Spontaneous Velocity Effect of Musical Expression on Self-Paced Walking

Auditory-motor synchronization in developmental coordination disorder: Effects on interlimb coordination during walking and running

Developmental coordination disorder (DCD) presents challenges in motor control. DCD affects tasks such as walking and running and is characterized by poor interlimb coordination and increased spatiotemporal variability compared to typically developing children (TDC). While auditory rhythm synchronization has shown to have benefits for gait performance in adults, its impact on children with DCD during walking and running remains unclear. This study investigated auditory-motor synchronization and interlimb coordination during walking and running in children with and without DCD. Twenty-one DCD and 23 TDC participants aged 8-12 years walked and ran to two different auditory metronomes (discrete and continuous). Synchronization consistency was the primary outcome, with interlimb coordination and spatiotemporal variability as secondary outcomes. Results showed that children with DCD exhibited significantly lower synchronization consistency than TDC, particularly during running. The metronome structure did not influence synchronization ability. Additionally, interlimb coordination differed significantly between DCD and TDC during running and was not impacted by auditory-motor synchronization. Spatiotemporal variability was higher in DCD during both walking and running than in TDC, and accentuated during running. Variability of cadence was influenced by the use of continuous metronomes, which may offer potential benefits in reducing cadence variability.

Auditory Personalization of EMDR Treatment to Relieve Trauma Effects: A Feasibility Study [EMDR+]

According to the WHO (World Health Organization), Eye Movement Desensitization and Reprocessing (EMDR) is an elective therapy to treat people with post-traumatic stress disorders (PTSD). In line with the personalization of therapeutic strategies, through this pilot study, we assessed in people suffering from the effects of trauma the feasibility, safety, acceptance, and efficacy of EMDR enriched with sound stimulation (by administering neutral sounds synchronized with the guided bilateral alternating stimulation of the gaze) and musical reward (musical listening based on the patients' predisposition and personal tastes). Feasibility, quantified by the number of patients who completed the treatment, was excellent as this was the case in 12 out of the 12 enrolled people with psychological trauma. Safety and acceptance, assessed by self-compiled questionnaires, were excellent, with an absence of side effects and high satisfaction. Efficacy, quantified by the number of EMDR treatment sessions required to reach the optimal scores on the Subjective Units of Disturbance (SUD) and Validity of Cognition (VOC) scales typical of EMDR protocols, revealed an average duration of 8.5 (SD 1.2) sessions, which is well below the 12 sessions considered a standard EMDR treatment duration. EMDR+ appears to be a relevant personalization of EMDR, particularly in music-sensitive people, consolidating the therapeutic alliance through a multisensory communicative bond for trauma treatment.

Elements of musical and dance sophistication predict musical groove perception

Listening to groovy music is an enjoyable experience and a common human behavior in some cultures. Specifically, many listeners agree that songs they find to be more familiar and pleasurable are more likely to induce the experience of musical groove. While the pleasurable and dance-inducing effects of musical groove are omnipresent, we know less about how subjective feelings toward music, individual musical or dance experiences, or more objective musical perception abilities are correlated with the way we experience groove. Therefore, the present study aimed to evaluate how musical and dance sophistication relates to musical groove perception. One-hundred 24 participants completed an online study during which they rated 20 songs, considered high- or low-groove, and completed the Goldsmiths Musical Sophistication Index, the Goldsmiths Dance Sophistication Index, the Beat and Meter Sensitivity Task, and a modified short version of the Profile for Music Perception Skills. Our results reveal that measures of perceptual abilities, musical training, and social dancing predicted the difference in groove rating between high- and low-groove music. Overall, these findings support the notion that listeners' individual experiences and predispositions may shape their perception of musical groove, although other causal directions are also possible. This research helps elucidate the correlates and possible causes of musical groove perception in a wide range of listeners.

Collective Rhythm as an Emergent Property During Human Social Coordination

The literature on social interactions has shown that participants coordinate not only at the behavioral but also at the physiological and neural levels, and that this coordination gives a temporal structure to the individual and social dynamics. However, it has not been fully explored whether such temporal patterns emerge during interpersonal coordination beyond dyads, whether this phenomenon arises from complex cognitive mechanisms or from relatively simple rules of behavior, or which are the sociocultural processes that underlie this phenomenon. We review the evidence for the existence of group-level rhythmic patterns that result from social interactions and argue that the complexity of group dynamics can lead to temporal regularities that cannot be predicted from the individual periodicities: an emergent collective rhythm. Moreover, we use this interpretation of the literature to discuss how taking into account the sociocultural niche in which individuals develop can help explain the seemingly divergent results that have been reported on the social influences and consequences of interpersonal coordination. We make recommendations on further research to test these arguments and their relationship to the feeling of belonging and assimilation experienced during group dynamics.

Rhythmic and non-rhythmic auditory precues: Multiple mechanisms mediating movement performance

Rhythmic auditory stimuli presented before a goal-directed movement have been found to improve temporal and spatial movement outcomes. However, little is known about the mechanisms mediating these benefits. The present experiment used three types of auditory stimuli to probe how improved scaling of movement parameters, temporal preparation and an external focus of attention may contribute to changes in movement performance. Three types of auditory stimuli were presented for 1200 ms before movement initiation; three metronome beats (RAS), a tone that stayed the same (tone-same), a tone that increased in pitch (tone-change) and a no sound control, were presented with and without visual feedback for a total of eight experimental conditions. The sound was presented before a visual go-signal, and participants were instructed to reach quickly and accurately to one of two targets randomly identified in left and right hemispace. Twenty-two young adults completed 24 trials per blocked condition in a counterbalanced order. Movements were captured with an Optotrak 3D Investigator, and a 4(sound) by 2(vision) repeated measures ANOVA was used to analyze dependant variables. All auditory conditions had shorter reaction times than no sound. Tone-same and tone-change conditions had shorter movement times and higher peak velocities, with no change in trajectory variability or endpoint error. Therefore, rhythmic and non-rhythmic auditory stimuli impacted movement performance differently. Based on the pattern of results we propose multiple mechanisms impact movement planning processes when rhythmic auditory stimuli are present.

Collective music listening: Movement energy is enhanced by groove and visual social cues

The regularity of musical beat makes it a powerful stimulus promoting movement synchrony among people. Synchrony can increase interpersonal trust, affiliation, and cooperation. Musical pieces can be classified according to the quality of groove; the higher the groove, the more it induces the desire to move. We investigated questions related to collective music-listening among 33 participants in an experiment conducted in a naturalistic yet acoustically controlled setting of a research concert hall with motion tracking. First, does higher groove music induce (1) movement with more energy and (2) higher interpersonal movement coordination? Second, does visual social information manipulated by having eyes open or eyes closed also affect energy and coordination? Participants listened to pieces from four categories formed by crossing groove (high, low) with tempo (higher, lower). Their upper body movement was recorded via head markers. Self-reported ratings of grooviness, emotional valence, emotional intensity, and familiarity were collected after each song. A biomechanically motivated measure of movement energy increased with high-groove songs and was positively correlated with grooviness ratings, confirming the theoretically implied but less tested motor response to groove. Participants' ratings of emotional valence and emotional intensity correlated positively with movement energy, suggesting that movement energy relates to emotional engagement with music. Movement energy was higher in eyes-open trials, suggesting that seeing each other enhanced participants' responses, consistent with social facilitation or contagion. Furthermore, interpersonal coordination was higher both for the high-groove and eyes-open conditions, indicating that the social situation of collective music listening affects how music is experienced.

Temporal features of goal-directed movements change with source, but not frequency, of rhythmic auditory stimuli

Music and metronomes differentially impact movement performance. The current experiment presented metronome and drum beats in simple and complex rhythms before goal-directed reaching movements, while also quantifying enjoyment. Auditory conditions were completed with and without visual feedback and were blocked and counterbalanced. There were no differences between simple and complex rhythms, indicating that rhythmic information alone is sufficient to benefit performance. The drum elicited shorter movement times and higher peak velocities, without an increase in spatial variability. Reaction times were moderately correlated with ratings of enjoyment. These data provide evidence that the source of an auditory stimulus impacts movement performance of a goal-directed reaching task. Results are contextualized within models of goal-directed reaching to elucidate mechanisms contributing to performance improvements.

Instructed versus spontaneous entrainment of running cadence to music tempo

Matching exercise behavior to musical beats has been shown to favorably affect repetitive endurance tasks. In this study, our aim was to explore the role of spontaneous versus instructed entrainment, focusing on self‐paced exercise of healthy, recreational runners. For three 4‐min running tasks, 33 recreational participants were either running in silence or with music; when running with music, either no instructions were given to entrain to the music, or participants were instructed to match their running cadence with the tempo of the music. The results indicated that less entrainment occurred when no instruction to match the exercise with the musical tempo was provided. In addition, similar to the condition without music, lower speeds and shorter step lengths were observed when runners were instructed to match their running behavior to the musical tempo when compared with the condition without such instruction. Our findings demonstrate the impact of instruction on running performance and stress the importance of intention to entrain running behavior to musical beats.

Walking to Music and Metronome at Various Tempi in Persons With Multiple Sclerosis: A Basis for Rehabilitation

Background. Mobility dysfunctions are prevalent in persons with multiple sclerosis (PwMS), thus novel rehabilitation mechanisms are needed toward functional training. The effect of auditory cueing is well-known in Parkinson's disease, yet the application of different types of auditory stimuli at different tempi has not been investigated yet. Objectives. Investigating if PwMS, compared with healthy controls (HC), can synchronize their gait to music and metronomes at different tempi during walking and the effects of the stimuli on perceived fatigue and gait. Additionally, exploring if cognitive impairment would be a factor on the results. Methods. The experimental session consisted of 2 blocks, music and metronomes. Per block, participants walked 3 minutes per tempi, with instructions to synchronize their steps to the beat. The tempi were 0%, +2%, +4% +6%, +8%, +10% of preferred walking cadence (PWC). Results. A total of 28 PwMS and 29 HC participated. On average, participants were able to synchronize at all tempi to music and metronome. Higher synchronization was obtained for metronomes compared with music. The highest synchronization for music was found between +2% and +8% of PWC yet pwMS perceived less physical and cognitive fatigue walking to music compared with metronomes. Cognitive impaired PwMS (n = 9) were not able to synchronize at tempi higher than +6%. Conclusion. Auditory-motor coupling and synchronization was feasible in HC and PwMS with motor and cognitive impairments. PwMS walked at higher tempi than their preferred walking cadence, and lower fatigue perception with music. Coupling walking to music could be a promising functional walking training strategy.

Optimizing beat synchronized running to music

The use of music and specifically tempo-matched music has been shown to affect running performance. But can we maximize the synchronization of movements to music and does maximum synchronization influence kinematics and motivation? In this study, we explore the effect of different types of music-to-movement alignment strategies on phase coherence, cadence and motivation. These strategies were compared to a control condition where the music tempo was deliberately not aligned to the running cadence. Results show that without relative phase alignment, a negative mean asynchrony (NMA) of footfall timings with respect to the beats is obtained. This means that footfalls occurred slightly before the beat and that beats were anticipated. Convergence towards this NMA or preferred relative phase angle was facilitated when the first music beat of a new song started close to the step, which means that entrainment occurred. The results also show that using tempo and phase alignment, the relative phase can be manipulated or forced in a certain angle with a high degree of accuracy. Ensuring negative angles larger than NMA (step before beat) results in increased motivation and decreasing cadence. Running in NMA or preferred relative phase angles results in a null effect on cadence. Ensuring a positive phase angle with respect to NMA results in higher motivation and higher cadence. None of the manipulations resulted in change in perceived exhaustion or a change in velocity. Results also indicate that gender plays an important role when using forced phase algorithms: effects were more pronounced for the female population than for the male population. The implementation of the proposed alignment strategies and control of beat timing while running opens possibilities optimizing the individual running cadence and motivation.

Eye movements in scene perception while listening to slow and fast music

To date, there is insufficient knowledge of how visual exploration of outdoor scenes may be influenced by the simultaneous processing of music. Eye movements during viewing various outdoor scenes while listening to music at either a slow or fast tempo or in silence were measured. Significantly shorter fixations were found for viewing urban scenes com-pared with natural scenes, but there was no interaction between the type of scene and the acoustic conditions. The results revealed shorter fixation durations in the silent control condition in the range 30 ms, compared to both music conditions but, in contrast to previ-ous studies, these differences were non-significant. Moreover, we did not find differences in eye movements between music conditions with a slow or fast tempo. It is supposed that the type of musical stimuli, the specific tempo, the specific experimental procedure, and the engagement of participants in listening to background music while processing visual information may be important factors that influence attentional processes, which are mani-fested in eye-movement behavior.

Entrainment and Synchronization to Auditory Stimuli During Walking in Healthy and Neurological Populations: A Methodological Systematic Review

Background: Interdisciplinary work is needed for scientific progress, and with this review, our interest is in the scientific progress toward understanding the underlying mechanisms of auditory-motor coupling, and how this can be applied to gait rehabilitation. Specifically we look into the process of entrainment and synchronization; where entrainment is the process that governs the dynamic alignments of the auditory and motor domains based on error-prediction correction, whereas synchronization is the stable maintenance of timing during auditory-motor alignment. Methodology: A systematic literature search in databases PubMed and Web of Science were searched up to 9th of August 2017. The selection criteria for the included studies were adult populations, with a minimum of five participants, investigating walking to an auditory stimulus, with an outcome measure of entrainment, and synchronization. The review was registered in PROSPERO as CRD42017080325. Objectives: The objective of the review is to systematically describe the metrics which measure entrainment and synchronization to auditory stimuli during walking in healthy and neurological populations. Results: Sixteen articles were included. Fifty percent of the included articles had healthy controls as participants (N = 167), 19% had neurological diseases such as Huntington's and Stroke (N = 76), and 31% included both healthy and neurological [Parkinson's disease (PD) and Stroke] participants (N = 101). In the included studies, six parameters were found to capture the interaction between the human movement and the auditory stimuli, these were: cadence, relative phase angle, resultant vector length, interval between the beat and the foot contact, period matching performance, and detrended fluctuation analysis. Conclusion: In this systematic review, several metrics have been identified, which measure the timing aspect of auditory-motor coupling and synchronization of auditory stimuli in healthy and neurological populations during walking. The application of these metrics may enhance the current state of the art and practice across the neurological gait rehabilitation. These metrics also have current shortcomings. Of particular pertinence is our recommendation to consider variability in data from a time-series rather than time-windowed viewpoint. We need it in view of the promising practical applications from which the studied populations may highly benefit in view of personalized medical care.

Rhythmic abilities and musical training in Parkinson's disease: do they help?

Rhythmic auditory cues can immediately improve gait in Parkinson’s disease. However, this effect varies considerably across patients. The factors associated with this individual variability are not known to date. Patients’ rhythmic abilities and musicality (e.g., perceptual and singing abilities, emotional response to music, and musical training) may foster a positive response to rhythmic cues. To examine this hypothesis, we measured gait at baseline and with rhythmic cues in 39 non-demented patients with Parkinson’s disease and 39 matched healthy controls. Cognition, rhythmic abilities and general musicality were assessed. A response to cueing was qualified as positive when the stimulation led to a clinically meaningful increase in gait speed. We observed that patients with positive response to cueing (n = 17) were more musically trained, aligned more often their steps to the rhythmic cues while walking, and showed better music perception as well as poorer cognitive flexibility than patients with non-positive response (n = 22). Gait performance with rhythmic cues worsened in six patients. We concluded that rhythmic and musical skills, which can be modulated by musical training, may increase beneficial effects of rhythmic auditory cueing in Parkinson’s disease. Screening patients in terms of musical/rhythmic abilities and musical training may allow teasing apart patients who are likely to benefit from cueing from those who may worsen their performance due to the stimulation.

Listening to rhythmic auditory cues improves the ability to walk in patients with Parkinson’s disease (PD). Previous studies have shown that music can help patients with neurological disorders synchronize their movements to a beat. An international study led by Valérie Cochen De Cock at Clinique Beau Soleil in Montpellier (France) and Simone Dalla Bella at the International Laboratory For Brain, Music and Sound Research (BRAMS) in Montreal (Canada), measured gait speed in 39 patients with PD without dementia in response to rhythmic stimulation. Twenty-two patients increased their gait speed by spontaneously synchronizing their steps to the beat. The remaining 17 patients showed no effect or significant worsening of gait performance (e.g., smaller step length). The patients who benefited the most from rhythmic cues exhibited better rhythmic skills and were more musical than the others. Assessing musical abilities may serve to identify patients who are likely to benefit from this music-based intervention and may foster individualization of the treatment.

Synchronization, Attention and Transformation: Multidimensional Exploration of the Aesthetic Experience of Contemporary Dance Spectators

The co-presence of bodies in intersubjective situations can give rise to processes of kinesthetic empathy and physiological synchronization, especially in the context of dance: the body and attention of the spectators are oriented towards the dancers. In this study, we investigate the processes of "body-mind" resonance between a choreography and its spectators, and more specifically the lasting impact of this resonance post-performance. We then explore the relation between the observed effects and subjective measures of attention. The study focuses on the work of the French choreographer Myriam Gourfink, who develops a unique movement, based on the slower breathing of dancers: the breathing generates an extremely slow movement without rhythmic ruptures. Phenomenological studies of her work report changes in temporal perception and changes in bodily attentional states. We made use of two cognitive tasks in order to quantify this change in temporal perception: Spontaneous Motor Tempo (SMT) and Apparent Motion effect (AM) before and after a 40-min live performance. Subjective reports were collected at the end of the performance. Physiological data were recorded before and after the performance. We performed a control experiment with a choreography of a distinctly different quality of movement. Post-Gourfink performance, we observed a significant deceleration of SMT and a decrease in its variability, while AM was reported with longer temporal intervals. Neither of these effects was observed in the control condition. Furthermore, an increase in perception of AM was correlated with a slower breathing rate after the performance. Correlations with subjective reports suggest a link between changes in cognitive and physiological dynamics and the degree of absorption of the spectators in the performance. In addition, these changes were related to specific reported attentional dispositions that we interpret as a form of attentional resonance. The ensemble of the results suggests an expansion of the "specious present" that is related to the slowing of physiological rhythms, and an attentional resonance between spectators and the choreography. The intricate relation we observed between inter-personal resonance and temporal cognition, foregrounds the notion of shared present as a neurophenomenological construct.

3Mo: A Model for Music-Based Biofeedback

In the domain of sports and motor rehabilitation, it is of major importance to regulate and control physiological processes and physical motion in most optimal ways. For that purpose, real-time auditory feedback of physiological and physical information based on sound signals, often termed “sonification,” has been proven particularly useful. However, the use of music in biofeedback systems has been much less explored. In the current article, we assert that the use of music, and musical principles, can have a major added value, on top of mere sound signals, to the benefit of psychological and physical optimization of sports and motor rehabilitation tasks. In this article, we present the 3Mo model to describe three main functions of music that contribute to these benefits. These functions relate the power of music to Motivate, and to Monitor and Modify physiological and physical processes. The model brings together concepts and theories related to human sensorimotor interaction with music, and specifies the underlying psychological and physiological principles. This 3Mo model is intended to provide a conceptual framework that guides future research on musical biofeedback systems in the domain of sports and motor rehabilitation.

Interactive Sonification of Spontaneous Movement of Children-Cross-Modal Mapping and the Perception of Body Movement Qualities through Sound

In this paper we present three studies focusing on the effect of different sound models in interactive sonification of bodily movement. We hypothesized that a sound model characterized by continuous smooth sounds would be associated with other movement characteristics than a model characterized by abrupt variation in amplitude and that these associations could be reflected in spontaneous movement characteristics. Three subsequent studies were conducted to investigate the relationship between properties of bodily movement and sound: (1) a motion capture experiment involving interactive sonification of a group of children spontaneously moving in a room, (2) an experiment involving perceptual ratings of sonified movement data and (3) an experiment involving matching between sonified movements and their visualizations in the form of abstract drawings. In (1) we used a system constituting of 17 IR cameras tracking passive reflective markers. The head positions in the horizontal plane of 3–4 children were simultaneously tracked and sonified, producing 3–4 sound sources spatially displayed through an 8-channel loudspeaker system. We analyzed children's spontaneous movement in terms of energy-, smoothness- and directness-index. Despite large inter-participant variability and group-specific effects caused by interaction among children when engaging in the spontaneous movement task, we found a small but significant effect of sound model. Results from (2) indicate that different sound models can be rated differently on a set of motion-related perceptual scales (e.g., expressivity and fluidity). Also, results imply that audio-only stimuli can evoke stronger perceived properties of movement (e.g., energetic, impulsive) than stimuli involving both audio and video representations. Findings in (3) suggest that sounds portraying bodily movement can be represented using abstract drawings in a meaningful way. We argue that the results from these studies support the existence of a cross-modal mapping of body motion qualities from bodily movement to sounds. Sound can be translated and understood from bodily motion, conveyed through sound visualizations in the shape of drawings and translated back from sound visualizations to audio. The work underlines the potential of using interactive sonification to communicate high-level features of human movement data.