterior areas [Brodmann area (BA) 45, 47, and 10], has been known to be activated as cognitive hierarchy increases. However, this does not hold for highly automatic processes such as first language (L1), where the posterior region (BA 44) is known as the key area for the processing of complex linguistic hierarchy. Discussing this disparity, we propose that the degree of automaticity (DoA) is a crucial factor for the framework of functional mapping in the PFC: the posterior-to-anterior gradient system for more controlled processes and the posterior-confined system for automatic processes. We support this view with previous findings and provide a new perspective on the functional organization of the PFC.

Hierarchical processing in the prefrontal cortex in a variety of cognitive domains

This review scrutinizes several findings on human hierarchical processing within the prefrontal cortex (PFC) in diverse cognitive domains. Converging evidence from previous studies has shown that the PFC, specifically, BA44, may function as the essential region for hierarchical processing across the domains. In language fMRI studies, BA 44 was significantly activated for the hierarchical processing of center-embedded sentences and this pattern of activations was also observed in artificial grammar. The same pattern was observed in the visuo-spatial domain where BA44 was actively involved in the processing of hierarchy for the visual symbol. Musical syntax, which is the rule-based arrangement of musical sets, has also been construed as hierarchical processing as in the language domain such that the activation in BA44 was observed in a chord sequence paradigm. P600 ERP was also engendered during the processing of musical hierarchy. Along with a longstanding idea that a human's number faculty is developed as a "by-product of language faculty", BA44 was closely involved in hierarchical processing in mental arithmetic. This review extended its discussion of hierarchical "processing" to hierarchical "behavior", that is, human action which has been referred to as being hierarchically composed. Several lesion and TMS studies supported the involvement of BA44 for hierarchical processing in the action domain. Lastly, the hierarchical organization of cognitive controls was discussed within the PFC, forming a cascade of top-down hierarchical processes operating along a posterior-to-anterior axis of the lateral PFC including BA44 within the network. It is proposed that PFC is actively involved in different forms of hierarchical processing and specifically BA44 may play an integral role in the process. Taking levels of proficiency and subcortical areas into consideration may provide further insight into the functional role of BA44 for hierarchical processing.

Electrophysiological evidence for a specific neural correlate of musical violation expectation in primary-school children

The majority of studies on music processing in children used simple musical stimuli. Here, primary schoolchildren judged the appropriateness of musical closure in expressive polyphone music, while high-density electroencephalography was recorded. Stimuli ended either regularly or contained refined in-key harmonic transgressions at closure. The children discriminated the transgressions well above chance. Regular and transgressed endings evoked opposite scalp voltage configurations peaking around 400ms after stimulus onset with bilateral frontal negativity for regular and centro-posterior negativity (CPN) for transgressed endings. A positive correlation could be established between strength of the CPN response and rater sensitivity (d-prime). We also investigated whether the capacity to discriminate the transgressions was supported by auditory domain specific or general cognitive mechanisms, and found that working memory capacity predicted transgression discrimination. Latency and distribution of the CPN are reminiscent of the N400, typically observed in response to semantic incongruities in language. Therefore our observation is intriguing, as the CPN occurred here within an intra-musical context, without any symbols referring to the external world. Moreover, the harmonic in-key transgressions that we implemented may be considered syntactical as they transgress structural rules. Such structural incongruities in music are typically followed by an early right anterior negativity (ERAN) and an N5, but not so here. Putative contributive sources of the CPN were localized in left pre-motor, mid-posterior cingulate and superior parietal regions of the brain that can be linked to integration processing. These results suggest that, at least in children, processing of syntax and meaning may coincide in complex intra-musical contexts.

A conceptual review on action-perception coupling in the musicians' brain: what is it good for?

Experience with a sensorimotor task, such as practicing a piano piece, leads to strong coupling of sensory (visual or auditory) and motor cortices. Here we review behavioral and neurophysiological (M/EEG, TMS and fMRI) research exploring this topic using the brain of musicians as a model system. Our review focuses on a recent body of evidence suggesting that this form of coupling might have (at least) two cognitive functions. First, it leads to the generation of equivalent predictions (concerning both when and what event is more likely to occur) during both perception and production of music. Second, it underpins the common coding of perception and action that supports the integration of the motor output of multiple musicians’ in the context of joint musical tasks. Essentially, training-based coupling of perception and action might scaffold the human ability to represent complex (structured) actions and to entrain multiple agents—via reciprocal prediction and adaptation—in the pursuit of shared goals.

Musical experts recruit action-related neural structures in harmonic anomaly detection: evidence for embodied cognition in expertise

Humans are extremely good at detecting anomalies in sensory input. For example, while listening to a piece of Western-style music, an anomalous key change or an out-of-key pitch is readily apparent, even to the non-musician. In this paper we investigate differences between musical experts and non-experts during musical anomaly detection. Specifically, we analyzed the electroencephalograms (EEG) of five expert cello players and five non-musicians while they listened to excerpts of J.S. Bach's Prelude from Cello Suite No. 1. All subjects were familiar with the piece, though experts also had extensive experience playing the piece. Subjects were told that anomalous musical events (AMEs) could occur at random within the excerpts of the piece and were told to report the number of AMEs after each excerpt. Furthermore, subjects were instructed to remain still while listening to the excerpts and their lack of movement was verified via visual and EEG monitoring. Experts had significantly better behavioral performance (i.e. correctly reporting AME counts) than non-experts, though both groups had mean accuracies greater than 80%. These group differences were also reflected in the EEG correlates of key-change detection post-stimulus, with experts showing more significant, greater magnitude, longer periods of, and earlier peaks in condition-discriminating EEG activity than novices. Using the timing of the maximum discriminating neural correlates, we performed source reconstruction and compared significant differences between cellists and non-musicians. We found significant differences that included a slightly right lateralized motor and frontal source distribution. The right lateralized motor activation is consistent with the cortical representation of the left hand - i.e. the hand a cellist would use, while playing, to generate the anomalous key-changes. In general, these results suggest that sensory anomalies detected by experts may in fact be partially a result of an embodied cognition, with a model of the action for generating the anomaly playing a role in its detection.

Motor simulation and the coordination of self and other in real-time joint action

Joint actions require the integration of simultaneous self- and other-related behaviour. Here, we investigated whether this function is underpinned by motor simulation, that is the capacity to represent a perceived action in terms of the neural resources required to execute it. This was tested in a music performance experiment wherein on-line brain stimulation (double-pulse transcranial magnetic stimulation, dTMS) was employed to interfere with motor simulation. Pianists played the right-hand part of piano pieces in synchrony with a recording of the left-hand part, which had (Trained) or had not (Untrained) been practiced beforehand. Training was assumed to enhance motor simulation. The task required adaptation to tempo changes in the left-hand part that, in critical conditions, were preceded by dTMS delivered over the right primary motor cortex. Accuracy of tempo adaptation following dTMS or sham stimulations was compared across Trained and Untrained conditions. Results indicate that dTMS impaired tempo adaptation accuracy only during the perception of trained actions. The magnitude of this interference was greater in empathic individuals possessing a strong tendency to adopt others' perspectives. These findings suggest that motor simulation provides a functional resource for the temporal coordination of one's own behaviour with others in dynamic social contexts.