Action-perception coordination dynamics of whole-body rhythmic movement in stance: a comparison study of street dancers and non-dancers

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.

Enhanced neural synchrony associated with long-term ballroom dance training

Long-term dance training offers numerous benefits, including improvements in physical health, posture, body coordination, and mental health and well-being. Since dance is an art form of body-to-body communication, professional dancers may share feelings and thoughts on dance with their partners, owing to their shared training experiences. Considering this perspective, one may expect that professional dancers would demonstrate pronounced neural similarities when viewing dancing videos, which could be associated with their training duration. To test these hypotheses, we collected functional magnetic resonance imaging (fMRI) data while presenting ballroom dancing and neutral video clips with long durations (∼100 s each) to 41 professional ballroom dancers (19 pairs of dance partners) and 39 age- and sex-matched nondancers. Our findings revealed that dancers exhibited broader and stronger neural similarities across the whole brain when watching dancing video clips, as compared to the control group. These increased neural similarities could be interpreted in at least two distinct ways. First, neural similarities in certain brain regions within the motor control circuit (i.e., frontal cortical-basal ganglia-thalamic circuit) were significantly correlated with dance-related information (e.g., dance partners' cooperation duration), which reinforced the impact of long-term dance training on neural synchronization. Second, neural similarities in other brain regions (e.g., memory-related brain regions) were significantly correlated with subjects' impression of the viewed videos (i.e., whether they have watched before, familiarity, and liking), which may not necessarily be directly linked to long-term dance training. Altogether, our study provided solid evidence for synchronized neural mechanisms in professional dancers due to long-term dance training.

Auditory interaction between runners: Does footstep sound affect step frequency of neighboring runners?

This study aimed to investigate the effect of footsteps of a neighboring runner (NR) on the main runner's step frequency (SF), heart rate (HR), and rating of perceived exertion (RPE). The participants were male long-distance runners belonging to a university track and field team. Two experiments were conducted in which the main runner (participant) and NR (examiner) ran with the same running speed on two adjacent treadmills separated by a thin wall. The participants were instructed that the experimental purpose was to investigate the HR when running with others and running alone. In Experiment 1, NR performed three trials of changing the footstep tempo in 5 bpm (beat per minute) faster (+5bpmFS), 5 bpm slower (-5bpmFS), or no footsteps (NF) conditions. The results showed that the footstep condition affected the variability of the SF but not the mean SF. Next, Experiment 2 was conducted by increasing the footstep tempo condition. NR performed seven trials of changing the footstep tempo by ±3 bpm, ±5 bpm, ±10 bpm, or no footstep. The results showed that the footstep condition affected the mean SF and the SF decreased at -10bpmFS compared to NF. There were no differences in the HR and RPE between conditions. These results indicated that the footsteps of NR could influence the SF, although it was unclear whether footsteps were involved in the synchronization between runners. Overall, our findings emphasize the environmental factors that influence running behavior, including the NR's footsteps.

Rhythm Complexity Modulates Behavioral and Neural Dynamics During Auditory–Motor Synchronization

We addressed how rhythm complexity influences auditory–motor synchronization in musically trained individuals who perceived and produced complex rhythms while EEG was recorded. Participants first listened to two-part auditory sequences (Listen condition). Each part featured a single pitch presented at a fixed rate; the integer ratio formed between the two rates varied in rhythmic complexity from low (1:1) to moderate (1:2) to high (3:2). One of the two parts occurred at a constant rate across conditions. Then, participants heard the same rhythms as they synchronized their tapping at a fixed rate (Synchronize condition). Finally, they tapped at the same fixed rate (Motor condition). Auditory feedback from their taps was present in all conditions. Behavioral effects of rhythmic complexity were evidenced in all tasks; detection of missing beats (Listen) worsened in the most complex (3:2) rhythm condition, and tap durations (Synchronize) were most variable and least synchronous with stimulus onsets in the 3:2 condition. EEG power spectral density was lowest at the fixed rate during the 3:2 rhythm and greatest during the 1:1 rhythm (Listen and Synchronize). ERP amplitudes corresponding to an N1 time window were smallest for the 3:2 rhythm and greatest for the 1:1 rhythm (Listen). Finally, synchronization accuracy (Synchronize) decreased as amplitudes in the N1 time window became more positive during the high rhythmic complexity condition (3:2). Thus, measures of neural entrainment corresponded to synchronization accuracy, and rhythmic complexity modulated the behavioral and neural measures similarly.

Audiovisual synchrony perception in observing human motion to music

To examine how individuals perceive synchrony between music and body motion, we investigated the characteristics of synchrony perception during observation of a Japanese Radio Calisthenics routine. We used the constant stimuli method to present video clips of an individual performing an exercise routine. We generated stimuli with a range of temporal shifts between the visual and auditory streams, and asked participants to make synchrony judgments. We then examined which movement-feature points agreed with music beats when the participants perceived synchrony. We found that extremities (e.g., hands and feet) reached the movement endpoint or moved through the lowest position at music beats associated with synchrony. Movement onsets never agreed with music beats. To investigate whether visual information about the feature points was necessary for synchrony perception, we conducted a second experiment where only limited portions of video clips were presented to the participants. Participants consistently judged synchrony even when the video image did not contain the critical feature points, suggesting that a prediction mechanism contributes to synchrony perception. To discuss the meaning of these feature points with respect to synchrony perception, we examined the temporal relationship between the motion of body parts and the ground reaction force (GRF) of exercise performers, which reflected the total force acting on the performer. Interestingly, vertical GRF showed local peaks consistently synchronized with music beats for most exercises, with timing that was closely correlated with the timing of movement feature points. This result suggests that synchrony perception in humans is based on some global variable anticipated from visual information, instead of the feature points found in the motion of individual body parts. In summary, the present results indicate that synchrony perception during observation of human motion to music depends largely on spatiotemporal prediction of the performer's motion.

Accent Stabilizes 1:2 Sensorimotor Synchronization of Rhythmic Knee Flexion-Extension Movement in Upright Stance

Numerous studies have shown the importance of metrical structure on beat perception and sensorimotor synchronization (SMS), which indicates why metrical structure has evolved as a widespread musical element. In the current study, we aimed to investigate the effect of metrical structure with or without accented sounds and the alignment of accent with flexion or extension movements on the stability of 1:2 SMS in rhythmic knee flexion-extension movement in upright stance (flexing the knee once every two sounds). Fourteen participants completed 1:2 rhythmic knee flexion-extension movements with a metronome beat that accelerated from 2 to 8 Hz (the frequency of the movement was 1–4 Hz). Three sound-movement conditions were provided: (1) combining the flexion phase with loud (accented) sound and the extension phase with soft (non-accented) sound, (2) the reverse combination, and (3) combining both movements with loud sound. ANOVA results showed that metrical structure with accented sounds stabilizes 1:2 SMS in the range of 3.5–7.8 Hz in terms of timing accuracy, and flexing on the accented sound is more globally stable (resistant to phase transition) than flexing on the non-accented sound. Furthermore, our results showed that metrical structure with accented sounds induces larger movement amplitude in the range of 4.6–7.8 Hz than does that without accented sounds. The present study demonstrated that metrical structure with accented sounds stabilizes SMS and induces larger movement amplitude in rhythmic knee flexion-extension movement in upright stance than does SMS with sequences without accents. In addition, we demonstrated that coordinating flexion movement with accented sound is more globally stable than coordinating extension movement with accented sound. Thus, whereas previous studies have revealed that metrical structure enhances the timing accuracy of SMS, the current study revealed that metrical structure enhances the global stability of SMS.

Upper rate limits for one-to-one auditory-motor coordination involving whole-body oscillation: a study of street dancers and non-dancers

The capacity for auditory-motor coordination (AMC) is shared by several species, among which humans are most flexible in coordinating with tempo changes. We investigated how humans lose this tempo flexibility at their upper rate limit, and the effect of skill level on this phenomenon. Seven skilled street dancers, including a world champion, and 10 non-dancers were instructed to bend their knees according to a metronome beat in a standing position at eight constant beat frequencies (3.8-5 Hz). Although maximum frequency of movement during the task was 4.8 Hz in the non-dancers and 5.0 Hz in the dancers, the rate limit for AMC was 4.1 Hz in the non-dancers and 4.9 Hz in the dancers. These results suggest that the loss of AMC was not due to rate limit of movement execution but rather to a constraint on the AMC process. In addition, mediation analysis revealed that a kinematic bias (i.e. the extent of knee flexion during the task) causally affected the extent of phase wandering via mediating factors (e.g. the extent to which movement frequency was reduced relative to the beat frequency). These results add evidence that gravity acts as constraint on AMC involving vertical rhythmic movement.

Evaluation of coordination hysteresis in a multidimensional movement task with continuous relative phase and Self-Organizing Maps

Hysteresis in the coordination of movement can be described in the language of coordination dynamics as an asymmetrical response of a system's order parameter with respect to opposite changes in a control parameter. For movement tasks involving a large number of active degrees-of-freedom, the order parameter can be modelled with a pattern recognition approach like Self-Organizing Maps (SOM). This study explored this method in a rope-skipping task, which involves the coordinated oscillation of several segments in the lower and upper limb and trunk and we compared the results to a classical order parameter like continuous relative phase. Five rope skippers completed a task which involved 30 s continuous forward rope-skipping during which the frequency (set by a metronome) increased linearly, immediately followed by 30 s during which the frequency decreased linearly. CRP was analyzed with statistical parametric mapping and a hysteresis measure for the SOM was calculated based on inter-trial variability. Both the CRP and the SOMs showed that the coordination patterns changed differently during the two conditions, signifying hysteresis. While the CRP captures only the relative coordination of two segments, the SOM is able to accommodate the whole-body multidimensional coordination. Hysteresis is often used as proxy for higher-order information about the movement system. While the low sample size in this study does not allow us to generalize the results, the present methodology can be used in further studies to advance our theoretical understanding of dynamical systems in complex whole-body movements.

Asymmetric Adaptability to Temporal Constraints Among Coordination Patterns Differentiated at Early Stages of Learning in Juggling

In this study, we examined the degree of adaptability to new constraints after learning of a fundamental skill in juggling. Adaptation of sensorimotor synchronization with the various constraints is important for expertise. However, this adaptability may not be equivalent between coordination patterns which learners acquired in the previous learning process. In other words, there may be “asymmetric” adaptability among intrinsic patterns. Then, we examined the influence of intrinsic patterns on the adaptation of sensorimotor synchronization according to various temporal constraints. To set the adaptation task, experiment 1 was designed to examine the relationship between tempo and coordination pattern for expert jugglers. Based on experiment 1, juggling in accordance with the tempo change was performed as adaption task in experiment 2, and we compared the performances of the jugglers from the viewpoint of the intrinsic pattern. In experiment 1, participants performed juggling by adjusting catch timing to beep timing in ten conditions with the interval from 260 to 620 ms in steps of 40 ms. Results of experiment 1 presented that when the juggling tempo is fast, the coordination pattern with “rhythmic” frequency characteristics appeared. By contrast, when the tempo is slow, the coordination pattern with “discrete” frequency characteristics appeared. That is, jugglers should switch their coordination patterns when performing under various tempo conditions. In experiment 2, we compared the adaptability to perform juggling under temporal constraints among intermediate jugglers who have different intrinsic coordination patterns acquired through a previous learning process. The adaptation task required participants to adjust their catch timing to a gradually changing tempo. Participants performed juggling under two conditions: gradually ascending and descending tempo ranging from 300 to 600 ms. The results of experiment. 2 showed that participants who had a discrete pattern showed a significantly better adaptation than participants who had a rhythmic pattern. Furthermore, this result of adaptation was not related to juggling experience. This suggests that an intrinsic pattern characterized by different frequency characteristics has the different adaptability to sensorimotor synchronization tasks. Collectively, the degree of adaptability was dependent on the pattern acquired in the early stages of learning.

Does motor expertise facilitate amplitude differentiation of lower limb-movements in an asymmetrical bipedal coordination task?

The motor system's natural tendency is to move the limbs over equal amplitudes, for example in walking. However, in many situations in which people must perform complex movements, a certain degree of amplitude differentiation of the limbs is required. Visual and haptic feedback have recently been shown to facilitate such independence of limb movements. However, it is unknown whether motor expertise moderates the extent to which individuals are able to differentiate the amplitudes of their limb-movements while being supported with visual and haptic feedback. To answer this question 14 pre-professional dancers were compared to 14 non-dancers on simultaneously generating a small displacement with one foot, and a larger one with the other foot, in four different feedback conditions. In two conditions, haptic guidance was offered, either in a passive or active mode. In the other two conditions, veridical and enhanced visual feedback were provided. Surprisingly, no group differences were found regarding the degree to which the visual or haptic feedback assisted the generation of the different target amplitudes of the feet (mean amplitude difference between the feet). The correlation between the displacements of the feet and the standard deviation of the continuous relative phase between the feet, reflecting the degree of independence of the feet movements, also failed to show between-group differences. Sample entropy measures, indicating the predictability of the foot movements, did show a group difference. In the haptically-assisted conditions, the dancers demonstrated more predictable coordination patterns than the non-dancers as reflected by lower sample entropy values whereas the reverse was true in the visual-feedback conditions. The results demonstrate that motor expertise does not moderate the extent to which haptic tracking facilitates the differentiation of the amplitudes of the lower limb movements in an asymmetrical bipedal coordination task.

Dancing Effects on Preschoolers' Sensorimotor Synchronization, Balance, and Movement Reaction Time

In the present study, we compared an experimental group of preschool children ( n = 22; mean age = 5 years, 8 months) who followed an 8-week dance program with a control group ( n = 20; mean age = 5 years, 5 months) on pre-post measures of sensorimotor synchronization (K-Rhythm Test), balancing on one leg and movement reaction time. Compared with the control participants, the dance group demonstrated significantly better pretest to posttest improvements on sensorimotor synchronization and balance (but not movement reaction time). Considering the importance of sensorimotor synchronization and balance for subsequent child development and performance of daily and sport activities, these results suggest that dancing should be included in early childhood curricula.

Modulation of individual auditory-motor coordination dynamics through interpersonal visual coupling

The current study investigated whether visual coupling between two people producing dance-related movements (requiring whole-body auditory-motor coordination) results in interpersonal entrainment and modulates individual auditory-motor coordination dynamics. Paired participants performed two kinds of coordination tasks – either knee flexion or extension repeatedly with metronome beats (Flexion-on-the-beat and Extension-on-the-beat conditions) while standing face-to-face or back-to-back to manipulate visual interaction. The results indicated that the relative phases between paired participants’ movements were closer to 0° and less variable when participants could see each other. In addition, visibility of the partner reduced individual differences in the dynamics of auditory-motor coordination by modulating coordination variability and the frequency of phase transitions from Extension-on-the-beat to Flexion-on-the-beat. Together, these results indicate that visual coupling takes place when paired participants can see each other and leads to interpersonal entrainment during rhythmic auditory-motor coordination, which compensates for individual differences via behavioural assimilation and thus enables individuals to achieve unified and cohesive performances.

Keeping the Beat: A Large Sample Study of Bouncing and Clapping to Music

The vast majority of humans move in time with a musical beat. This behaviour has been mostly studied through finger-tapping synchronization. Here, we evaluate naturalistic synchronization responses to music-bouncing and clapping-in 100 university students. Their ability to match the period of their bounces and claps to those of a metronome and musical clips varying in beat saliency was assessed. In general, clapping was better synchronized with the beat than bouncing, suggesting that the choice of a specific movement type is an important factor to consider in the study of sensorimotor synchronization processes. Performance improved as a function of beat saliency, indicating that beat abstraction plays a significant role in synchronization. Fourteen percent of the population exhibited marked difficulties with matching the beat. Yet, at a group level, poor synchronizers showed similar sensitivity to movement type and beat saliency as normal synchronizers. These results suggest the presence of quantitative rather than qualitative variations when losing the beat.

Effects of a Fragmented View of One's Partner on Interpersonal Coordination in Dance

In this study we investigated the effects of a mirror-mediated, partial view of one’s dance partner on interpersonal coordination in dance duets. Fourteen participant pairs (dyads) were asked to perform a reflectionally-symmetric eight-segment dance-relevant arm movement sequence in two visual conditions: with one dancer facing the mirror and providing a partial view on the dance partner, or both dancers facing back to back with, for both dancers, no view on one’s partner. During an eight-count beat-preparation phase, the task was paced via a metronome at three TEMPI; 1.6, 1.9, and 2.3 Hz, which was subsequently removed after which the movement sequence continued in silence. Interpersonal coordination was assessed using two tri-axial wireless accelerometers, one fixed to each dancer, that allowed the off-line kinematic analyses of dyad correlation, mean relative phase and mean standard deviation of relative phase of the up–down movements of (one of) the hands of the two dancers. In addition, two independent raters estimated the realized movement frequencies and percentage of the trial duration that the dancers moved in sync. Repeated measure ANOVAs revealed systematic effects of tempo on the performance measures, a positive effect of the use of the mirror on the coordination of the dancers’ movements but no facilitating effect of the mirror on the dancers’ synchronization. Overall, the results support the contention that when dancing to an internalized rhythmic beat the use of a mirror provides an ecological means to stabilize interpersonal coordination in dance duets without an effect on synchronization.

Key motion characteristics of side-step movements in hip-hop dance and their effect on the evaluation by judges

In hip-hop dance, the elements of motion that discriminate the skill levels of dancers and that influence the evaluations by judges have not been clearly identified. This study set out to extract these motion characteristics from the side-step movements of hip-hop dancing. Eight expert and eight non-expert dancers performed side-step movements, which were recorded using a motion capture system. Nine experienced judges evaluated the dancers' performances. Several parameters, including the range of motion (ROM) of the joint angles (neck, trunk, hip, knee, and face inclination) and phase delays between these angular motions were calculated. A quarter-cycle phase delay between the neck motion and other body parts, seen only in the expert dancers, is highlighted as an element that can distinguish dancers' skill levels. This feature of the expert dancers resulted in a larger ROM during the face inclination than that for the non-expert dancers. In addition, the experts exhibited a bottom-to-top segmental sequence in the horizontal direction while the non-experts did not demonstrate any such sequential motion. Of these kinematic parameters, only the ROM of the face inclination was highly correlated to the judging score and is regarded as being the most appealing element of the side-step movement.

Finger-to-Beat Coordination Skill of Non-dancers, Street Dancers, and the World Champion of a Street-Dance Competition

The coordination of body movements to a musical beat is a common feature of many dance styles. However, the auditory-motor coordination skills of dancers remain largely uninvestigated. The purpose of this study was to examine the auditory-motor coordination skills of non-dancers, street dancers, and the winner of a celebrated international street dance competition, while coordinating their rhythmic finger movements to a beat. The beat rate of a metronome increased from 1.0 to 3.7 Hz. The participants were asked to either flex or extend their index fingers on the beat in each condition. Under the extend-on-the-beat condition, both the dancers and non-dancers showed a spontaneous transition from the extend-on-the-beat to the flex-on-the-beat or to a phase wandering pattern. However, the critical frequency at which the transition occurred was significantly higher in the dancers (3.3 Hz) than in the non-dancers (2.6 Hz). Under the flex-on-the-beat condition, the dancers were able to maintain their coordination pattern more stably at high beat rates compared to the non-dancers. Furthermore, the world champion matched the timing of movement peak velocity to the beat across the different beat rates. This may give a sense of unity between the movement and the beat for the audience because the peak velocity of the rhythmic movement works as a temporal cue for the audiovisual synchrony perception. These results suggest that the skills of accomplished dancers lie in their small finger movements and that the sensorimotor learning of street dance is characterized by a stabilization of the coordination patterns, including the inhibition of an unintentional transition to other coordination patterns.

Sensorimotor integration is enhanced in dancers and musicians

Studying individuals with specialized training, such as dancers and musicians, provides an opportunity to investigate how intensive practice of sensorimotor skills affects behavioural performance across various domains. While several studies have found that musicians have improved motor, perceptual and sensorimotor integration skills compared to untrained controls, fewer studies have examined the effect of dance training on such skills. Moreover, no study has specifically compared the effects of dance versus music training on perceptual or sensorimotor performance. To this aim, in the present study, expert dancers, expert musicians and untrained controls were tested on a range of perceptual and sensorimotor tasks designed to discriminate performance profiles across groups. Dancers performed better than musicians and controls on a dance imitation task (involving whole-body movement), but musicians performed better than dancers and controls on a musical melody discrimination task as well as on a rhythm synchronization task (involving finger tapping). These results indicate that long-term intensive dance and music training are associated with distinct enhancements in sensorimotor skills. This novel work advances knowledge of the effects of long-term dance versus music training and has potential applications in therapies for motor disorders.

Mutual stabilization of rhythmic vocalization and whole-body movement

The current study investigated the rhythmic coordination between vocalization and whole-body movement. Previous studies have reported that spatiotemporal stability in rhythmic movement increases when coordinated with a rhythmic auditory stimulus or other effector in a stable coordination pattern. Therefore, the present study conducted two experiments to investigate (1) whether there is a stable coordination pattern between vocalization and whole-body movement and (2) whether a stable coordination pattern reduces variability in whole-body movement and vocalization. In Experiment 1, two coordination patterns between vocalizations and whole-body movement (hip, knee, and ankle joint flexion-on-the-voice vs. joint extension-on-the-voice) in a standing posture were explored at movement frequencies of 80, 130, and 180 beats per minute. At higher movement frequencies, the phase angle in the extension-on-the-voice condition deviated from the intended phase angle. However, the angle of the flexion-on-the-voice was maintained even when movement frequency increased. These results suggest that there was a stable coordination pattern in the flexion-on-the-voice condition. In Experiment 2, variability in whole-body movement and voice-onset intervals was compared between two conditions: one related to tasks performed in the flexion-on-the-voice coordination (coordination condition) that was a stable coordination pattern, and the other related to tasks performed independently (control condition). The results showed that variability in whole-body movement and voice-onset intervals was smaller in the coordination condition than in the control condition. Overall, the present study revealed mutual stabilization between rhythmic vocalization and whole-body movement via coordination within a stable pattern, suggesting that coupled action systems can act as a single functional unit or coordinative structure.