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

Interdependence of movement amplitude and tempo during self-paced finger tapping: evaluation of a preferred velocity hypothesis

This study examined the relation between movement amplitude and tempo during self-paced rhythmic finger tapping to test a preferred velocity account of the preferred tempo construct. Preferred tempo refers to the concept that individuals have preferences for the pace of actions or events in their environment (e.g., the desired pace of walking or tempo of music). The preferred velocity hypothesis proposes that assessments of preferred tempo do not represent a pure time preference independent of spatial movement characteristics, but rather reflects a preference for an average movement velocity, predicting that preferred tempo will depend on movement amplitude. We tested this by having participants first perform a novel spontaneous motor amplitude (SMA) task in which they repetitively tapped their finger at their preferred amplitude without instructions about tapping tempo. Next, participants completed the spontaneous motor tempo (SMT) task in which they tapped their finger at their preferred tempo without instructions about tapping amplitude. Finally, participants completed a target amplitude version of the SMT task where they tapped at their preferred tempo at three target amplitudes (low, medium, and high). Participants (1) produced similar amplitudes and tempi regardless of instructions to produce either their preferred amplitude or preferred tempo, maintaining the same average movement velocity across SMA and SMT tasks and (2) altered their preferred tempo for different target amplitudes in the direction predicted by their estimated preferred velocity from the SMA and SMT tasks. Overall, results show the interdependence of movement amplitude and tempo in tapping assessments of preferred tempo.

Mobile version of the Battery for the Assessment of Auditory Sensorimotor and Timing Abilities (BAASTA): Implementation and adult norms

Timing and rhythm abilities are complex and multidimensional skills that are highly widespread in the general population. This complexity can be partly captured by the Battery for the Assessment of Auditory Sensorimotor and Timing Abilities (BAASTA). The battery, consisting of four perceptual and five sensorimotor tests (finger-tapping), has been used in healthy adults and in clinical populations (e.g., Parkinson's disease, ADHD, developmental dyslexia, stuttering), and shows sensitivity to individual differences and impairment. However, major limitations for the generalized use of this tool are the lack of reliable and standardized norms and of a version of the battery that can be used outside the lab. To circumvent these caveats, we put forward a new version of BAASTA on a tablet device capable of ensuring lab-equivalent measurements of timing and rhythm abilities. We present normative data obtained with this version of BAASTA from over 100 healthy adults between the ages of 18 and 87 years in a test-retest protocol. Moreover, we propose a new composite score to summarize beat-based rhythm capacities, the Beat Tracking Index (BTI), with close to excellent test-retest reliability. BTI derives from two BAASTA tests (beat alignment, paced tapping), and offers a swift and practical way of measuring rhythmic abilities when research imposes strong time constraints. This mobile BAASTA implementation is more inclusive and far-reaching, while opening new possibilities for reliable remote testing of rhythmic abilities by leveraging accessible and cost-efficient technologies.

Unravelling individual rhythmic abilities using machine learning

Humans can easily extract the rhythm of a complex sound, like music, and move to its regular beat, like in dance. These abilities are modulated by musical training and vary significantly in untrained individuals. The causes of this variability are multidimensional and typically hard to grasp in single tasks. To date we lack a comprehensive model capturing the rhythmic fingerprints of both musicians and non-musicians. Here we harnessed machine learning to extract a parsimonious model of rhythmic abilities, based on behavioral testing (with perceptual and motor tasks) of individuals with and without formal musical training (n = 79). We demonstrate that variability in rhythmic abilities and their link with formal and informal music experience can be successfully captured by profiles including a minimal set of behavioral measures. These findings highlight that machine learning techniques can be employed successfully to distill profiles of rhythmic abilities, and ultimately shed light on individual variability and its relationship with both formal musical training and informal musical experiences.

Clap, Clap, Clap - Unsystematic Review Essay on Clapping and Applause

The rationale for the following unsystematic review article is to provide a dense description of clapping behavior from an ethological, psychological, anthropological, sociological, ontological, and even physiological perspective. The article delves into its historical uses, possible biological-ethological evolution, and primitive and cultural polysemic-multipurpose social functions. It explores the different distal and immediate messages transmitted by the simple act of clapping, to its more complex attributes like synchronicity, social contagion, as a device of social status signaling, soft biometric data, and its, till now, mysterious subjective experience. The subtle distinction between clapping and applause will be explored. A list of primary social functions will be introduced based on the literature on clapping. In addition, a series of unresolved questions and possible research avenues will be suggested. In contrast, out of the scope of the essay and published as a second article will be the contents of clapping morphological variations and a comprehensive description of purposes achieved through them.

Which factors modulate spontaneous motor tempo? A systematic review of the literature

Intentionally or not, humans produce rhythmic behaviors (e.g., walking, speaking, and clapping). In 1974, Paul Fraisse defined rhythmic behavior as a periodic movement that obeys a temporal program specific to the subject and that depends less on the conditions of the action (p. 47). Among spontaneous rhythms, the spontaneous motor tempo (SMT) corresponds to the tempo at which someone produces movements in the absence of external stimuli, at the most regular, natural, and pleasant rhythm for him/her. However, intra- and inter-individual differences exist in the SMT values. Even if several factors have been suggested to influence the SMT (e.g., the age of participants), we do not yet know which factors actually modulate the value of the SMT. In this context, the objectives of the present systematic review are (1) to characterize the range of SMT values found in the literature in healthy human adults and (2) to identify all the factors modulating the SMT values in humans. Our results highlight that (1) the reference value of SMT is far from being a common value of 600 ms in healthy human adults, but a range of SMT values exists, and (2) many factors modulate the SMT values. We discuss our results in terms of intrinsic factors (in relation to personal characteristics) and extrinsic factors (in relation to environmental characteristics). Recommendations are proposed to assess the SMT in future research and in rehabilitative, educative, and sport interventions involving rhythmic behaviors.

Individual differences of limitation to extract beat from Kuramoto coupled oscillators: Transition from beat-based tapping to frequent tapping with weaker coupling

Musical performers synchronize to each other despite differences in sound-onset timings which reflect each musician's sense of the beat. A dynamical system of Kuramoto oscillators can simulate this spread of onsets at varying levels of temporal alignment with a variety of tempo and sound densities which also influence individual abilities for beat extraction. Here, we examined how people's sense of beat emerges when tapping with Kuramoto oscillators of varying coupling strengths which distribute onsets around periodic moments in time. We hypothesized that people tap regularly close to the sound onset density peaks when coupling is strong. When weaker coupling produces multiple inter-onset intervals that are more widely spread, people may interpret their variety and distributions differently in order to form a sense of beat. Experiment 1 with a small in-person cohort indeed showed a few individuals who responded with high frequency tapping to slightly weak coupled stimuli although the rest found regular beats. Experiment 2 with a larger on-line cohort revealed three groups based on characteristics of inter-tap-intervals analyzed by k-means clustering, namely a Regular group (about 1/3 of the final sample) with the most robust beat extraction, Fast group (1/6) who maintained frequent tapping except for the strongest coupling, and Hybrid group (1/2) who maintained beats except for the weakest coupling. Furthermore, the adaptation time course of tap interval variability was slowest in Regular group. We suggest that people's internal criterion for forming beats may involve different perceptual timescales where multiple stimulus intervals could be integrated or processed sequentially as is, and that the highly frequent tapping may reflect their approach in actively seeking synchronization. Our study provides the first documentation of the novel limits of sensorimotor synchronization and individual differences using coupled oscillator dynamics as a generative model of collective behavior.

Coordinated rhythms in animal species, including humans: Entrainment from bushcricket chorusing to the philharmonic orchestra

Coordinated group displays featuring precise entrainment of rhythmic behavior between neighbors occur not only in human music, dance and drill, but in the acoustic or optical signaling of a number of species of arthropods and anurans. In this review we describe the mechanisms of phase resetting and phase and tempo adjustments that allow the periodic output of signaling individuals to be aligned in synchronized rhythmic group displays. These mechanisms are well described in some of the synchronizing arthropod species, in which conspecific signals reset an individual's endogenous output oscillators in such a way that the joint rhythmic signals are locked in phase. Some of these species are capable of mutually adjusting both the phase and tempo of their rhythmic signaling, thereby achieving what is called perfect synchrony, a capacity which otherwise is found only in humans. We discuss this disjoint phylogenetic distribution of inter-individual rhythmic entrainment in the context of the functions such entrainment might perform in the various species concerned, and the adaptive circumstances in which it might evolve.

Auditory-motor synchronization varies among individuals and is critically shaped by acoustic features

The ability to synchronize body movements with quasi-regular auditory stimuli represents a fundamental trait in humans at the core of speech and music. Despite the long trajectory of the study of such ability, little attention has been paid to how acoustic features of the stimuli and individual differences can modulate auditory-motor synchrony. Here, by exploring auditory-motor synchronization abilities across different effectors and types of stimuli, we revealed that this capability is more restricted than previously assumed. While the general population can synchronize to sequences composed of the repetitions of the same acoustic unit, the synchrony in a subgroup of participants is impaired when the unit's identity varies across the sequence. In addition, synchronization in this group can be temporarily restored by being primed by a facilitator stimulus. Auditory-motor integration is stable across effectors, supporting the hypothesis of a central clock mechanism subserving the different articulators but critically shaped by the acoustic features of the stimulus and individual abilities.

Can rhythm-mediated reward boost learning, memory, and social connection? Perspectives for future research

Studies of rhythm processing and of reward have progressed separately, with little connection between the two. However, consistent links between rhythm and reward are beginning to surface, with research suggesting that synchronization to rhythm is rewarding, and that this rewarding element may in turn also boost this synchronization. The current mini review shows that the combined study of rhythm and reward can be beneficial to better understand their independent and combined roles across two central aspects of cognition: 1) learning and memory, and 2) social connection and interpersonal synchronization; which have so far been studied largely independently. From this basis, it is discussed how connections between rhythm and reward can be applied to learning and memory and social connection across different populations, taking into account individual differences, clinical populations, human development, and animal research. Future research will need to consider the rewarding nature of rhythm, and that rhythm can in turn boost reward, potentially enhancing other cognitive and social processes.

Exploring the use of music to promote physical activity: From the viewpoint of psychological hedonism

Despite the global efforts to encourage people to regularly participate in physical activity (PA) at moderate-to-vigorous intensity, an inadequate number of adults and adolescents worldwide meet the recommended dose of PA. A major challenge to promoting PA is that sedentary or low-active people experience negative shifts in affective valence (feeling bad versus good) in response to moderate-to-vigorous intensity PA. Interestingly, empirical data indicate that listening to music during acute bouts of PA positively alters affective valence (feeling good versus bad), reduces perceived exertion, and improves physical performance and oxygen utilization efficiency. From the viewpoint of the ancient principle of psychological hedonism - humans have ultimate desires to obtain pleasure and avoid displeasure - we elaborate on three putative mechanisms underlying the affective and ergogenic effects of music on acute bouts of PA: (1) musical pleasure and reward, (2) rhythmic entrainment, and (3) sensory distraction from physical exertion. Given that a positive shift in affective valence during an acute bout of PA is associated with more PA in the future, an important question arises as to whether the affective effect of music on acute PA can be carried over to promote long-term PA. Although this research question seems intuitive, to our knowledge, it has been scarcely investigated. We propose a theoretical model of Music as an Affective Stimulant to Physical Activity (MASPA) to further explain the putative mechanisms underlying the use of music to promote long-term PA. We believe there have been important gaps in music-based interventions in terms of the rationale supporting various components of the intervention and the efficacy of these interventions to promote long-term PA. Our specification of relevant mechanisms and proposal of a new theoretical model may advance our understanding of the optimal use of music as an affective, ergogenic, and sensory stimulant for PA promotion. Future directions are suggested to address the gaps in the literature.

Rhythmic serious games as an inclusive tool for music-based interventions

Technologies, such as mobile devices or sets of connected sensors, provide new and engaging opportunities to devise music-based interventions. Among the different technological options, serious games offer a valuable alternative. Serious games can engage multisensory processes, creating a rich, rewarding, and motivating rehabilitation setting. Moreover, they can be targeted to specific musical features, such as pitch production or synchronization to a beat. Because serious games are typically low cost and enjoy wide access, they are inclusive tools perfectly suited for remote at-home interventions using music in various patient populations and environments. The focus of this article is in particular on the use of rhythmic serious games for training auditory-motor synchronization. After reviewing the existing rhythmic games, initial evidence from a recent proof-of-concept study in Parkinson's disease is provided. It is shown that rhythmic video games using finger tapping can be used with success as an at-home protocol, and bring about beneficial effects on motor performance in patients. The use and benefits of rhythmic serious games can extend beyond the rehabilitation of patients with movement disorders, such as to neurodevelopmental disorders, including dyslexia and autism spectrum disorder.

Endogenous rhythms influence musicians' and non-musicians' interpersonal synchrony

Individuals display considerable rate differences in the spontaneous production of rhythmic behaviors (such as speech, gait, dance). Temporal precision in rhythmic behavior tends to be highest at individuals’ spontaneous production rates; musically trained partners with similar spontaneous rates show increased synchrony in joint tasks, consistent with predictions based on intrinsic frequencies of coupled oscillators. We address whether partner-specific influences of intrinsic frequencies are evidenced in musically trained and untrained individuals who tapped a familiar melody at a spontaneous (uncued) rate individually. Each individual then synchronized with a partner from the same musicianship group at an initially cued rate that matched the partners’ spontaneous rates. Musically trained partners showed greater synchrony in joint tapping than musically untrained partners. Asynchrony increased in both groups as the partners’ difference in individual spontaneous rates increased, with greater impact for musically untrained pairs. Recurrence quantification analysis confirmed that musically untrained individuals demonstrated greater determinism (less flexibility) in their tapping than musically trained individuals. Furthermore, individuals with greater determinism in solo performances demonstrated reduced synchrony in joint performances. These findings suggest that musicians’ increased temporal flexibility is associated with decreased endogenous constraints on production rate and greater interpersonal synchrony in musical tasks.

The effects of Parkinson's disease, music training, and dance training on beat perception and production abilities

Humans naturally perceive and move to a musical beat, entraining body movements to auditory rhythms through clapping, tapping, and dancing. Yet the accuracy of this seemingly effortless behavior varies widely across individuals. Beat perception and production abilities can be improved by experience, such as music and dance training, and impaired by progressive neurological changes, such as in Parkinson’s disease. In this study, we assessed the effects of music and dance experience on beat processing in young and older adults, as well as individuals with early-stage Parkinson’s disease. We used the Beat Alignment Test (BAT) to assess beat perception and production in a convenience sample of 458 participants (278 healthy young adults, 139 healthy older adults, and 41 people with early-stage Parkinson’s disease), with varying levels of music and dance training. In general, we found that participants with over three years of music training had more accurate beat perception than those with less training (p < .001). Interestingly, Parkinson’s disease patients with music training had beat production abilities comparable to healthy adults while Parkinson’s disease patients with minimal to no music training performed significantly worse. No effects were found in healthy adults for dance training, and too few Parkinson’s disease patients had dance training to reliably assess its effects. The finding that musically trained Parkinson’s disease patients performed similarly to healthy adults during a beat production task, while untrained patients did not, suggests music training may preserve certain rhythmic motor timing abilities in early-stage Parkinson’s disease.

Memory-Paced Tapping to Auditory Rhythms: Effects of Rate, Speech, and Motor Engagement

PURPOSE

Humans have a near-automatic tendency to entrain their motor actions to rhythms in the environment. Entrainment has been hypothesized to play an important role in processing naturalistic stimuli, such as speech and music, which have intrinsically rhythmic properties. Here, we studied two facets of entraining one's rhythmic motor actions to an external stimulus: (a) synchronized finger tapping to auditory rhythmic stimuli and (b) memory-paced reproduction of a previously heard rhythm.

METHOD

Using modifications of the Synchronization-Continuation tapping paradigm, we studied how these two rhythmic behaviors were affected by different stimulus and task features. We tested synchronization and memory-paced tapping for a broad range of rates, from stimulus onset asynchrony of subsecond to suprasecond, both for strictly isochronous tone sequences and for rhythmic speech stimuli (counting from 1 to 10), which are more ecological yet less isochronous. We also asked what role motor engagement plays in forming a stable internal representation for rhythms and guiding memory-paced tapping.

RESULTS AND CONCLUSIONS

Our results show that individuals can flexibly synchronize their motor actions to a very broad range of rhythms. However, this flexibility does not extend to memory-paced tapping, which is accurate only in a narrower range of rates, around ~1.5 Hz. This pattern suggests that intrinsic rhythmic defaults in the auditory and/or motor system influence the internal representation of rhythms, in the absence of an external pacemaker. Interestingly, memory-paced tapping for speech rhythms and simple tone sequences shared similar "optimal rates," although with reduced accuracy, suggesting that internal constraints on rhythmic entrainment generalize to more ecological stimuli. Last, we found that actively synchronizing to tones versus passively listening to them led to more accurate memory-paced tapping performance, which emphasizes the importance of action-perception interactions in forming stable entrainment to external rhythms.

Genome-wide association study of musical beat synchronization demonstrates high polygenicity

Moving in synchrony to the beat is a fundamental component of musicality. Here we conducted a genome-wide association study to identify common genetic variants associated with beat synchronization in 606,825 individuals. Beat synchronization exhibited a highly polygenic architecture, with 69 loci reaching genome-wide significance (P < 5 × 10^-8) and single-nucleotide-polymorphism-based heritability (on the liability scale) of 13%-16%. Heritability was enriched for genes expressed in brain tissues and for fetal and adult brain-specific gene regulatory elements, underscoring the role of central-nervous-system-expressed genes linked to the genetic basis of the trait. We performed validations of the self-report phenotype (through separate experiments) and of the genome-wide association study (polygenic scores for beat synchronization were associated with patients algorithmically classified as musicians in medical records of a separate biobank). Genetic correlations with breathing function, motor function, processing speed and chronotype suggest shared genetic architecture with beat synchronization and provide avenues for new phenotypic and genetic explorations.

Partially Preserved Processing of Musical Rhythms in REM but Not in NREM Sleep

The extent of high-level perceptual processing during sleep remains controversial. In wakefulness, perception of periodicities supports the emergence of high-order representations such as the pulse-like meter perceived while listening to music. Electroencephalography (EEG) frequency-tagged responses elicited at envelope frequencies of musical rhythms have been shown to provide a neural representation of rhythm processing. Specifically, responses at frequencies corresponding to the perceived meter are enhanced over responses at meter-unrelated frequencies. This selective enhancement must rely on higher-level perceptual processes, as it occurs even in irregular (i.e., syncopated) rhythms where meter frequencies are not prominent input features, thus ruling out acoustic confounds. We recorded EEG while presenting a regular (unsyncopated) and an irregular (syncopated) rhythm across sleep stages and wakefulness. Our results show that frequency-tagged responses at meter-related frequencies of the rhythms were selectively enhanced during wakefulness but attenuated across sleep states. Most importantly, this selective attenuation occurred even in response to the irregular rhythm, where meter-related frequencies were not prominent in the stimulus, thus suggesting that neural processes selectively enhancing meter-related frequencies during wakefulness are weakened during rapid eye movement (REM) and further suppressed in non-rapid eye movement (NREM) sleep. These results indicate preserved processing of low-level acoustic properties but limited higher-order processing of auditory rhythms during sleep.

Dynamic modulation of cortico-muscular coupling during real and imagined sensorimotor synchronisation

People have a natural and intrinsic ability to coordinate body movements with rhythms surrounding them, known as sensorimotor synchronisation. This can be observed in daily environments, when dancing or singing along with music, or spontaneously walking, talking or applauding in synchrony with one another. However, the neurophysiological mechanisms underlying accurately synchronised movement with selected rhythms in the environment remain unclear. Here we studied real and imagined sensorimotor synchronisation with interleaved auditory and visual rhythms using cortico-muscular coherence (CMC) to better understand the processes underlying the preparation and execution of synchronised movement. Electroencephalography (EEG), electromyography (EMG) from the finger flexors, and continuous force signals were recorded in 20 participants during tapping and imagined tapping with discrete stimulus sequences consisting of alternating auditory beeps and visual flashes. The results show that the synchronisation between cortical and muscular activity in the beta (14-38 Hz) frequency band becomes time-locked to the taps executed in synchrony with the visual and auditory stimuli. Dynamic modulation in CMC also occurred when participants imagined tapping with the visual stimuli, but with lower amplitude and a different temporal profile compared to real tapping. These results suggest that CMC does not only reflect changes related to the production of the synchronised movement, but also to its preparation, which appears heightened under higher attentional demands imposed when synchronising with the visual stimuli. These findings highlight a critical role of beta band neural oscillations in the cortical-muscular coupling underlying sensorimotor synchronisation.

The Value of Songs for Teaching and Learning Cardiopulmonary Resuscitation (CPR) Competencies: A Systematic Review

We sought to summarize, in a systematic review, the effectiveness of songs to support learning, performance, and recall of quality characteristics of cardiopulmonary resuscitation (CPR) compression rate, and depth. We systematically reviewed the literature from eight academic indexes from the fields of medicine, nursing, allied health, and education, from 2014 to 2020 to identify studies that evaluated an intervention of song use during CPR training against control and reported outcomes of compression rate and depth. There were 185 studies initially identified for review, eight met criteria for inclusion and analysis. For the critical outcome of compression depth, a pooled song group (n=446) when compared to a non-song group (n=443) demonstrated higher odds of being in the recommended range (OR 3.47). All studies, however, performed an average compression depth shallower than recommended guidelines in each arm. The available literature, we found, utilized heterogenous methodology and was at high risk of bias. When pooled, there were trends towards improved CPR metric performance in groups who were exposed to songs during treatment, though this only reached significance when groups were tested at >30 days from initial exposure. Findings of lower compression rates in the song groups suggest that song selection should favor beats per minute closer to the midpoint of the 100-120 ideal range to allow for variation when used as mental metronomes.

Effects of motor style on timing control and EEG waveforms in self-paced and synchronization tapping tasks

We investigated the effects of tapping style on motor performance and neural activity in self-paced and synchronization tapping tasks in three conditions (drum sticking [DS], one-finger tapping [1FT], and four-finger tapping [4FT]). In the synchronization task, participants tapped in synchrony with a metronomic sound. No significant differences were detected in the accuracy of timing control among the tapping styles, whereas larger potentials on EEG waveforms before tap onset were found in 4FT than in DS or 1FT; these may be readiness potentials for the motor commands required to control multiple fingers. As expected, tap intervals were more stable under the synchronization condition than under the selfpaced condition, but no difference was detected in the neural activity evoked before tap onset. Larger neural potentials observed in the early stage after tap onset in DS might be involved in the sensory feedback associated with tool use.

Basic timekeeping deficit in the Beat-based Form of Congenital Amusia

Humans have the capacity to match movements’ timing with the beat of music. Yet some individuals show marked difficulties. The causes of these difficulties remain to be determined. Here, we investigate to what extend a beat synchronization deficit can be traced to basic timekeeping abilities. Eight beat-impaired individuals who were unable to successfully synchronize to the beat of music were compared to matched controls in their ability to tap a self-paced regular beat, to tap to a metronome spanning a large range of tempi (225–1709 ms inter-tone onsets), and to maintain the tempi after the sounds had ceased. Whether paced by a metronome or not, beat-impaired individuals showed poorer regularity (higher variability) in tapping, with an inability to synchronize at a fast tempo (225 ms between beats) or to sustain tapping at slow tempi (above 1 sec). Yet, they showed evidence of predictive and flexible processing. We suggest that the beat impairment is due to imprecise internal timekeeping mechanism.

Rhythm in speech and animal vocalizations: a cross-species perspective

Why does human speech have rhythm? As we cannot travel back in time to witness how speech developed its rhythmic properties and why humans have the cognitive skills to process them, we rely on alternative methods to find out. One powerful tool is the comparative approach: studying the presence or absence of cognitive/behavioral traits in other species to determine which traits are shared between species and which are recent human inventions. Vocalizations of many species exhibit temporal structure, but little is known about how these rhythmic structures evolved, are perceived and produced, their biological and developmental bases, and communicative functions. We review the literature on rhythm in speech and animal vocalizations as a first step toward understanding similarities and differences across species. We extend this review to quantitative techniques that are useful for computing rhythmic structure in acoustic sequences and hence facilitate cross-species research. We report links between vocal perception and motor coordination and the differentiation of rhythm based on hierarchical temporal structure. While still far from a complete cross-species perspective of speech rhythm, our review puts some pieces of the puzzle together.

Auditory-motor coupling affects phonetic encoding

Recent studies have shown that moving in synchrony with auditory stimuli boosts attention allocation and verbal learning. Furthermore rhythmic tones are processed more efficiently than temporally random tones ('timing effect'), and this effect is increased when participants actively synchronize their motor performance with the rhythm of the tones, resulting in auditory-motor synchronization. Here, we investigated whether this applies also to sequences of linguistic stimuli (syllables). We compared temporally irregular syllable sequences with two temporally regular conditions where either the interval between syllable onsets (stimulus onset asynchrony, SOA) or the interval between the syllables' vowel onsets was kept constant. Entrainment to the stimulus presentation frequency (1 Hz) and event-related potentials were assessed in 24 adults who were instructed to detect pre-defined deviant syllables while they either pedaled or sat still on a stationary exercise bike. We found larger 1 Hz entrainment and P300 amplitudes for the SOA presentation during motor activity. Furthermore, the magnitude of the P300 component correlated with the motor variability in the SOA condition and 1 Hz entrainment, while in turn 1 Hz entrainment correlated with auditory-motor synchronization performance. These findings demonstrate that acute auditory-motor coupling facilitates phonetic encoding.

Poor Synchronization to Musical Beat Generalizes to Speech

The rhythmic nature of speech may recruit entrainment mechanisms in a manner similar to music. In the current study, we tested the hypothesis that individuals who display a severe deficit in synchronizing their taps to a musical beat (called beat-deaf here) would also experience difficulties entraining to speech. The beat-deaf participants and their matched controls were required to align taps with the perceived regularity in the rhythm of naturally spoken, regularly spoken, and sung sentences. The results showed that beat-deaf individuals synchronized their taps less accurately than the control group across conditions. In addition, participants from both groups exhibited more inter-tap variability to natural speech than to regularly spoken and sung sentences. The findings support the idea that acoustic periodicity is a major factor in domain-general entrainment to both music and speech. Therefore, a beat-finding deficit may affect periodic auditory rhythms in general, not just those for music.

A neuromechanistic model for rhythmic beat generation

When listening to music, humans can easily identify and move to the beat. Numerous experimental studies have identified brain regions that may be involved with beat perception and representation. Several theoretical and algorithmic approaches have been proposed to account for this ability. Related to, but different from the issue of how we perceive a beat, is the question of how we learn to generate and hold a beat. In this paper, we introduce a neuronal framework for a beat generator that is capable of learning isochronous rhythms over a range of frequencies that are relevant to music and speech. Our approach combines ideas from error-correction and entrainment models to investigate the dynamics of how a biophysically-based neuronal network model synchronizes its period and phase to match that of an external stimulus. The model makes novel use of on-going faster gamma rhythms to form a set of discrete clocks that provide estimates, but not exact information, of how well the beat generator spike times match those of a stimulus sequence. The beat generator is endowed with plasticity allowing it to quickly learn and thereby adjust its spike times to achieve synchronization. Our model makes generalizable predictions about the existence of asymmetries in the synchronization process, as well as specific predictions about resynchronization times after changes in stimulus tempo or phase. Analysis of the model demonstrates that accurate rhythmic time keeping can be achieved over a range of frequencies relevant to music, in a manner that is robust to changes in parameters and to the presence of noise.

The Montreal Protocol for Identification of Amusia

The Montreal Battery for the Evaluation of Amusia (MBEA; Peretz, Champod, & Hyde Annals of the New York Academy of Sciences, 999, 58-75, 2003) is an empirically grounded quantitative tool that is widely used to identify individuals with congenital amusia. The use of such a standardized measure ensures that the individuals tested will conform to a specific neuropsychological profile, allowing for comparisons across studies and research groups. Recently, a number of researchers have published credible critiques of the usefulness of the MBEA as a diagnostic tool for amusia. Here we argue that the MBEA and its online counterpart, the AMUSIA tests (Peretz et al. Music Perception, 25, 331-343, 2008), should be considered steps in a screening process for amusia, rather than standalone diagnostic tools. The goal of this article is to present, in detailed and easily replicable format, the full protocol through which congenital amusics should be identified. In providing information that has often gone unreported in published articles, we aim to clarify the strengths and limitations of the MBEA and to make recommendations for its continued use by the research community as part of the Montreal Protocol for Identification of Amusia.

What makes rhythms hard to perform? An investigation using Steve Reich's Clapping Music

Clapping Music is a minimalist work by Steve Reich based on twelve phased variations of a rhythmic pattern. It has been reimagined as a game-based mobile application, designed with a dual purpose. First, to introduce new audiences to the Minimalist genre through interaction with the piece presented as an engaging game. Second, to use large-scale data collection within the app to address research questions about the factors determining rhythm production performance. The twelve patterns can be differentiated using existing theories of rhythmic complexity. Using performance indicators from the game such as tap accuracy we can determine which patterns players found most challenging and so assess hypotheses from theoretical models with empirical evidence. The app has been downloaded over 140,000 times since the launch in July 2015, and over 46 million rows of gameplay data have been collected, requiring a big data approach to analysis. The results shed light on the rhythmic factors contributing to performance difficulty and show that the effect of making a transition from one pattern to the next is as significant, in terms of pattern difficulty, as the inherent complexity of the pattern itself. Challenges that arose in applying this novel approach are discussed.

Dancing to "groovy" music enhances the experience of flow

We investigated whether dancing influences the emotional response to music, compared to when music is listened to in the absence of movement. Forty participants without previous dance training listened to "groovy" and "nongroovy" music excerpts while either dancing or refraining from movement. Participants were also tested while imitating their own dance movements, but in the absence of music as a control condition. Emotion ratings and ratings of flow were collected following each condition. Dance movements were recorded using motion capture. We found that the state of flow was increased specifically during spontaneous dance to groovy excerpts, compared with both still listening and motor imitation. Emotions in the realms of vitality (such as joy and power) and sublimity (such as wonder and nostalgia) were evoked by music in general, whether participants moved or not. Significant correlations were found between the emotional and flow responses to music and whole-body acceleration profiles. Thus, the results highlight a distinct state of flow when dancing, which may be of use to promote well-being and to address certain clinical conditions.

The cerebellum's contribution to beat interval discrimination

From expert percussionists to individuals who cannot dance, there are widespread differences in people's abilities to perceive and synchronize with a musical beat. The aim of our study was to identify candidate brain regions that might be associated with these abilities. For this purpose, we used Voxel-Based-Morphometry to correlate inter-individual differences in performance on the Harvard Beat Assessment Tests (H-BAT) with local inter-individual variations in gray matter volumes across the entire brain space in 60 individuals. Analysis revealed significant co-variations between performances on two perceptual tasks of the Harvard Beat Assessment Tests associated with beat interval change discrimination (faster, slower) and gray matter volume variations in the cerebellum. Participant discrimination thresholds for the Beat Finding Interval Test (quarter note beat) were positively associated with gray matter volume variation in cerebellum lobule IX in the left hemisphere and crus I bilaterally. Discrimination thresholds for the Beat Interval Test (simple series of tones) revealed the tendency for a positive association with gray matter volume variations in crus I/II of the left cerebellum. Our results demonstrate the importance of the cerebellum in beat interval discrimination skills, as measured by two perceptual tasks of the Harvard Beat Assessment Tests. Current findings, in combination with evidence from patients with cerebellar degeneration and expert dancers, suggest that cerebellar gray matter and overall cerebellar integrity are important for temporal discrimination abilities.

Feeling the Beat: Bouncing Synchronization to Vibrotactile Music in Hearing and Early Deaf People

The ability to dance relies on the ability to synchronize movements to a perceived musical beat. Typically, beat synchronization is studied with auditory stimuli. However, in many typical social dancing situations, music can also be perceived as vibrations when objects that generate sounds also generate vibrations. This vibrotactile musical perception is of particular relevance for deaf people, who rely on non-auditory sensory information for dancing. In the present study, we investigated beat synchronization to vibrotactile electronic dance music in hearing and deaf people. We tested seven deaf and 14 hearing individuals on their ability to bounce in time with the tempo of vibrotactile stimuli (no sound) delivered through a vibrating platform. The corresponding auditory stimuli (no vibrations) were used in an additional condition in the hearing group. We collected movement data using a camera-based motion capture system and subjected it to a phase-locking analysis to assess synchronization quality. The vast majority of participants were able to precisely time their bounces to the vibrations, with no difference in performance between the two groups. In addition, we found higher performance for the auditory condition compared to the vibrotactile condition in the hearing group. Our results thus show that accurate tactile-motor synchronization in a dance-like context occurs regardless of auditory experience, though auditory-motor synchronization is of superior quality.

Not all about sex: neural and biobehavioral functions of human dance

This paper provides an integrative review of neuroscientific and biobehavioral evidence about the effects of dance on the individual across cultural differences. Dance moves us, and many derive aesthetic pleasure from it. However, in addition-and beyond aesthetics-we propose that dance has noteworthy, deeper neurobiological effects. We first summarize evidence that illustrates the centrality of dance to human life indirectly from archaeology, comparative psychology, developmental psychology, and cross-cultural psychology. Second, we review empirical evidence for six neural and biobehavioral functions of dance: (1) attentional focus/flow, (2) basic emotional experiences, (3) imagery, (4) communication, (5) self-intimation, and (6) social cohesion. We discuss the reviewed evidence in relation to current debates in the field of empirical enquiry into the functions of human dance, questioning the positions that dance is (1) just for pleasure, (2) all about sex, (3) just for mood management and well-being, and (4) for experts only. Being a young field, evidence is still piecemeal and inconclusive. This review aims to take a step toward a systematization of an emerging avenue of research: a neuro- and biobehavioral science of dance.