Repetition suppression in auditory-motor regions to pitch and temporal structure in music

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.

Learning to pause: Fidelity of and biases in the developmental acquisition of gaps in the communicative signals of a songbird

The temporal organization of sounds used in social contexts can provide information about signal function and evoke varying responses in listeners (receivers). For example, music is a universal and learned human behavior that is characterized by different rhythms and tempos that can evoke disparate responses in listeners. Similarly, birdsong is a social behavior in songbirds that is learned during critical periods in development and used to evoke physiological and behavioral responses in receivers. Recent investigations have begun to reveal the breadth of universal patterns in birdsong and their similarities to common patterns in speech and music, but relatively little is known about the degree to which biological predispositions and developmental experiences interact to shape the temporal patterning of birdsong. Here, we investigated how biological predispositions modulate the acquisition and production of an important temporal feature of birdsong, namely the duration of silent pauses ("gaps") between vocal elements ("syllables"). Through analyses of semi-naturally raised and experimentally tutored zebra finches, we observed that juvenile zebra finches imitate the durations of the silent gaps in their tutor's song. Further, when juveniles were experimentally tutored with stimuli containing a wide range of gap durations, we observed biases in the prevalence and stereotypy of gap durations. Together, these studies demonstrate how biological predispositions and developmental experiences differently affect distinct temporal features of birdsong and highlight similarities in developmental plasticity across birdsong, speech, and music. RESEARCH HIGHLIGHTS: The temporal organization of learned acoustic patterns can be similar across human cultures and across species, suggesting biological predispositions in acquisition. We studied how biological predispositions and developmental experiences affect an important temporal feature of birdsong, namely the duration of silent intervals between vocal elements ("gaps"). Semi-naturally and experimentally tutored zebra finches imitated the durations of gaps in their tutor's song and displayed some biases in the learning and production of gap durations and in gap variability. These findings in the zebra finch provide parallels with the acquisition of temporal features of speech and music in humans.

Changes in Brain Responses to Music and Non-music Sounds Following Creativity Training Within the "Different Hearing" Program

The "Different Hearing" program (DHP) is an educational activity aimed at stimulating musical creativity of children and adults by group composing in the classroom, alternative to the mainstream model of music education in Czechia. Composing in the classroom in the DHP context does not use traditional musical instruments or notation, instead, the participants use their bodies, sounds originating from common objects as well as environmental sounds as the "elements" for music composition by the participants' team, with the teacher initiating and then participating and coordinating the creative process, which ends with writing down a graphical score and then performing the composition in front of an audience. The DHP methodology works with a wide definition of musical composition. We hypothesized that the DHP short-term (2 days) intense workshop would induce changes in subjective appreciation of different classes of music and sound (including typical samples of music composed in the DHP course), as well as plastic changes of the brain systems engaged in creative thinking and music perception, in their response to diverse auditory stimuli. In our study, 22 healthy university students participated in the workshop over 2 days and underwent fMRI examinations before and after the workshop, meanwhile 24 students were also scanned twice as a control group. During fMRI, each subject was listening to musical and non-musical sound samples, indicating their esthetic impression with a button press after each sample. As a result, participants' favorable feelings toward non-musical sound samples were significantly increased only in the active group. fMRI data analyzed using ANOVA with post hoc ROI analysis showed significant group-by-time interaction (opposing trends in the two groups) in the bilateral posterior cingulate cortex/precuneus, which are functional hubs of the default mode network (DMN) and in parts of the executive, motor, and auditory networks. The findings suggest that DHP training modified the behavioral and brain response to diverse sound samples, differentially changing the engagement of functional networks known to be related to creative thinking, namely, increasing DMN activation and decreasing activation of the executive network.

The role of action effects in motor sequence planning and execution: exploring the influence of temporal and spatial effect anticipation

Actions we perform every day generate perceivable outcomes with both spatial and temporal features. According to the ideomotor principle, we plan our actions by anticipating the outcomes, but this principle does not directly address how sequential movements are influenced by different outcomes. We examined how sequential action planning is influenced by the anticipation of temporal and spatial features of action outcomes. We further explored the influence of action sequence switching. Participants performed cued sequences of button presses that generated visual effects which were either spatially compatible or incompatible with the sequences, and the spatial effects appeared after a short or long delay. The sequence cues switched or repeated across trials, and the predictability of action sequence switches was varied across groups. The results showed a delay-anticipation effect for sequential action, whereby a shorter anticipated delay between action sequences and their outcomes speeded initiation and execution of the cued action sequences. Delay anticipation was increased by predictable action switching, but it was not strongly modified by the spatial compatibility of the action outcomes. The results extend previous demonstrations of delay anticipation to the context of sequential action. The temporal delay between actions and their outcomes appears to be retrieved for sequential planning and influences both the initiation and the execution of actions.

Effector-independent brain network for auditory-motor integration: fMRI evidence from singing and cello playing

Many everyday tasks share high-level sensory goals but differ in the movements used to accomplish them. One example of this is musical pitch regulation, where the same notes can be produced using the vocal system or a musical instrument controlled by the hands. Cello playing has previously been shown to rely on brain structures within the singing network for performance of single notes, except in areas related to primary motor control, suggesting that the brain networks for auditory feedback processing and sensorimotor integration may be shared (Segado et al. 2018). However, research has shown that singers and cellists alike can continue singing/playing in tune even in the absence of auditory feedback (Chen et al. 2013, Kleber et al. 2013), so different paradigms are required to test feedback monitoring and control mechanisms. In singing, auditory pitch feedback perturbation paradigms have been used to show that singers engage a network of brain regions including anterior cingulate cortex (ACC), anterior insula (aINS), and intraparietal sulcus (IPS) when compensating for altered pitch feedback, and posterior superior temporal gyrus (pSTG) and supramarginal gyrus (SMG) when ignoring it (Zarate et al. 2005, 2008). To determine whether the brain networks for cello playing and singing directly overlap in these sensory-motor integration areas, in the present study expert cellists were asked to compensate for or ignore introduced pitch perturbations when singing/playing during fMRI scanning. We found that cellists were able to sing/play target tones, and compensate for and ignore introduced feedback perturbations equally well. Brain activity overlapped for singing and playing in IPS and SMG when compensating, and pSTG and dPMC when ignoring; differences between singing/playing across all three conditions were most prominent in M1, centered on the relevant motor effectors (hand, larynx). These findings support the hypothesis that pitch regulation during cello playing relies on structures within the singing network and suggests that differences arise primarily at the level of forward motor control.

Observing Plasticity of the Auditory System: Volumetric Decreases Along with Increased Functional Connectivity in Aspiring Professional Musicians

Playing music relies on several sensory systems and the motor system, and poses strong demands on control processes, hence, offering an excellent model to study how experience can mold brain structure and function. Although most studies on neural correlates of music expertise rely on cross-sectional comparisons, here we compared within-person changes over time in aspiring professionals intensely preparing for an entrance exam at a University of the Arts to skilled amateur musicians not preparing for a music exam. In the group of aspiring professionals, we observed gray-matter volume decrements in left planum polare, posterior insula, and left inferior frontal orbital gyrus over a period of about 6 months that were absent among the amateur musicians. At the same time, the left planum polare, the largest cluster of structural change, showed increasing functional connectivity with left and right auditory cortex, left precentral gyrus, left supplementary motor cortex, left and right postcentral gyrus, and left cingulate cortex, all regions previously identified to relate to music expertise. In line with the expansion-renormalization pattern of brain plasticity (Wenger et al., 2017a. Expansion and renormalization of human brain structure during skill acquisition. Trends Cogn Sci. 21:930-939.), the aspiring professionals might have been in the selection and refinement period of plastic change.

Electrical Brain Responses Reveal Sequential Constraints on Planning during Music Performance

Elements in speech and music unfold sequentially over time. To produce sentences and melodies quickly and accurately, individuals must plan upcoming sequence events, as well as monitor outcomes via auditory feedback. We investigated the neural correlates of sequential planning and monitoring processes by manipulating auditory feedback during music performance. Pianists performed isochronous melodies from memory at an initially cued rate while their electroencephalogram was recorded. Pitch feedback was occasionally altered to match either an immediately upcoming Near-Future pitch (next sequence event) or a more distant Far-Future pitch (two events ahead of the current event). Near-Future, but not Far-Future altered feedback perturbed the timing of pianists' performances, suggesting greater interference of Near-Future sequential events with current planning processes. Near-Future feedback triggered a greater reduction in auditory sensory suppression (enhanced response) than Far-Future feedback, reflected in the P2 component elicited by the pitch event following the unexpected pitch change. Greater timing perturbations were associated with enhanced cortical sensory processing of the pitch event following the Near-Future altered feedback. Both types of feedback alterations elicited feedback-related negativity (FRN) and P3a potentials and amplified spectral power in the theta frequency range. These findings suggest similar constraints on producers' sequential planning to those reported in speech production.

Early Influence of Musical Abilities and Working Memory on Speech Imitation Abilities: Study with Pre-School Children

Musical aptitude and language talent are highly intertwined when it comes to phonetic language ability. Research on pre-school children’s musical abilities and foreign language abilities are rare but give further insights into the relationship between language and musical aptitude. We tested pre-school children’s abilities to imitate unknown languages, to remember strings of digits, to sing, to discriminate musical statements and their intrinsic (spontaneous) singing behavior (“singing-lovers versus singing nerds”). The findings revealed that having an ear for music is linked to phonetic language abilities. The results of this investigation show that a working memory capacity and phonetic aptitude are linked to high musical perception and production ability already at around the age of 5. This suggests that music and (foreign) language learning capacity may be linked from childhood on. Furthermore, the findings put emphasis on the possibility that early developed abilities may be responsible for individual differences in both linguistic and musical performances.

Efficacy of Auditory versus Motor Learning for Skilled and Novice Performers

Humans must learn a variety of sensorimotor skills, yet the relative contributions of sensory and motor information to skill acquisition remain unclear. Here we compare the behavioral and neural contributions of perceptual learning to that of motor learning, and we test whether these contributions depend on the expertise of the learner. Pianists and nonmusicians learned to perform novel melodies on a piano during fMRI scanning in four learning conditions: listening (auditory learning), performing without auditory feedback (motor learning), performing with auditory feedback (auditory-motor learning), or observing visual cues without performing or listening (cue-only learning). Visual cues were present in every learning condition and consisted of musical notation for pianists and spatial cues for nonmusicians. Melodies were performed from memory with no visual cues and with auditory feedback (recall) five times during learning. Pianists showed greater improvements in pitch and rhythm accuracy at recall during auditory learning compared with motor learning. Nonmusicians demonstrated greater rhythm improvements at recall during auditory learning compared with all other learning conditions. Pianists showed greater primary motor response at recall during auditory learning compared with motor learning, and response in this region during auditory learning correlated with pitch accuracy at recall and with auditory-premotor network response during auditory learning. Nonmusicians showed greater inferior parietal response during auditory compared with auditory-motor learning, and response in this region correlated with pitch accuracy at recall. Results suggest an advantage for perceptual learning compared with motor learning that is both general and expertise-dependent. This advantage is hypothesized to depend on feedforward motor control systems that can be used during learning to transform sensory information into motor production.

Roles of posterior parietal and dorsal premotor cortices in relative pitch processing: Comparing musical intervals to lexical tones

Humans use time-varying pitch patterns to convey information in music and speech. Recognition of musical melodies and lexical tones relies on relative pitch (RP), the ability to identify intervals between two pitches. RP processing in music is usually more fine-grained than that in tonal languages. In Western music, there are twelve pitch categories within an octave, whereas there are only three level (non-glide) lexical tones in Taiwanese (or Taiwanese Hokkien, a tonal language). The present study aimed at comparing the neural substrates underlying RP processing of musical melodic intervals with that of level lexical tones in Taiwanese. Functional magnetic resonance imaging data from fourteen participants with good RP were analyzed. The results showed that imagining the sounds of visually presented musical intervals was associated with enhanced activity in the central subregion of the right dorsal premotor cortex (dPMC), right posterior parietal cortex (PPC), and right dorsal precuneus compared to auditory imagery of visually presented Taiwanese bi-character words with level lexical tones. During the sound-congruence-judgement task (auditory imagery of musical intervals or bi-character words, and subsequently judging if the imagined sounds were melodically congruent with heard sounds), the contrast of the musical minus linguistic conditions yielded activity in the bilateral dPMC-PPC network and dorsal precuneus, with the dPMC activated in the rostral subregion. The central dPMC and PPC may mediate the attention-based maintenance of pitch intervals, whereas the dorsal precuneus may support attention control and the spatial/sensorimotor processing of the fine-grained pitch structures of music. When judging the congruence between the imagined and heard musical intervals, the bilateral rostral dPMC may play a role in attention control, working memory, evaluation of motor activities, and monitoring mechanisms. Based on the findings of this study and recent studies of amusia, we suggest that higher order cognitive operations are critical to the more fine-grained pitch processing of musical melodies compared to lexical tones.

Neural network retuning and neural predictors of learning success associated with cello training

The auditory and motor neural systems are closely intertwined, enabling people to carry out tasks such as playing a musical instrument whose mapping between action and sound is extremely sophisticated. While the dorsal auditory stream has been shown to mediate these audio-motor transformations, little is known about how such mapping emerges with training. Here, we use longitudinal training on a cello as a model for brain plasticity during the acquisition of specific complex skills, including continuous and many-to-one audio-motor mapping, and we investigate individual differences in learning. We trained participants with no musical background to play on a specially designed MRI-compatible cello and scanned them before and after 1 and 4 wk of training. Activation of the auditory-to-motor dorsal cortical stream emerged rapidly during the training and was similarly activated during passive listening and cello performance of trained melodies. This network activation was independent of performance accuracy and therefore appears to be a prerequisite of music playing. In contrast, greater recruitment of regions involved in auditory encoding and motor control over the training was related to better musical proficiency. Additionally, pre-supplementary motor area activity and its connectivity with the auditory cortex during passive listening before training was predictive of final training success, revealing the integrative function of this network in auditory-motor information processing. Together, these results clarify the critical role of the dorsal stream and its interaction with auditory areas in complex audio-motor learning.

The Multiple-Demand System in the Novelty of Musical Improvisation: Evidence from an MRI Study on Composers

The multiple-demand (MD) system has proven to be associated with creating structured mental programs in comprehensive behaviors, but the functional mechanisms of this system have not been clarified in the musical domain. In this study, we explored the hypothesis that the MD system is involved in a comprehensive music-related behavior known as musical improvisation. Under a functional magnetic resonance imaging (fMRI) paradigm, 29 composers were recruited to improvise melodies through visual imagery tasks according to familiar and unfamiliar cues. We found that the main regions of the MD system were significantly activated during both musical improvisation conditions. However, only a greater involvement of the intraparietal sulcus (IPS) within the MD system was shown when improvising with unfamiliar cues. Our results revealed that the MD system strongly participated in musical improvisation through processing the novelty of melodies, working memory, and attention. In particular, improvising with unfamiliar cues required more musical transposition manipulations. Moreover, both functional and structural analyses indicated evidence of neuroplasticity in MD regions that could be associated with musical improvisation training. These findings can help unveil the functional mechanisms of the MD system in musical cognition, as well as improve our understanding of musical improvisation.

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.

Behavioral Quantification of Audiomotor Transformations in Improvising and Score-Dependent Musicians

The historically developed practice of learning to play a music instrument from notes instead of by imitation or improvisation makes it possible to contrast two types of skilled musicians characterized not only by dissimilar performance practices, but also disparate methods of audiomotor learning. In a recent fMRI study comparing these two groups of musicians while they either imagined playing along with a recording or covertly assessed the quality of the performance, we observed activation of a right-hemisphere network of posterior superior parietal and dorsal premotor cortices in improvising musicians, indicating more efficient audiomotor transformation. In the present study, we investigated the detailed performance characteristics underlying the ability of both groups of musicians to replicate music on the basis of aural perception alone. Twenty-two classically-trained improvising and score-dependent musicians listened to short, unfamiliar two-part excerpts presented with headphones. They played along or replicated the excerpts by ear on a digital piano, either with or without aural feedback. In addition, they were asked to harmonize or transpose some of the excerpts either to a different key or to the relative minor. MIDI recordings of their performances were compared with recordings of the aural model. Concordance was expressed in an audiomotor alignment score computed with the help of music information retrieval algorithms. Significantly higher alignment scores were found when contrasting groups, voices, and tasks. The present study demonstrates the superior ability of improvising musicians to replicate both the pitch and rhythm of aurally perceived music at the keyboard, not only in the original key, but also in other tonalities. Taken together with the enhanced activation of the right dorsal frontoparietal network found in our previous fMRI study, these results underscore the conclusion that the practice of improvising music can be associated with enhanced audiomotor transformation in response to aurally perceived music.

Testing the Role of Dorsal Premotor Cortex in Auditory-Motor Association Learning Using Transcranical Magnetic Stimulation (TMS)

Interactions between the auditory and the motor systems are critical in music as well as in other domains, such as speech. The premotor cortex, specifically the dorsal premotor cortex (dPMC), seems to play a key role in auditory-motor integration, and in mapping the association between a sound and the movement used to produce it. In the present studies we tested the causal role of the dPMC in learning and applying auditory-motor associations using 1 Hz repetitive Transcranical Magnetic Stimulation (rTMS). In this paradigm, non-musicians learn a set of auditory-motor associations through melody training in two contexts: first when the sound to key-press mapping was in a conventional sequential order (low to high tones mapped onto keys from left to right), and then when it was in a novel scrambled order. Participant's ability to match the four pitches to four computer keys was tested before and after the training. In both experiments, the group that received 1 Hz rTMS over the dPMC showed no significant improvement on the pitch-matching task following training, whereas the control group (who received rTMS to visual cortex) did. Moreover, in Experiment 2 where the pitch-key mapping was novel, rTMS over the dPMC also interfered with learning. These findings suggest that rTMS over dPMC disturbs the formation of auditory-motor associations, especially when the association is novel and must be learned rather explicitly. The present results contribute to a better understanding of the role of dPMC in auditory-motor integration, suggesting a critical role of dPMC in learning the link between an action and its associated sound.

Early auditory processing in musicians and dancers during a contemporary dance piece

The neural responses to simple tones and short sound sequences have been studied extensively. However, in reality the sounds surrounding us are spectrally and temporally complex, dynamic and overlapping. Thus, research using natural sounds is crucial in understanding the operation of the brain in its natural environment. Music is an excellent example of natural stimulation which, in addition to sensory responses, elicits vast cognitive and emotional processes in the brain. Here we show that the preattentive P50 response evoked by rapid increases in timbral brightness during continuous music is enhanced in dancers when compared to musicians and laymen. In dance, fast changes in brightness are often emphasized with a significant change in movement. In addition, the auditory N100 and P200 responses are suppressed and sped up in dancers, musicians and laymen when music is accompanied with a dance choreography. These results were obtained with a novel event-related potential (ERP) method for natural music. They suggest that we can begin studying the brain with long pieces of natural music using the ERP method of electroencephalography (EEG) as has already been done with functional magnetic resonance (fMRI), these two brain imaging methods complementing each other.

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.

Dissociation of Neural Networks for Predisposition and for Training-Related Plasticity in Auditory-Motor Learning

Skill learning results in changes to brain function, but at the same time individuals strongly differ in their abilities to learn specific skills. Using a 6-week piano-training protocol and pre- and post-fMRI of melody perception and imagery in adults, we dissociate learning-related patterns of neural activity from pre-training activity that predicts learning rates. Fronto-parietal and cerebellar areas related to storage of newly learned auditory-motor associations increased their response following training; in contrast, pre-training activity in areas related to stimulus encoding and motor control, including right auditory cortex, hippocampus, and caudate nuclei, was predictive of subsequent learning rate. We discuss the implications of these results for models of perceptual and of motor learning. These findings highlight the importance of considering individual predisposition in plasticity research and applications.

Repetition Suppression in the Left Inferior Frontal Gyrus Predicts Tone Learning Performance

Do individuals differ in how efficiently they process non-native sounds? To what extent do these differences relate to individual variability in sound-learning aptitude? We addressed these questions by assessing the sound-learning abilities of Dutch native speakers as they were trained on non-native tone contrasts. We used fMRI repetition suppression to the non-native tones to measure participants' neuronal processing efficiency before and after training. Although all participants improved in tone identification with training, there was large individual variability in learning performance. A repetition suppression effect to tone was found in the bilateral inferior frontal gyri (IFGs) before training. No whole-brain effect was found after training; a region-of-interest analysis, however, showed that, after training, repetition suppression to tone in the left IFG correlated positively with learning. That is, individuals who were better in learning the non-native tones showed larger repetition suppression in this area. Crucially, this was true even before training. These findings add to existing evidence that the left IFG plays an important role in sound learning and indicate that individual differences in learning aptitude stem from differences in the neuronal efficiency with which non-native sounds are processed.

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.

Human premotor areas parse sequences into their spatial and temporal features

Skilled performance is characterized by precise and flexible control of movement sequences in space and time. Recent theories suggest that integrated spatio-temporal trajectories are generated by intrinsic dynamics of motor and premotor networks. This contrasts with behavioural advantages that emerge when a trained spatial or temporal feature of sequences is transferred to a new spatio-temporal combination arguing for independent neural representations of these sequence features. We used a new fMRI pattern classification approach to identify brain regions with independent vs integrated representations. A distinct regional dissociation within motor areas was revealed: whereas only the contralateral primary motor cortex exhibited unique patterns for each spatio-temporal sequence combination, bilateral premotor areas represented spatial and temporal features independently of each other. These findings advocate a unique function of higher motor areas for flexible recombination and efficient encoding of complex motor behaviours.

DOI:http://dx.doi.org/10.7554/eLife.03043.001

Once a pianist has learned to play a song, he or she can nearly effortlessly reproduce the sequence of finger movements needed to play the song with a particular rhythm. A skilled pianist can also improvise, pairing the same keystrokes with a different rhythm or playing the same rhythm with a slightly different sequence of keys. This ability to flexibly modify and recombine sequences of physical movements in space and time enables humans to exhibit great creativity in music, language, and many other tasks that require motor skills. However, the underlying brain mechanisms that allow this flexibility are only beginning to be explored.

Some scientists have theorized that networks of brain cells in the parts of the brain that control movement store a sequence in time and space as one inseparable unit. However, this theory doesn't explain why pianists and other skilled individuals can separate and recombine the physical movements and timing of a sequence in new ways. An alternate idea is that the brain captures the information necessary to execute a series of physical movements separately from the timing at which the movements are to be carried out. This would allow these features to be put together in new ways.

Kornysheva and Diedrichsen taught a group of volunteers a series of finger movements paired with particular rhythms. Half the volunteers performed the task using their left hand and the other half with their right hand. After training the volunteers performed better when producing sequences they had been trained on, even in trials where either the rhythm or the finger sequence was slightly changed.

The volunteers were also asked to perform the trained movements while their brain activity was monitored in a functional magnetic resonance imaging (fMRI) machine. Kornysheva and Diedrichsen looked for areas that showed similar patterns of increases and decreases in activity whenever a particular sequence was performed. This identified areas that showed unique patterns for each trained sequence combination of finger movements and rhythm, which could be distinguished from areas where the activity patterns for sequences remained similar across rhythms or across finger movements.

Kornysheva and Diedrichsen found that a region of the brain that controls movement encodes sequences on the opposite side of the brain from the moving hand. In this part of the brain, the movement and timing were encoded together as one unit. However, in premotor areas—which are known to help individuals to plan movements—the timing and the finger movements appeared to be encoded separately in overlapping patches on both sides of the brain. This automatic separation appears to be a fundamental function of the premotor cortex, enabling behavioural flexibility and the storage of complex sequences of movements in space and time.

DOI:http://dx.doi.org/10.7554/eLife.03043.002

Representations of Invariant Musical Categories Are Decodable by Pattern Analysis of Locally Distributed BOLD Responses in Superior Temporal and Intraparietal Sulci

In categorical perception (CP), continuous physical signals are mapped to discrete perceptual bins: mental categories not found in the physical world. CP has been demonstrated across multiple sensory modalities and, in audition, for certain over-learned speech and musical sounds. The neural basis of auditory CP, however, remains ambiguous, including its robustness in nonspeech processes and the relative roles of left/right hemispheres; primary/nonprimary cortices; and ventral/dorsal perceptual processing streams. Here, highly trained musicians listened to 2-tone musical intervals, which they perceive categorically while undergoing functional magnetic resonance imaging. Multivariate pattern analyses were performed after grouping sounds by interval quality (determined by frequency ratio between tones) or pitch height (perceived noncategorically, frequency ratios remain constant). Distributed activity patterns in spheres of voxels were used to determine sound sample identities. For intervals, significant decoding accuracy was observed in the right superior temporal and left intraparietal sulci, with smaller peaks observed homologously in contralateral hemispheres. For pitch height, no significant decoding accuracy was observed, consistent with the non-CP of this dimension. These results suggest that similar mechanisms are operative for nonspeech categories as for speech; espouse roles for 2 segregated processing streams; and support hierarchical processing models for CP.

The Harvard Beat Assessment Test (H-BAT): a battery for assessing beat perception and production and their dissociation

Humans have the abilities to perceive, produce, and synchronize with a musical beat, yet there are widespread individual differences. To investigate these abilities and to determine if a dissociation between beat perception and production exists, we developed the Harvard Beat Assessment Test (H-BAT), a new battery that assesses beat perception and production abilities. H-BAT consists of four subtests: (1) music tapping test (MTT), (2) beat saliency test (BST), (3) beat interval test (BIT), and (4) beat finding and interval test (BFIT). MTT measures the degree of tapping synchronization with the beat of music, whereas BST, BIT, and BFIT measure perception and production thresholds via psychophysical adaptive stair-case methods. We administered the H-BAT on thirty individuals and investigated the performance distribution across these individuals in each subtest. There was a wide distribution in individual abilities to tap in synchrony with the beat of music during the MTT. The degree of synchronization consistency was negatively correlated with thresholds in the BST, BIT, and BFIT: a lower degree of synchronization was associated with higher perception and production thresholds. H-BAT can be a useful tool in determining an individual's ability to perceive and produce a beat within a single session.

Early musical training is linked to gray matter structure in the ventral premotor cortex and auditory-motor rhythm synchronization performance

Evidence in animals and humans indicates that there are sensitive periods during development, times when experience or stimulation has a greater influence on behavior and brain structure. Sensitive periods are the result of an interaction between maturational processes and experience-dependent plasticity mechanisms. Previous work from our laboratory has shown that adult musicians who begin training before the age of 7 show enhancements in behavior and white matter structure compared with those who begin later. Plastic changes in white matter and gray matter are hypothesized to co-occur; therefore, the current study investigated possible differences in gray matter structure between early-trained (ET; <7) and late-trained (LT; >7) musicians, matched for years of experience. Gray matter structure was assessed using voxel-wise analysis techniques (optimized voxel-based morphometry, traditional voxel-based morphometry, and deformation-based morphometry) and surface-based measures (cortical thickness, surface area and mean curvature). Deformation-based morphometry analyses identified group differences between ET and LT musicians in right ventral premotor cortex (vPMC), which correlated with performance on an auditory motor synchronization task and with age of onset of musical training. In addition, cortical surface area in vPMC was greater for ET musicians. These results are consistent with evidence that premotor cortex shows greatest maturational change between the ages of 6-9 years and that this region is important for integrating auditory and motor information. We propose that the auditory and motor interactions required by musical practice drive plasticity in vPMC and that this plasticity is greatest when maturation is near its peak.

Serial binary interval ratios improve rhythm reproduction

Musical rhythm perception is a natural human ability that involves complex cognitive processes. Rhythm refers to the organization of events in time, and musical rhythms have an underlying hierarchical metrical structure. The metrical structure induces the feeling of a beat and the extent to which a rhythm induces the feeling of a beat is referred to as its metrical strength. Binary ratios are the most frequent interval ratio in musical rhythms. Rhythms with hierarchical binary ratios are better discriminated and reproduced than rhythms with hierarchical non-binary ratios. However, it remains unclear whether a superiority of serial binary over non-binary ratios in rhythm perception and reproduction exists. In addition, how different types of serial ratios influence the metrical strength of rhythms remains to be elucidated. The present study investigated serial binary vs. non-binary ratios in a reproduction task. Rhythms formed with exclusively binary (1:2:4:8), non-binary integer (1:3:5:6), and non-integer (1:2.3:5.3:6.4) ratios were examined within a constant meter. The results showed that the 1:2:4:8 rhythm type was more accurately reproduced than the 1:3:5:6 and 1:2.3:5.3:6.4 rhythm types, and the 1:2.3:5.3:6.4 rhythm type was more accurately reproduced than the 1:3:5:6 rhythm type. Further analyses showed that reproduction performance was better predicted by the distribution pattern of event occurrences within an inter-beat interval, than by the coincidence of events with beats, or the magnitude and complexity of interval ratios. Whereas rhythm theories and empirical data emphasize the role of the coincidence of events with beats in determining metrical strength and predicting rhythm performance, the present results suggest that rhythm processing may be better understood when the distribution pattern of event occurrences is taken into account. These results provide new insights into the mechanisms underlining musical rhythm perception.

Stochastic aspects of motor behavior and their dependence on auditory feedback in experienced cellists

This study aimed to investigate movement accuracy of experienced cellists, the statistical properties of their note sequences during a reciprocal task, and the degree to which these movement characteristics depend on auditory feedback. Nine experienced cellists were asked to shift alternately between two notes using only their index finger to make contact with the string and fingerboard. Shifting sequences continued for two minutes at a rate of one note per second. The task was performed under two conditions: with auditory feedback (provided by the bow) or without auditory feedback (i.e., without the use of bow). When the bow was used, subjects had no difficulty in shifting between target notes with precision and stability. Some variability was present, but notes in these sequences were generally uncorrelated. The contact data and correlations in most bowed trials resembled those expected of a renewal process, a process in which successive values are statistically independent and identically distributed. Without the bow, subjects lost their ability to reach the same target positions accurately; contact locations tended to drift and had a random quality, indicating that without the bow subjects were uncertain of the target location in relation to the spatial location of their fingertips. Within these unbowed sequences, finger positions were highly correlated—within and between note sequences. In some trials without the bow, the statistical correlation patterns of the sequence were consistent with the expectations of a discrete Wiener process. Throughout our study, computer simulations of renewal and Wiener processes enabled us to determine the types of correlations to be expected from these theoretical models. The implications of the statistical results in terms of subject behavior are discussed.