Spontaneous beat synchronization in rats: Neural dynamics and motor entrainment

Neural dynamics of predictive timing and motor engagement in music listening

Why do humans spontaneously dance to music? To test the hypothesis that motor dynamics reflect predictive timing during music listening, we created melodies with varying degrees of rhythmic predictability (syncopation) and asked participants to rate their wanting-to-move (groove) experience. Degree of syncopation and groove ratings are quadratically correlated. Magnetoencephalography data showed that, while auditory regions track the rhythm of melodies, beat-related 2-hertz activity and neural dynamics at delta (1.4 hertz) and beta (20 to 30 hertz) rates in the dorsal auditory pathway code for the experience of groove. Critically, the left sensorimotor cortex coordinates these groove-related delta and beta activities. These findings align with the predictions of a neurodynamic model, suggesting that oscillatory motor engagement during music listening reflects predictive timing and is effected by interaction of neural dynamics along the dorsal auditory pathway.

A review of psychological and neuroscientific research on musical groove

When listening to music, we naturally move our bodies rhythmically to the beat, which can be pleasurable and difficult to resist. This pleasurable sensation of wanting to move the body to music has been called "groove." Following pioneering humanities research, psychological and neuroscientific studies have provided insights on associated musical features, behavioral responses, phenomenological aspects, and brain structural and functional correlates of the groove experience. Groove research has advanced the field of music science and more generally informed our understanding of bidirectional links between perception and action, and the role of the motor system in prediction. Activity in motor and reward-related brain networks during music listening is associated with the groove experience, and this neural activity is linked to temporal prediction and learning. This article reviews research on groove as a psychological phenomenon with neurophysiological correlates that link musical rhythm perception, sensorimotor prediction, and reward processing. Promising future research directions range from elucidating specific neural mechanisms to exploring clinical applications and socio-cultural implications of groove.

Examining the capability for rhythmic synchronization and music production in vocal learning parrot species

Vocal production learning and beat perception and synchronization (BPS) share some common characteristics, which makes the vocal learning and rhythmic synchronization hypothesis (VLH) a reasonable explanation for the evolution of the capability for rhythmic synchronization. However, even in vocal learners, it is rare to see non-human animals demonstrate BPS to human music. Therefore, the first objective of this article is to propose some possible reasons why we do not see BPS in budgerigars, an excellent vocal learning species, while presenting some of my own findings. The second objective of this article is to propose a seamless bridge to connect the capability for vocal learning and BPS in locomotion. For this purpose, I present my own findings, wherein cockatiels spontaneously sang in synchrony with a melody of human music. This behavior can be considered a vocal version of BPS. Therefore, it can establish a connection between these two capabilities. This article agrees with the possibility that some mechanisms other than the vocal learning system may enable BPS, contrary to the original idea of VLH. Nevertheless, it is still reasonable to connect the capability for vocal learning and that for BPS. At the very least, the capability for vocal learning may contribute to the evolution of BPS. From these arguments, this article also proposes a scenario which includes vocalizing in synchrony as a driving force for the evolution of BPS and the capability for music production.

Efficacy of a music-based intervention in a preclinical model of traumatic brain injury: An initial foray into a novel and non-pharmacological rehabilitative therapy

Traumatic brain injury (TBI) causes neurobehavioral and cognitive impairments that negatively impact life quality for millions of individuals. Because of its pernicious effects, numerous pharmacological interventions have been evaluated to attenuate the TBI-induced deficits or to reinstate function. While many such pharmacotherapies have conferred benefits in the laboratory, successful translation to the clinic has yet to be achieved. Given the individual, medical, and societal burden of TBI, there is an urgent need for alternative approaches to attenuate TBI sequelae and promote recovery. Music based interventions (MBIs) may hold untapped potential for improving neurobehavioral and cognitive recovery after TBI as data in normal, non-TBI, rats show plasticity and augmented cognition. Hence, the aim of this study was to test the hypothesis that providing a MBI to adult rats after TBI would improve cognition, neurobehavior, and histological endpoints. Adult male rats received a moderate-to-severe controlled cortical impact injury (2.8 mm impact at 4 m/s) or sham surgery (n = 10-12 per group) and 24 h later were randomized to classical Music or No Music (i.e., ambient room noise) for 3 h/day from 19:00 to 22:00 h for 30 days (last day of behavior). Motor (beam-walk), cognitive (acquisition of spatial learning and memory), anxiety-like behavior (open field), coping (shock probe defensive burying), as well as histopathology (lesion volume), neuroplasticity (BDNF), and neuroinflammation (Iba1, and CD163) were assessed. The data showed that the MBI improved motor, cognitive, and anxiety-like behavior vs. No Music (p's < 0.05). Music also reduced cortical lesion volume and activated microglia but increased resting microglia and hippocampal BDNF expression. These findings support the hypothesis and provide a compelling impetus for additional preclinical studies utilizing MBIs as a potential efficacious rehabilitative therapy for TBI.

The effect of 4-weeks exposure to music on social bonding between rats

Interpersonal synchronization of movement induced by music is believed to facilitate social bonding between human beings, but it is unknown whether it also works in animals. We allowed rats to interact and develop social bonding with a specific subject for four weeks under one of the three acoustic conditions: playback of K.448 at its original tempo, playback at its double-tempo, and silence. The strength of social bonding between each pair of rats was then measured. The results showed an increase in preference for rats that had interacted under the original tempo playback compared to the other acoustic conditions. Considering that rats move in synchrony with the beat more robustly and consistently between subjects under the original tempo playback than under the double-tempo playback, this result suggests that motor synchronization between subjects through music may facilitate social bonding between rats.

Phylogenic evolution of beat perception and synchronization: a comparative neuroscience perspective

The study of music has long been of interest to researchers from various disciplines. Scholars have put forth numerous hypotheses regarding the evolution of music. With the rise of cross-species research on music cognition, researchers hope to gain a deeper understanding of the phylogenic evolution, behavioral manifestation, and physiological limitations of the biological ability behind music, known as musicality. This paper presents the progress of beat perception and synchronization (BPS) research in cross-species settings and offers varying views on the relevant hypothesis of BPS. The BPS ability observed in rats and other mammals as well as recent neurobiological findings presents a significant challenge to the vocal learning and rhythm synchronization hypothesis if taken literally. An integrative neural-circuit model of BPS is proposed to accommodate the findings. In future research, it is recommended that greater consideration be given to the social attributes of musicality and to the behavioral and physiological changes that occur across different species in response to music characteristics.

Caressed by music: Related preferences for velocity of touch and tempo of music?

Given that both hearing and touch are 'mechanical senses' that respond to physical pressure or mechanical energy and that individuals appear to have a characteristic internal or spontaneous tempo, individual preferences in musical and touch rhythms might be related. We explored this in two experiments probing individual preferences for tempo in the tactile and auditory modalities. Study 1 collected ratings of received stroking on the forearm and measured the velocity the participants used for stroking a fur. Music tempo preferences were assessed as mean beats per minute of individually selected music pieces and via the adjustment of experimenter-selected music to a preferred tempo. Heart rate was recorded to measure levels of physiological arousal. We found that the preferred tempo of favorite (self-selected) music correlated positively with the velocity with which each individual liked to be touched. In Study 2, participants rated videos of repeated touch on someone else's arm and videos of a drummer playing with brushes on a snare drum, both at a variety of tempos. We found that participants with similar rating patterns for the different stroking speeds did not show similar rating patterns for the different music beats. The results suggest that there may be a correspondence between preferences for favorite music and felt touch, but this is either weak or it cannot be evoked effectively with vicarious touch and/or mere drum beats. Thus, if preferences for touch and music are related, this is likely to be dependent on the specific type of stimulation.