Action representation of sound: audiomotor recognition network while listening to newly acquired actions

The Effects of Motionless Interventions Based on Visual-Auditory Instructions With Sonification on Learning a Rhythmic Motor Skill

Our aim in this study was to investigate the effects of motionless interventions, based on visual-auditory integration with a sonification technique, on the learning a complex rhythmic motor skill. We recruited 22 male participants with high physical fitness and provided them four acquisition sessions in which to practice hurdle running, based on a visual-auditory instructional pattern. Next, we divided participants into three groups: visual-auditory, auditory, and control. In six sessions of motionless interventions, with no physical practice, participants in the visual-auditory group received a visual-auditory pattern similar to their experience during the acquisition period. The auditory group only listened to the sound of sonified movements of an expert hurdler, and the control group received no instructional interventions. Finally, participants in all three groups underwent post-intervention and transfer tests to determine their errors in the spatial and relative timing of their leading leg's knee angular displacement. Both visual-auditory and auditory groups had significantly less spatial error than the control group. However, there were no significant group differences in relative timing in any test phase. These results indicate that the use of the sonification technique in the form of visual-auditory instruction adapted to the athletes' needs benefitted perception-sensory capacities to improve motor skill learning.

Effects of repetitive transcranial magnetic stimulation combined with music therapy in non-fluent aphasia after stroke: A randomised controlled study

BACKGROUND

Although existing studies have shown that both repetitive transcranial magnetic stimulation (rTMS) and music therapy have advantages in the treatment of non-fluent aphasia, the efficacy of the combination of these two methods remains to be investigated.

AIMS

To investigate the clinical efficacy of low-frequency rTMS combined with music therapy on language function and depression in patients with non-fluent aphasia after stroke.

METHODS & PROCEDURES

A single-blind parallel randomised controlled trial was conducted. Sixty patients (mean duration = 93.78 days) with non-fluent aphasia after stroke were randomly divided into a traditional therapy group (n = 20), a music therapy group (n = 20) and a combined therapy group (n = 20, 1 Hz). The language function and depression were evaluated before and 3 weeks after treatment with the Chinese version of the Western Aphasia Battery scale, Boston Diagnostic Aphasia Examination scale and Stroke Aphasic Depression Questionnaire Hospital Version scale.

OUTCOMES & RESULTS

The combined therapy group was significantly better in all outcomes than the traditional therapy group and was significantly better in depression than the music therapy group. The music therapy group was significantly better in repetition and depression than the traditional therapy group. Language improvement was positively correlated with depression improvement. For adverse events, only two patients in the combined therapy group showed slight dizziness during rTMS treatment and their symptoms improved after rest.

CONCLUSIONS & IMPLICATIONS

Our preliminary randomised controlled study indicates that low-frequency rTMS combined with music therapy is feasible and safe in improving language function and depression in non-fluent aphasia patients after stroke.

WHAT THIS PAPER ADDS

What is already known on this subject Repetitive transcranial magnetic stimulation (rTMS) and music therapy respectively have advantages in the treatment of non-fluent aphasia after stroke, but whether the combination of the two methods is more effective is still unknown. What this paper adds to the existing knowledge This is one of the first randomised control trials to investigate whether the clinical efficacy of low-frequency rTMS combined music therapy for non-fluent aphasia is better. The findings show that low-frequency rTMS combined music therapy is superior to traditional therapy in spontaneous speech, auditory comprehension, repetition, naming, aphasia quotient, functional language level and depression, and superior to music therapy in depression, while music therapy is superior to traditional therapy in repetition and depression. What are the potential or actual clinical implications of this work? Low-frequency rTMS combined music therapy may be a better method for treatment of non-fluent aphasia.

Music performance as knowledge acquisition: a review and preliminary conceptual framework

To what extent does playing a musical instrument contribute to an individual's construction of knowledge? This paper aims to address this question by examining music performance from an embodied perspective and offering a narrative-style review of the main literature on the topic. Drawing from both older theoretical frameworks on motor learning and more recent theories on sensorimotor coupling and integration, this paper seeks to challenge and juxtapose established ideas with contemporary views inspired by recent work on embodied cognitive science. By doing so we advocate a centripetal approach to music performance, contrasting the prevalent centrifugal perspective: the sounds produced during performance not only originate from bodily action (centrifugal), but also cyclically return to it (centripetal). This perspective suggests that playing music involves a dynamic integration of both external and internal factors, transcending mere output-oriented actions and revealing music performance as a form of knowledge acquisition based on real-time sensorimotor experience.

Linking vestibular, tactile, and somatosensory rhythm perception to language development in infancy

First experiences with rhythm occur in the womb, with different rhythmic sources being available to the human fetus. Among sensory modalities, vestibular, tactile, and somatosensory perception plays a crucial role in early processing. However, a limited number of studies so far have specifically focused on VTS rhythms in language development. The present work investigated VTS rhythmic abilities and their role in language acquisition through two experiments with 45 infants (21 females, sex assigned at birth; M age = 661.6 days, SD = 192.6) with middle/high socioeconomic status. Specifically, 37 infants from the original sample completed Experiment 1, assessing VTS rhythmic abilities through a vibrotactile tool for music perception. In Experiment 2, linguistic abilities were evaluated in 40 participants from the same cohort, specifically testing phonological and prosodic processing. Discrimination abilities for rhythmic and linguistic stimuli were inferred from changes in pupil diameter to contingent visual stimuli over time, through a Tobii X-60 eye-tracker. The predictive effect of VTS rhythmic abilities on linguistic processing and the developmental changes occurring across ages were explored in the 32 infants who completed both Experiments 1 and 2 by means of generalized, additive and linear, mixed-effect models. Results are discussed in terms of cross-sensory (i.e., haptic to hearing) and cross-domain (i.e., music to language) effects of rhythm on language acquisition, with implications for typical and atypical development.

Cognitive Crescendo: How Music Shapes the Brain's Structure and Function

Music is a complex phenomenon with multiple brain areas and neural connections being implicated. Centuries ago, music was discovered as an efficient modality for psychological status enrichment and even for the treatment of multiple pathologies. Modern research investigations give a new avenue for music perception and the understanding of the underlying neurological mechanisms, using neuroimaging, especially magnetic resonance imaging. Multiple brain areas were depicted in the last decades as being of high value for music processing, and further analyses in the neuropsychology field uncover the implications in emotional and cognitive activities. Music listening improves cognitive functions such as memory, attention span, and behavioral augmentation. In rehabilitation, music-based therapies have a high rate of success for the treatment of depression and anxiety and even in neurological disorders such as regaining the body integrity after a stroke episode. Our review focused on the neurological and psychological implications of music, as well as presenting the significant clinical relevance of therapies using music.

Unlocking the musical brain: A proof-of-concept study on playing the piano in MRI scanner with naturalistic stimuli

Music is a universal human phenomenon, and can be studied for itself or as a window into the understanding of the brain. Few neuroimaging studies investigate actual playing in the MRI scanner, likely because of the lack of available experimental hardware and analysis tools. Here, we offer an innovative paradigm that addresses this issue in neuromusicology using naturalistic, polyphonic musical stimuli, presents a commercially available MRI-compatible piano, and a flexible approach to quantify participant's performance. We show how making errors while playing can be investigated using an altered auditory feedback paradigm. In the spirit of open science, we make our experimental paradigms and analysis tools available to other researchers studying pianists in MRI. Altogether, we present a proof-of-concept study which shows the feasibility of playing the novel piano in MRI, and a step towards using more naturalistic stimuli.

Designing Ecological Auditory Feedback on Lower Limb Kinematics for Hemiparetic Gait Training

Auditory feedback has earlier been explored as a tool to enhance patient awareness of gait kinematics during rehabilitation. In this study, we devised and tested a novel set of concurrent feedback paradigms on swing phase kinematics in hemiparetic gait training. We adopted a user-centered design approach, where kinematic data recorded from 15 hemiparetic patients was used to design three feedback algorithms (wading sounds, abstract, musical) based on filtered gyroscopic data from four inexpensive wireless inertial units. The algorithms were tested (hands-on) by a focus group of five physiotherapists. They recommended that the abstract and musical algorithms be discarded due to sound quality and informational ambiguity. After modifying the wading algorithm (as per their feedback), we conducted a feasibility test involving nine hemiparetic patients and seven physiotherapists, where variants of the algorithm were applied to a conventional overground training session. Most patients found the feedback meaningful, enjoyable to use, natural-sounding, and tolerable for the typical training duration. Three patients exhibited immediate improvements in gait quality when the feedback was applied. However, minor gait asymmetries were found to be difficult to perceive in the feedback, and there was variability in receptiveness and motor change among the patients. We believe that our findings can advance current research in inertial sensor-based auditory feedback for motor learning enhancement during neurorehabilitation.

Cortico-cerebellar audio-motor regions coordinate self and other in musical joint action

Joint music performance requires flexible sensorimotor coordination between self and other. Cognitive and sensory parameters of joint action-such as shared knowledge or temporal (a)synchrony-influence this coordination by shifting the balance between self-other segregation and integration. To investigate the neural bases of these parameters and their interaction during joint action, we asked pianists to play on an MR-compatible piano, in duet with a partner outside of the scanner room. Motor knowledge of the partner's musical part and the temporal compatibility of the partner's action feedback were manipulated. First, we found stronger activity and functional connectivity within cortico-cerebellar audio-motor networks when pianists had practiced their partner's part before. This indicates that they simulated and anticipated the auditory feedback of the partner by virtue of an internal model. Second, we observed stronger cerebellar activity and reduced behavioral adaptation when pianists encountered subtle asynchronies between these model-based anticipations and the perceived sensory outcome of (familiar) partner actions, indicating a shift towards self-other segregation. These combined findings demonstrate that cortico-cerebellar audio-motor networks link motor knowledge and other-produced sounds depending on cognitive and sensory factors of the joint performance, and play a crucial role in balancing self-other integration and segregation.

Effects of melodic intonation therapy in patients with chronic nonfluent aphasia

Patients with large left-hemisphere lesions and post-stroke aphasia often remain nonfluent. Melodic intonation therapy (MIT) may be an effective alternative to traditional speech therapy for facilitating recovery of fluency in those patients. In an open-label, proof-of-concept study, 14 subjects with nonfluent aphasia with large left-hemisphere lesions (171 ± 76 cc) underwent two speech/language assessments before, one at the midpoint, and two after the end of 75 sessions (1.5 h/session) of MIT. Functional MR imaging was done before and after therapy asking subjects to vocalize the same set of 10 bi-syllabic words. We found significant improvements in speech output after a period of intensive MIT (75 sessions for a total of 112.5 h) compared to two pre-therapy assessments. Therapy-induced gains were maintained 4 weeks post-treatment. Imaging changes were seen in a right-hemisphere network that included the posterior superior temporal and inferior frontal gyri, inferior pre- and postcentral gyri, pre-supplementary motor area, and supramarginal gyrus. Functional changes in the posterior right inferior frontal gyri significantly correlated with changes in a measure of fluency. Intense training of intonation-supported auditory-motor coupling and engaging feedforward/feedback control regions in the unaffected hemisphere improves speech-motor functions in subjects with nonfluent aphasia and large left-hemisphere lesions.

Putting music to trial: Consensus on key methodological challenges investigating music-based rehabilitation

Major advances in music neuroscience have fueled a growing interest in music-based neurological rehabilitation among researchers and clinicians. Musical activities are excellently suited to be adapted for clinical practice because of their multisensory nature, their demands on cognitive, language, and motor functions, and music's ability to induce emotions and regulate mood. However, the overall quality of music-based rehabilitation research remains low to moderate for most populations and outcomes. In this consensus article, expert panelists who participated in the Neuroscience and Music VII conference in June 2021 address methodological challenges relevant to music-based rehabilitation research. The article aims to provide guidance on challenges related to treatment, outcomes, research designs, and implementation in music-based rehabilitation research. The article addresses how to define music-based rehabilitation, select appropriate control interventions and outcomes, incorporate technology, and consider individual differences, among other challenges. The article highlights the value of the framework for the development and evaluation of complex interventions for music-based rehabilitation research and the need for stronger methodological rigor to allow the widespread implementation of music-based rehabilitation into regular clinical practice.

The role of auditory feedback in the motor learning of music in experienced and novice performers

Musical learning is related to the development of audio-visuomotor associations linking gestures with musical sounds. To study the role of auditory feedback in learning, 115 students (56 guitarists, 59 pianists) at the beginner, intermediate and advanced levels were recruited. Playing with sound (audio-motor feedback), mute practice (motor feedback), and piece listening (auditory feedback) were compared to first sight reading to assess the role of auditory and motor feedback in procedural learning. The procedure consisted of the execution of a standard piece for determining the students' level and 4 further music executions (every week for 4 weeks), preceded by different practice conditions (for 12 min, once a day, for 5 days). Real musical pieces (e.g., Segovia, Schubert, Bartók) were used. Performance evaluation focused on four macro-categories: note, rhythm, dynamics and smoothness. For both instruments, first-sight reading (A - M -) was associated with the worst performance: silent motor practice (A - M +) resulted in learning the rhythmic structure of the piece and in a smoother performance. Listening to pieces (A + M -) resulted in learning the agogics and in improving articulation and smoothness. Listening during performance (A + M +) resulted in fewer intonation errors. Interestingly, auditory feedback was more relevant for beginners than for advanced students, as evidenced by the greater benefits of listening during practice.

The rediscovered motor-related area 55b emerges as a core hub of music perception

Passive listening to music, without sound production or evident movement, is long known to activate motor control regions. Nevertheless, the exact neuroanatomical correlates of the auditory-motor association and its underlying neural mechanisms have not been fully determined. Here, based on a NeuroSynth meta-analysis and three original fMRI paradigms of music perception, we show that the long-ignored pre-motor region, area 55b, an anatomically unique and functionally intriguing region, is a core hub of music perception. Moreover, results of a brain-behavior correlation analysis implicate neural entrainment as the underlying mechanism of area 55b’s contribution to music perception. In view of the current results and prior literature, area 55b is proposed as a keystone of sensorimotor integration, a fundamental brain machinery underlying simple to hierarchically complex behaviors. Refining the neuroanatomical and physiological understanding of sensorimotor integration is expected to have a major impact on various fields, from brain disorders to artificial general intelligence.

Functional magnetic resonance imaging data acquired during passive listening to music suggest that pre-motor area 55b acts as a core hub of music processing in humans.

Auditory-motor mapping training: Testing an intonation-based spoken language treatment for minimally verbal children with autism spectrum disorder

We tested an intonation-based speech treatment for minimally verbal children with autism (auditory-motor mapping training, AMMT) against a nonintonation-based control treatment (speech repetition therapy, SRT). AMMT involves singing, rather than speaking, two-syllable words or phrases. In time with each sung syllable, therapist and child tap together on electronic drums tuned to the same pitches, thus coactivating shared auditory and motor neural representations of manual and vocal actions, and mimicking the "babbling and banging" stage of typical development. Fourteen children (three females), aged 5.0-10.8, with a mean Autism Diagnostic Observation Schedule-2 score of 22.9 (SD = 2.5) and a mean Kaufman Speech Praxis Test raw score of 12.9 (SD = 13.0) participated in this trial. The main outcome measure was percent syllables approximately correct. Four weeks post-treatment, AMMT resulted in a mean improvement of +12.1 (SE = 3.8) percentage points, compared to +2.8 (SE = 5.7) percentage points for SRT. This between-group difference was associated with a large effect size (Cohen's d = 0.82). Results suggest that simultaneous intonation and bimanual movements presented in a socially engaging milieu are effective factors in AMMT and can create an individualized, interactive music-making environment for spoken-language learning in minimally verbal children with autism.

Longitudinal changes in auditory and reward systems following receptive music-based intervention in older adults

Listening to pleasurable music is known to engage the brain’s reward system. This has motivated many cognitive-behavioral interventions for healthy aging, but little is known about the effects of music-based intervention (MBI) on activity and connectivity of the brain’s auditory and reward systems. Here we show preliminary evidence that brain network connectivity can change after receptive MBI in cognitively unimpaired older adults. Using a combination of whole-brain regression, seed-based connectivity analysis, and representational similarity analysis (RSA), we examined fMRI responses during music listening in older adults before and after an 8-week personalized MBI. Participants rated self-selected and researcher-selected musical excerpts on liking and familiarity. Parametric effects of liking, familiarity, and selection showed simultaneous activation in auditory, reward, and default mode network (DMN) areas. Functional connectivity within and between auditory and reward networks was modulated by participant liking and familiarity ratings. RSA showed significant representations of selection and novelty at both time-points, and an increase in striatal representation of musical stimuli following intervention. An exploratory seed-based connectivity analysis comparing pre- and post-intervention showed significant increase in functional connectivity between auditory regions and medial prefrontal cortex (mPFC). Taken together, results show how regular music listening can provide an auditory channel towards the mPFC, thus offering a potential neural mechanism for MBI supporting healthy aging.

Effort inference and prediction by acoustic and movement descriptors in interactions with imaginary objects during Dhrupad vocal improvisation

In electronic musical instruments (EMIs), the concept of "sound sculpting" was proposed by Mulder, in which imaginary objects are manually sculpted to produce sounds, although promising has had some limitations: driven by pure intuition, only the objects' geometrical properties were mapped to sound, while effort-which is often regarded as a key factor of expressivity in music performance-was neglected. The aim of this paper is to enhance such digital interactions by accounting for the perceptual measure of effort that is conveyed through well-established gesture-sound links in the ecologically valid conditions of non-digital music performances. Thus, it reports on the systematic exploration of effort in Dhrupad vocal improvisation, in which singers are often observed to engage with melodic ideas by manipulating intangible, imaginary objects with their hands. The focus is devising formalized descriptions to infer the amount of effort that such interactions are perceived to require and classify gestures as interactions with elastic versus rigid objects, based on original multimodal data collected in India for the specific study. Results suggest that a good part of variance for both effort levels and gesture classes can be explained through a small set of statistically significant acoustic and movement features extracted from the raw data and lead to rejecting the null hypothesis that effort is unrelated to the musical context. This may have implications on how EMIs could benefit from effort as an intermediate mapping layer and naturally opens discussions on whether physiological data may offer a more intuitive measure of effort in wearable technologies.

Loudness affects motion: asymmetric volume of auditory feedback results in asymmetric gait in healthy young adults

Background

The potential of auditory feedback for motor learning in the rehabilitation of various diseases has become apparent in recent years. However, since the volume of auditory feedback has played a minor role so far and its influence has hardly been considered, we investigate the volume effect of auditory feedback on gait pattern and gait direction and its interaction with pitch.

Methods

Thirty-two healthy young participants were randomly divided into two groups: Group 1 (n = 16) received a high pitch (150-250 Hz) auditory feedback; group 2 (n = 16) received a lower pitch (95-112 Hz) auditory feedback. The feedback consisted of a real-time sonification of the right and left foot ground contact. After an initial condition (no auditory feedback and full vision), both groups realized a 30-minute habituation period followed by a 30-minute asymmetry period. At any condition, the participants were asked to walk blindfolded and with auditory feedback towards a target at 15 m distance and were stopped 5 m before the target. Three different volume conditions were applied in random order during the habituation period: loud, normal, and quiet. In the subsequent asymmetry period, the three volume conditions baseline, right quiet and left quiet were applied in random order.

Results

In the habituation phase, the step width from the loud to the quiet condition showed a significant interaction of volume*pitch with a decrease at high pitch (group 1) and an increase at lower pitch (group 2) (group 1: loud 1.02 ± 0.310, quiet 0.98 ± 0.301; group 2: loud 0.95 ± 0.229, quiet 1.11 ± 0.298). In the asymmetry period, a significantly increased ground contact time on the side with reduced volume could be found (right quiet: left foot 0.988 ± 0.033, right foot 1.003 ± 0.040, left quiet: left foot 1.004 ± 0.036, right foot 1.002 ± 0.033).

Conclusions

Our results suggest that modifying the volume of auditory feedback can be an effective way to improve gait symmetry. This could facilitate gait therapy and rehabilitation of hemiparetic and arthroplasty patients, in particular if gait improvement based on verbal corrections and conscious motor control is limited.

The importance of the motor system in the development of music-based forms of auditory rehabilitation

Hearing abilities decline with age, and one of the most commonly reported hearing issues in older adults is a difficulty understanding speech when there is loud background noise. Understanding speech in noise relies on numerous cognitive processes, including working memory, and is supported by numerous brain regions, including the motor and motor planning systems. Indeed, many working memory processes are supported by motor and premotor cortical regions. Interestingly, lifelong musicians and nonmusicians given music training over the course of weeks or months show an improved ability to understand speech when there is loud background noise. These benefits are associated with enhanced working memory abilities, and enhanced activity in motor and premotor cortical regions. Accordingly, it is likely that music training improves the coupling between the auditory and motor systems and promotes plasticity in these regions and regions that feed into auditory/motor areas. This leads to an enhanced ability to dynamically process incoming acoustic information, and is likely the reason that musicians and those who receive laboratory-based music training are better able to understand speech when there is background noise. Critically, these findings suggest that music-based forms of auditory rehabilitation are possible and should focus on tasks that promote auditory-motor interactions.

Lateralised dynamic modulations of corticomuscular coherence associated with bimanual learning of rhythmic patterns

Human movements are spontaneously attracted to auditory rhythms, triggering an automatic activation of the motor system, a central phenomenon to music perception and production. Cortico-muscular coherence (CMC) in the theta, alpha, beta and gamma frequencies has been used as an index of the synchronisation between cortical motor regions and the muscles. Here we investigated how learning to produce a bimanual rhythmic pattern composed of low- and high-pitch sounds affects CMC in the beta frequency band. Electroencephalography (EEG) and electromyography (EMG) from the left and right First Dorsal Interosseus and Flexor Digitorum Superficialis muscles were concurrently recorded during constant pressure on a force sensor held between the thumb and index finger while listening to the rhythmic pattern before and after a bimanual training session. During the training, participants learnt to produce the rhythmic pattern guided by visual cues by pressing the force sensors with their left or right hand to produce the low- and high-pitch sounds, respectively. Results revealed no changes after training in overall beta CMC or beta oscillation amplitude, nor in the correlation between the left and right sides for EEG and EMG separately. However, correlation analyses indicated that left- and right-hand beta EEG-EMG coherence were positively correlated over time before training but became uncorrelated after training. This suggests that learning to bimanually produce a rhythmic musical pattern reinforces lateralised and segregated cortico-muscular communication.

Music in the brain

Music is ubiquitous across human cultures - as a source of affective and pleasurable experience, moving us both physically and emotionally - and learning to play music shapes both brain structure and brain function. Music processing in the brain - namely, the perception of melody, harmony and rhythm - has traditionally been studied as an auditory phenomenon using passive listening paradigms. However, when listening to music, we actively generate predictions about what is likely to happen next. This enactive aspect has led to a more comprehensive understanding of music processing involving brain structures implicated in action, emotion and learning. Here we review the cognitive neuroscience literature of music perception. We show that music perception, action, emotion and learning all rest on the human brain's fundamental capacity for prediction - as formulated by the predictive coding of music model. This Review elucidates how this formulation of music perception and expertise in individuals can be extended to account for the dynamics and underlying brain mechanisms of collective music making. This in turn has important implications for human creativity as evinced by music improvisation. These recent advances shed new light on what makes music meaningful from a neuroscientific perspective.

Neural Correlates of Listening to Varying Synchrony Between Beats in Samba Percussion and Relations to Feeling the Groove

Listening to samba percussion often elicits feelings of pleasure and the desire to move with the beat-an experience sometimes referred to as "feeling the groove"- as well as social connectedness. Here we investigated the effects of performance timing in a Brazilian samba percussion ensemble on listeners' experienced pleasantness and the desire to move/dance in a behavioral experiment, as well as on neural processing as assessed via functional magnetic resonance imaging (fMRI). Participants listened to different excerpts of samba percussion produced by multiple instruments that either were "in sync", with no additional asynchrony between instrumental parts other than what is usual in naturalistic recordings, or were presented "out of sync" by delaying the snare drums (by 28, 55, or 83 ms). Results of the behavioral experiment showed increasing pleasantness and desire to move/dance with increasing synchrony between instruments. Analysis of hemodynamic responses revealed stronger bilateral brain activity in the supplementary motor area, the left premotor area, and the left middle frontal gyrus with increasing synchrony between instruments. Listening to "in sync" percussion thus strengthens audio-motor interactions by recruiting motor-related brain areas involved in rhythm processing and beat perception to a higher degree. Such motor related activity may form the basis for "feeling the groove" and the associated desire to move to music. Furthermore, in an exploratory analysis we found that participants who reported stronger emotional responses to samba percussion in everyday life showed higher activity in the subgenual cingulate cortex, an area involved in prosocial emotions, social group identification and social bonding.

A functional dissociation of the left frontal regions that contribute to single word production tasks

Controversy surrounds the interpretation of higher activation for pseudoword compared to word reading in the left precentral gyrus and pars opercularis. Specifically, does activation in these regions reflect: (1) the demands on sublexical assembly of articulatory codes, or (2) retrieval effort because the combinations of articulatory codes are unfamiliar? Using fMRI, in 84 neurologically intact participants, we addressed this issue by comparing reading and repetition of words (W) and pseudowords (P) to naming objects (O) from pictures or sounds. As objects do not provide sublexical articulatory cues, we hypothesis that retrieval effort will be greater for object naming than word repetition/reading (which benefits from both lexical and sublexical cues); while the demands on sublexical assembly will be higher for pseudoword production than object naming. We found that activation was: (i) highest for pseudoword reading [P>O&W in the visual modality] in the anterior part of the ventral precentral gyrus bordering the precentral sulcus (vPCg/vPCs), consistent with the sublexical assembly of articulatory codes; but (ii) as high for object naming as pseudoword production [P&O>W] in dorsal precentral gyrus (dPCg) and the left inferior frontal junction (IFJ), consistent with retrieval demands and cognitive control. In addition, we dissociate the response properties of vPCg/vPCs, dPCg and IFJ from other left frontal lobe regions that are activated during single word speech production. Specifically, in both auditory and visual modalities: a central part of vPCg (head and face area) was more activated for verbal than nonverbal stimuli [P&W>O]; and the pars orbitalis and inferior frontal sulcus were most activated during object naming [O>W&P]. Our findings help to resolve a previous discrepancy in the literature, dissociate three functionally distinct parts of the precentral gyrus, and refine our knowledge of the functional anatomy of speech production in the left frontal lobe.

Auditory-Motor Mapping Training Facilitates Speech and Word Learning in Tone Language-Speaking Children With Autism: An Early Efficacy Study

PURPOSE

It has been reported that tone language-speaking children with autism demonstrate speech-specific lexical tone processing difficulty, although they have intact or even better-than-normal processing of nonspeech/melodic pitch analogues. In this early efficacy study, we evaluated the therapeutic potential of Auditory-Motor Mapping Training (AMMT) in facilitating speech and word output for Mandarin-speaking nonverbal and low-verbal children with autism, in comparison with a matched non-AMMT-based control treatment.

METHOD

Fifteen Mandarin-speaking nonverbal and low-verbal children with autism spectrum disorder participated and completed all the AMMT-based treatment sessions by intoning (singing) and tapping the target words delivered via an app, whereas another 15 participants received control treatment. Generalized linear mixed-effects models were created to evaluate speech production accuracy and word production intelligibility across different groups and conditions.

RESULTS

Results showed that the AMMT-based treatment provided a more effective training approach in accelerating the rate of speech (especially lexical tone) and word learning in the trained items. More importantly, the enhanced training efficacy on lexical tone acquisition remained at 2 weeks after therapy and generalized to untrained tones that were not practiced. Furthermore, the low-verbal participants showed higher improvement compared to the nonverbal participants.

CONCLUSIONS

These data provide the first empirical evidence for adopting the AMMT-based training to facilitate speech and word learning in Mandarin-speaking nonverbal and low-verbal children with autism. This early efficacy study holds promise for improving lexical tone production in Mandarin-speaking children with autism but should be further replicated in larger scale randomized studies. Supplemental Material https://doi.org/10.23641/asha.16834627.

Vestibular System Eletrophysiology: An Analysis of the Relationship between Hearing and Movement

Introduction  Knowledge about the positive effects that music and dance bring, in its various forms, to the healthy human brain, is important not only in the context of basic neuroscience but may also strongly affect practices in neurorehabilitation.

Objective  To verify the relationship between hearing and movement and, specifically, to analyze the interference of professional dance practice and formal musical training in the magnitude of the vestibule-cervical and vestibular reflexes.

Method  The sample consisted of 92 subjects, aged between 18 and 35 years old, 31 professional musicians, 31 ballet dancers, and 30 control subjects. Only subjects with normal hearing sensitivity were included. Cervical vestibular evoked myogenic potential (cVEMP) was recorded in the sternocleidomastoid muscle, and ocular vestibular evoked myogenic potential (oVEMP) was recorded in the lower oblique muscle of the eye, using tone-bursts (500Hz). Analysis of variance (ANOVA) or Kruskall-Wallis tests were performed.

Results  The cVEMP presented earlier and higher amplitude waves when recorded in the group of dancers, with a significant difference between all tested groups for latency and amplitude of the N23 wave; the comparison was restricted between dancers and control groups, with no difference between ballet dancers and musicians. The N1 wave of the oVEMP presented lower latencies in dancers than in musicians and controls ( p  = 0.001). No significant differences were found between the groups for the P1 wave.

Conclusion  Greater magnitudes of vestibule-cervical reflex responses and faster vestibule-ocular reflex responses were observed in dancers. Dance practice provides greater development of the vestibular system, but musical training also contributes to the magnitude of these responses.

Not all errors are alike: modulation of error-related neural responses in musical joint action

During joint action, the sense of agency enables interaction partners to implement corrective and adaptive behaviour in response to performance errors. When agency becomes ambiguous (e.g. when action similarity encourages perceptual self-other overlap), confusion as to who produced what may disrupt this process. The current experiment investigated how ambiguity of agency affects behavioural and neural responses to errors in a joint action domain where self-other overlap is common: musical duos. Pairs of pianists performed piano pieces in synchrony, playing either the same pitches (ambiguous agency) or different pitches (unambiguous agency) while electroencephalography (EEG) was recorded for each individual. Behavioural and event-related potential results showed no effects of the agency manipulation but revealed differences in how distinct error types are processed. Self-produced 'wrong note' errors (substitutions) were left uncorrected, showed post-error slowing and elicited an error-related negativity (ERN) peaking before erroneous keystrokes (pre-ERN). In contrast, self-produced 'extra note' errors (additions) exhibited pre-error slowing, error and post-error speeding, were rapidly corrected and elicited the ERN. Other-produced errors evoked a feedback-related negativity but no behavioural effects. Overall findings shed light upon how the nervous system supports fluent interpersonal coordination in real-time joint action by employing distinct mechanisms to manage different types of errors.

Frontoparietal, Cerebellum Network Codes for Accurate Intention Prediction in Altered Perceptual Conditions

Integrating and predicting the intentions and actions of others are critical components of social interactions, but the behavioral and neural bases of such mechanisms under altered perceptual conditions are poorly understood. In the present study, we recruited expert violinists and age-matched controls with no musical training and asked them to evaluate simplified dynamic stimuli of violinists playing in a piano or forte communicative intent while undergoing functional magnetic resonance imaging. We show that expertise is needed to successfully understand and evaluate communicative intentions in spatially and temporally altered visual representations of musical performance. Frontoparietal regions-such as the dorsolateral prefrontal cortex and the inferior parietal lobule and sulcus-and various subregions of the cerebellum-such as cerebellar lobules I-IV, V, VI, VIIb, VIIIa, X-a re recruited in the process. Functional connectivity between these brain areas reveals widespread organization, particularly in the dorsolateral prefrontal cortex, inferior frontal gyrus, inferior parietal sulcus, and in the cerebellum. This network may be essential to successfully assess communicative intent in ambiguous or complex visual scenes.

The effects of dual-task interference in predicting turn-ends in speech and music

Determining when a partner's spoken or musical turn will end requires well-honed predictive abilities. Evidence suggests that our motor systems are activated during perception of both speech and music, and it has been argued that motor simulation is used to predict turn-ends across domains. Here we used a dual-task interference paradigm to investigate whether motor simulation of our partner's action underlies our ability to make accurate turn-end predictions in speech and in music. Furthermore, we explored how specific this simulation is to the action being predicted. We conducted two experiments, one investigating speech turn-ends, and one investigating music turn-ends. In each, 34 proficient pianists predicted turn-endings while (1) passively listening, (2) producing an effector-specific motor activity (mouth/hand movement), or (3) producing a task- and effector-specific motor activity (mouthing words/fingering a piano melody). In the speech experiment, any movement during speech perception disrupted predictions of spoken turn-ends, whether the movement was task-specific or not. In the music experiment, only task-specific movement (i.e., fingering a piano melody) disrupted predictions of musical turn-ends. These findings support the use of motor simulation to make turn-end predictions in both speech and music but suggest that the specificity of this simulation may differ between domains.

Sonification of combined action observation and motor imagery: Effects on corticospinal excitability

Action observation and motor imagery are valuable strategies for motor learning. Their simultaneous use (AOMI) increases neural activity, with related benefits for motor learning, compared to the two strategies alone. In this study, we explored how sonification influences AOMI. Twenty-five participants completed a practice block based on AOMI, motor imagery and physical execution of the same action. Participants were divided into two groups: An experimental group that practiced with sonification during AOMI (sAOMI), and a control group, which did not receive any extrinsic feedback. Corticospinal excitability at rest and during action observation and AOMI was assessed before and after practice, with and without sonification sound, to test the development of an audiomotor association. The practice block increased corticospinal excitability in all testing conditions, but sonification did not affect this. In addition, we found no differences in action observation and AOMI, irrespective of sonification. These results suggest that, at least for simple tasks, sonification of AOMI does not influence corticospinal excitability; In these conditions, sonification may have acted as a distractor. Future studies should further explore the relationship between task complexity, value of auditory information and action, to establish whether sAOMI is a valuable for motor learning.

The impact of early musical training on striatal functional connectivity

Evidence from language, visual and sensorimotor learning suggests that training early in life is more effective. The present work explores the hypothesis that learning during sensitive periods involves distinct brain networks in addition to those involved when learning later in life. Expert pianists were tested who started their musical training early (<7 years of age; n = 21) or late (n = 15), but were matched for total lifetime practice. Motor timing expertise was assessed using a musical scale playing task. Brain activity at rest was measured using fMRI and compared with a control group of nonmusicians (n = 17). Functional connectivity from seeds in the striatum revealed a striatal-cortical-sensorimotor network that was observed only in the early-onset group. In this network, higher connectivity correlated with greater motor timing expertise, which resulted from early/late group differences in motor timing expertise. By contrast, networks that differentiated musicians and nonmusicians, namely a striatal-occipital-frontal-cerebellar network in which connectivity was higher in musicians, tended to not show differences between early and late musicians and not be correlated with motor timing expertise. These results parcel musical sensorimotor neuroplasticity into a set of musicianship-related networks and a distinct set of predominantly early-onset networks. The findings lend support to the possibility that we can learn skills more easily early in development because during sensitive periods we recruit distinct brain networks that are no longer implicated in learning later in life.

The role of mirror mechanism in the recovery, maintenance, and acquisition of motor abilities

While it is well documented that the motor system is more than a mere implementer of motor actions, the possible applications of its cognitive side are still under-exploited, often remaining as poorly organized evidence. Here, we will collect evidence showing the value of action observation treatment (AOT) in the recovery of impaired motor abilities for a vast number of clinical conditions, spanning from traumatological patients to brain injuries and neurodegenerative diseases. Alongside, we will discuss the use of AOT in the maintenance of appropriate motor behavior in subjects at risk for events with dramatic physical consequences, like fall prevention in elderly people or injury prevention in sports. Finally, we will report that AOT can help to tune existing motor competencies in fields requiring precise motor control. We will connect all these diverse dots into the neurophysiological scenario offered by decades of research on the human mirror mechanism, discussing the potentialities for individualization. Empowered by modern technologies, AOT can impact individuals' safety and quality of life across the whole lifespan.

Dance Is More Than Meets the Eye-How Can Dance Performance Be Made Accessible for a Non-sighted Audience?

Dance is regarded as visual art form by common arts and science perspectives. Definitions of dance as means of communication agree that its message is conveyed by the dancer/choreographer via the human body for the observer, leaving no doubt that dance is performed to be watched. Brain activation elicited by the visual perception of dance has also become a topic of interest in cognitive neuroscience, with regards to action observation in the context of learning, expertise and aesthetics. The view that the aesthetic experience of dance is primarily a visual one is still shared by many artists and cultural institutions, yet there is growing interest in making dance performances accessible for individuals with visual impairment / blindness. Means of supporting the non-visual experience of dance include verbal (audio description), auditive (choreographed body sounds, movement sonification), and haptic (touch tour) techniques, applied for different purposes by artists and researchers, with three main objectives: to strengthen the cultural participation of a non-sighted audience in the cultural and aesthetic experience of dance; to expand the scope of dance as an artistic research laboratory toward novel ways of perceiving what dance can convey; and to inspire new lines of (neuro-cognitive) research beyond watching dance. Reviewing literature from different disciplines and drawing on the personal experience of an inclusive performance of Simon Mayer's "Sons of Sissy," we argue that a non-exclusively visual approach can be enriching and promising for all three perspectives and conclude by proposing hypotheses for multidisciplinary lines of research.

The Role of the Mirror System in Influencing Musicians' Evaluation of Musical Creativity: A tDCS Study

Evidence reported in the literature suggests that the mirror system not only plays a role in recognizing motor action but also fosters a better understanding of other people because it helps an individual assume another's perspective. This led to the idea, supported by research findings, that people with higher empathy scores should show higher activation of the mirror system. Recently, it has been hypothesized that a purely auditory mirror system exists. In this study, we aimed to explore the possibility that this system might play a particular role for musicians. Specifically, this system would impact their response to a new piece of music by using non-invasive brain stimulation to modulate the activation of the mirror system. A sample of 40 young musicians was involved in this study. Half of the participants were randomly assigned to a cathodal stimulation condition, while the other half was used as a control. After listening to a new piece of music, participants were asked to rate the creativity of the piece (by focusing on how interesting, innovative, and exciting the piece was) as well as their general emotional response to it. Their empathy levels were also assessed using the Interpersonal Reactivity Index (IRI). Results showed that the cathodal stimulation of the mirror system negatively affected both the perception of creativity (level of innovation) and the emotional response to the music. There was no significant difference in the ratings of how interesting the piece was perceived. The effect was mediated by the individuals' level of empathy. Specifically, empathic concern and fantasy dimensions increased the evaluation of creativity. Results also showed that participants reported less emotion with a negative valence in the cathodal stimulation condition.

How Musical Training Shapes the Adult Brain: Predispositions and Neuroplasticity

Learning to play a musical instrument is a complex task that integrates multiple sensory modalities and higher-order cognitive functions. Therefore, musical training is considered a useful framework for the research on training-induced neuroplasticity. However, the classical nature-or-nurture question remains, whether the differences observed between musicians and non-musicians are due to predispositions or result from the training itself. Here we present a review of recent publications with strong focus on experimental designs to better understand both brain reorganization and the neuronal markers of predispositions when learning to play a musical instrument. Cross-sectional studies identified structural and functional differences between the brains of musicians and non-musicians, especially in regions related to motor control and auditory processing. A few longitudinal studies showed functional changes related to training while listening to and producing music, in the motor network and its connectivity with the auditory system, in line with the outcomes of cross-sectional studies. Parallel changes within the motor system and between the motor and auditory systems were revealed for structural connectivity. In addition, potential predictors of musical learning success were found including increased brain activation in the auditory and motor systems during listening, the microstructure of the arcuate fasciculus, and the functional connectivity between the auditory and the motor systems. We show that “the musical brain” is a product of both the natural human neurodiversity and the training practice.

Chinese-English bilinguals show linguistic-perceptual links in the brain associating short spoken phrases with corresponding real-world natural action sounds by semantic category

Higher cognitive functions such as linguistic comprehension must ultimately relate to perceptual systems in the brain, though how and why this forms remains unclear. Different brain networks that mediate perception when hearing real-world natural sounds has recently been proposed to respect a taxonomic model of acoustic-semantic categories. Using functional magnetic resonance imaging (fMRI) with Chinese/English bilingual listeners, the present study explored whether reception of short spoken phrases, in both Chinese (Mandarin) and English, describing corresponding sound-producing events would engage overlapping brain regions at a semantic category level. The results revealed a double-dissociation of cortical regions that were preferential for representing knowledge of human versus environmental action events, whether conveyed through natural sounds or the corresponding spoken phrases depicted by either language. These findings of cortical hubs exhibiting linguistic-perceptual knowledge links at a semantic category level should help to advance neurocomputational models of the neurodevelopment of language systems.

Mirror Neuron Activity During Audiovisual Appreciation of Opera Performance

Opera is a performing art in which music plays the leading role, and the acting of singers has a synergistic effect with the music. The mirror neuron system represents the neurophysiological mechanism underlying the coupling of perception and action. Mirror neuron activity is modulated by the appropriateness of actions and clarity of intentions, as well as emotional expression and aesthetic values. Therefore, it would be reasonable to assume that an opera performance induces mirror neuron activity in the audience so that the performer effectively shares an embodied performance with the audience. However, it is uncertain which aspect of opera performance induces mirror neuron activity. It is hypothesized that although auditory stimuli could induce mirror neuron activity, audiovisual perception of stage performance is the primary inducer of mirror neuron activity. To test this hypothesis, this study sought to correlate opera performance with brain activity as measured by electroencephalography (EEG) in singers while watching an opera performance with sounds or while listening to an aria without visual stimulus. We detected mirror neuron activity by observing that the EEG power in the alpha frequency band (8-13 Hz) was selectively decreased in the frontal-central-parietal area when watching an opera performance. In the auditory condition, however, the alpha-band power did not change relative to the resting condition. This study illustrates that the audiovisual perception of an opera performance engages the mirror neuron system in its audience.

Meta-Analyses Support a Taxonomic Model for Representations of Different Categories of Audio-Visual Interaction Events in the Human Brain

Our ability to perceive meaningful action events involving objects, people, and other animate agents is characterized in part by an interplay of visual and auditory sensory processing and their cross-modal interactions. However, this multisensory ability can be altered or dysfunctional in some hearing and sighted individuals, and in some clinical populations. The present meta-analysis sought to test current hypotheses regarding neurobiological architectures that may mediate audio-visual multisensory processing. Reported coordinates from 82 neuroimaging studies (137 experiments) that revealed some form of audio-visual interaction in discrete brain regions were compiled, converted to a common coordinate space, and then organized along specific categorical dimensions to generate activation likelihood estimate (ALE) brain maps and various contrasts of those derived maps. The results revealed brain regions (cortical "hubs") preferentially involved in multisensory processing along different stimulus category dimensions, including 1) living versus nonliving audio-visual events, 2) audio-visual events involving vocalizations versus actions by living sources, 3) emotionally valent events, and 4) dynamic-visual versus static-visual audio-visual stimuli. These meta-analysis results are discussed in the context of neurocomputational theories of semantic knowledge representations and perception, and the brain volumes of interest are available for download to facilitate data interpretation for future neuroimaging studies.

Auditory cues reveal intended movement information in middle frontal gyrus neuronal ensemble activity of a person with tetraplegia

Intracortical brain-computer interfaces (iBCIs) allow people with paralysis to directly control assistive devices using neural activity associated with the intent to move. Realizing the full potential of iBCIs critically depends on continued progress in understanding how different cortical areas contribute to movement control. Here we present the first comparison between neuronal ensemble recordings from the left middle frontal gyrus (MFG) and precentral gyrus (PCG) of a person with tetraplegia using an iBCI. As expected, PCG was more engaged in selecting and generating intended movements than in earlier perceptual stages of action planning. By contrast, MFG displayed movement-related information during the sensorimotor processing steps preceding the appearance of the action plan in PCG, but only when the actions were instructed using auditory cues. These results describe a previously unreported function for neurons in the human left MFG in auditory processing contributing to motor control.

Visual Sensory Cortices Causally Contribute to Auditory Word Recognition Following Sensorimotor-Enriched Vocabulary Training

Despite a rise in the use of "learning by doing" pedagogical methods in praxis, little is known as to how the brain benefits from these methods. Learning by doing strategies that utilize complementary information ("enrichment") such as gestures have been shown to optimize learning outcomes in several domains including foreign language (L2) training. Here we tested the hypothesis that behavioral benefits of gesture-based enrichment are critically supported by integrity of the biological motion visual cortices (bmSTS). Prior functional neuroimaging work has implicated the visual motion cortices in L2 translation following sensorimotor-enriched training; the current study is the first to investigate the causal relevance of these structures in learning by doing contexts. Using neuronavigated transcranial magnetic stimulation and a gesture-enriched L2 vocabulary learning paradigm, we found that the bmSTS causally contributed to behavioral benefits of gesture-enriched learning. Visual motion cortex integrity benefitted both short- and long-term learning outcomes, as well as the learning of concrete and abstract words. These results adjudicate between opposing predictions of two neuroscientific learning theories: While reactivation-based theories predict no functional role of specialized sensory cortices in vocabulary learning outcomes, the current study supports the predictive coding theory view that these cortices precipitate sensorimotor-based learning benefits.

Train the brain with music (TBM): brain plasticity and cognitive benefits induced by musical training in elderly people in Germany and Switzerland, a study protocol for an RCT comparing musical instrumental practice to sensitization to music

BACKGROUND

Recent data suggest that musical practice prevents age-related cognitive decline. But experimental evidence remains sparse and no concise information on the neurophysiological bases exists, although cognitive decline represents a major impediment to healthy aging. A challenge in the field of aging is developing training regimens that stimulate neuroplasticity and delay or reverse symptoms of cognitive and cerebral decline. To be successful, these regimens should be easily integrated in daily life and intrinsically motivating. This study combines for the first-time protocolled music practice in elderly with cutting-edge neuroimaging and behavioral approaches, comparing two types of musical education.

METHODS

We conduct a two-site Hannover-Geneva randomized intervention study in altogether 155 retired healthy elderly (64-78) years, (63 in Geneva, 92 in Hannover), offering either piano instruction (experimental group) or musical listening awareness (control group). Over 12 months all participants receive weekly training for 1 hour, and exercise at home for ~ 30 min daily. Both groups study different music styles. Participants are tested at 4 time points (0, 6, and 12 months & post-training (18 months)) on cognitive and perceptual-motor aptitudes as well as via wide-ranging functional and structural neuroimaging and blood sampling.

DISCUSSION

We aim to demonstrate positive transfer effects for faculties traditionally described to decline with age, particularly in the piano group: executive functions, working memory, processing speed, abstract thinking and fine motor skills. Benefits in both groups may show for verbal memory, hearing in noise and subjective well-being. In association with these behavioral benefits we anticipate functional and structural brain plasticity in temporal (medial and lateral), prefrontal and parietal areas and the basal ganglia. We intend exhibiting for the first time that musical activities can provoke important societal impacts by diminishing cognitive and perceptual-motor decline supported by functional and structural brain plasticity.

TRIAL REGISTRATION

The Ethikkomission of the Leibniz Universität Hannover approved the protocol on 14.08.17 (no. 3604-2017), the neuroimaging part and blood sampling was approved by the Hannover Medical School on 07.03.18. The full protocol was approved by the Commission cantonale d'éthique de la recherche de Genève (no. 2016-02224) on 27.02.18 and registered at clinicaltrials.gov on 17.09.18 ( NCT03674931 , no. 81185).

Differential Activation and Functional Plasticity of Multimodal Areas Associated with Acquired Musical Skill

Training of a musical skill is known to produce a distributed neural representation of the ability to perceive music and perform musical tasks. In the present study we tested the hypothesis that the audiovisual perception of music involves a wider activation of multimodal sensory and sensorimotor structures in the brain, including those containing mirror neurons. We mapped the activation of brain areas during passive listening and viewing of the first 40 s of "Ode to Joy" being played on the piano by an expert pianist. To do this we performed brain functional magnetic resonance imaging during the presentation of 6 different stimulus contrasts pertaining to that musical melody in a pseudo-randomized order. Group data analysis in musically trained and untrained adults showed robust activation in broadly distributed occipitotemporal, parietal and frontal areas in trained subjects and much restricted activation in untrained subjects. A visual stimulus contrast focusing on the visual motion percept of moving fingers on piano keys revealed selective bilateral activation of a locus corresponding to the V5/MT area, which was significantly more pronounced in trained subjects and showed partial linear dependence on the duration of training on the left side. Quantitative analysis of individual brain volumes confirmed a significantly greater and wider spread of activation in trained compared to untrained subjects. These findings support the view that audiovisual perception of music and musical gestures in trained musicians involves an expanded and widely distributed neural representation formed due to experience-dependent plasticity.

Vocal-motor interference eliminates the memory advantage for vocal melodies

Spontaneous motor cortical activity during passive perception of action has been interpreted as a sensorimotor simulation of the observed action. There is currently interest in how sensorimotor simulation can support higher-up cognitive functions, such as memory, but this is relatively unexplored in the auditory domain. In the present study, we examined whether the established memory advantage for vocal melodies over non-vocal melodies is attributable to stronger sensorimotor simulation during perception of vocal relative to non-vocal action. Participants listened to 24 unfamiliar folk melodies presented in vocal or piano timbres. These were encoded during three interference conditions: whispering (vocal-motor interference), tapping (non-vocal motor interference), and no-interference. Afterwards, participants heard the original 24 melodies presented among 24 foils and judged whether melodies were old or new. A vocal-memory advantage was found in the no-interference and tapping conditions; however, the advantage was eliminated in the whispering condition. This suggests that sensorimotor simulationduring the perception of vocal melodies is responsible for the observed vocal-memory advantage.

HIIT the Road Jack: An Exploratory Study on the Effects of an Acute Bout of Cardiovascular High-Intensity Interval Training on Piano Learning

Pairing high-intensity interval training (HIIT) with motor skill acquisition may improve learning of some implicit motor sequences (albeit with some variability), but it is unclear if HIIT enhances explicit learning of motor sequences. We asked whether a single bout of HIIT after non-musicians learned to play a piano melody promoted better retention of the melody than low-intensity interval training (LIIT). Further, we investigated whether HIIT facilitated transfer of learning to a new melody. We generated individualized exercise protocols by having participants (n = 25) with little musical training undergo a graded maximal exercise test (GXT) to determine their cardiorespiratory fitness (VO_{2 peak}) and maximum power output (W_max). In a subsequent session, participants practiced a piano melody (skill acquisition) and were randomly assigned to a single bout of HIIT or LIIT. Retention of the piano melody was tested 1 hour, 1 day, and 1 week after skill acquisition. We also evaluated transfer to learning a new melody 1 week after acquisition. Pitch and rhythm accuracy were analyzed with linear mixed-effects modeling. HIIT did not enhance sequence-specific retention of pitch or rhythmic elements of the piano melody, but there was modest evidence that HIIT facilitated transfer to learning a new melody. We tentatively conclude that HIIT enhances explicit, task-general motor consolidation.

Action-Perception Coupling and Near Transfer: Listening to Melodies after Piano Practice Triggers Sequence-Specific Representations in the Auditory-Motor Network

Understanding how perception and action are coupled in the brain has important implications for training, rehabilitation, and brain–machine interfaces. Ideomotor theory postulates that willed actions are represented through previously experienced effects and initiated by the anticipation of those effects. Previous research has accordingly found that sensory events, if previously associated with action outcomes, can induce activity in motor regions. However, it remains unclear whether the motor-related activity induced during perception of more naturalistic sequences of actions actually represents “sequence-specific” information. In the present study, nonmusicians were firstly trained to play two melodies on the piano; secondly, they performed an fMRI experiment while listening to these melodies as well as novel, untrained melodies; thirdly, multivariate pattern analysis was used to test if voxel-wise patterns of brain activity could identify trained, but not novel melodies. The results importantly show that after associative learning, a series of sensory events can trigger sequence-specific representations in both sensory and motor networks. Interestingly, also novel melodies could be classified in multiple regions, including default mode regions. A control experiment confirmed these outcomes to be training-dependent. We discuss how action-perception coupling may enable spontaneous near transfer and action simulation during action observation.

Audiomotor interaction induced by mental imagery

Mental imagery can induce audiovisual integration, but whether it can induce interactions in other modalities remains uncertain. It has been demonstrated that audiomotor interaction can be generated following training, but whether such audiomotor interaction can be induced by auditory imagery training remains unknown. The present study aims at determining whether auditory mental imagery could induce a multimodal association with postural control. We examined static postural control in the presence of a frequency-modulated sound in three groups of participants, prior to and following a short period of training designed to create an association between auditory mental imagery of sounds and postural swaying. Results suggest that mental imagery impacted performance, as a significant decrease in postural control was observed in the experimental group following mental imagery training. Results of the control groups confirmed that the effect of mental imagery was not due to response bias, but to a significant multimodal interaction following training. These findings are in accordance with previous studies suggesting that mental imagery stimuli can interact with perceptual stimuli of a different sensory modality and lead to multisensory integration. The results also confirm that audiomotor interaction can be generated a mental imagery training. However, the full extent of mental imagery influence on multimodal interaction remains to be determined.

Neural and Behavioral Evidence for Frequency-Selective Context Effects in Rhythm Processing in Humans

When listening to music, people often perceive and move along with a periodic meter. However, the dynamics of mapping between meter perception and the acoustic cues to meter periodicities in the sensory input remain largely unknown. To capture these dynamics, we recorded the electroencephalography while nonmusician and musician participants listened to nonrepeating rhythmic sequences, where acoustic cues to meter frequencies either gradually decreased (from regular to degraded) or increased (from degraded to regular). The results revealed greater neural activity selectively elicited at meter frequencies when the sequence gradually changed from regular to degraded compared with the opposite. Importantly, this effect was unlikely to arise from overall gain, or low-level auditory processing, as revealed by physiological modeling. Moreover, the context effect was more pronounced in nonmusicians, who also demonstrated facilitated sensory-motor synchronization with the meter for sequences that started as regular. In contrast, musicians showed weaker effects of recent context in their neural responses and robust ability to move along with the meter irrespective of stimulus degradation. Together, our results demonstrate that brain activity elicited by rhythm does not only reflect passive tracking of stimulus features, but represents continuous integration of sensory input with recent context.

Manipulation of low-level features modulates grouping strength of auditory objects

A central challenge of auditory processing involves the segregation, analysis, and integration of acoustic information into auditory perceptual objects for processing by higher order cognitive operations. This study explores the influence of low-level features on auditory object perception. Participants provided perceived musicality ratings in response to randomly generated pure tone sequences. Previous work has shown that music perception relies on the integration of discrete sounds into a holistic structure. Hence, high (versus low) ratings were viewed as indicative of strong (versus weak) object formation. Additionally, participants rated sequences in which random subsets of tones were manipulated along one of three low-level dimensions (timbre, amplitude, or fade-in) at one of three strengths (low, medium, or high). Our primary findings demonstrate how low-level acoustic features modulate the perception of auditory objects, as measured by changes in musicality ratings for manipulated sequences. Secondarily, we used principal component analysis to categorize participants into subgroups based on differential sensitivities to low-level auditory dimensions, thereby highlighting the importance of individual differences in auditory perception. Finally, we report asymmetries regarding the effects of low-level dimensions; specifically, the perceptual significance of timbre. Together, these data contribute to our understanding of how low-level auditory features modulate auditory object perception.

A domain-general perspective on the role of the basal ganglia in language and music: Benefits of music therapy for the treatment of aphasia

In addition to cortical lesions, mounting evidence on the links between language and the subcortical regions suggests that subcortical lesions may also lead to the emergence of aphasic symptoms. In this paper, by emphasizing the domain-general function of the basal ganglia in both language and music, we highlight that rhythm processing, the function of temporal prediction, motor programming and execution, is an important shared mechanism underlying the treatment of non-fluent aphasia with music therapy. In support of this, we conduct a literature review on the music therapy treating aphasia. The results show that rhythm processing plays a key role in Melodic Intonation Therapy in the rehabilitation of non-fluent aphasia patients with lesions on the basal ganglia. This paper strengthens the correlation between the basal ganglia lesions and language deficits, and provides support to the direction of taking advantage of rhythm as an important point in music therapy in clinical studies.

Inter-subject Similarity of Brain Activity in Expert Musicians After Multimodal Learning: A Behavioral and Neuroimaging Study on Learning to Play a Piano Sonata

Human behavior is inherently multimodal and relies on sensorimotor integration. This is evident when pianists exhibit activity in motor and premotor cortices, as part of a dorsal pathway, while listening to a familiar piece of music, or when naïve participants learn to play simple patterns on the piano. Here we investigated the interaction between multimodal learning and dorsal-stream activity over the course of four weeks in ten skilled pianists by adopting a naturalistic data-driven analysis approach. We presented the pianists with audio-only, video-only and audiovisual recordings of a piano sonata during functional magnetic resonance imaging (fMRI) before and after they had learned to play the sonata by heart for a total of four weeks. We followed the learning process and its outcome with questionnaires administered to the pianists, one piano instructor following their training, and seven external expert judges. The similarity of the pianists' brain activity during stimulus presentations was examined before and after learning by means of inter-subject correlation (ISC) analysis. After learning, an increased ISC was found in the pianists while watching the audiovisual performance, particularly in motor and premotor regions of the dorsal stream. While these brain structures have previously been associated with learning simple audio-motor sequences, our findings are the first to suggest their involvement in learning a complex and demanding audiovisual-motor task. Moreover, the most motivated learners and the best performers of the sonata showed ISC in the dorsal stream and in the reward brain network.

Generalization of novel sensorimotor associations among pianists and non-pianists: more evidence that musical training effects are constrained

In the process of acquiring musical skills, such as playing the piano, we develop sensorimotor associations between motor movements and perception of pitch. Previous research suggests that these acquired associations are relatively inflexible and show limited generalizability to performance under novel conditions. The current study investigated whether piano training constrains the ability to generalize learning based on an unfamiliar (inverted) pitch mapping, using a transfer-of-training paradigm (Palmer and Meyer in Psychol Sci 11:63-68, 2000). Pianists and non-pianists learned a training melody by ear with normal (higher pitches to the right) or inverted (higher pitches to the left) pitch mapping. After training, participants completed a generalization test in which they listened to and then immediately reproduced four types of melodies that varied in their similarity to the melody used during training and were based on the same, a similar, an inverted, or a different pitch pattern. The feedback mapping during the generalization test matched training. Overall, pianists produced fewer errors and required fewer training trials than non-pianists. However, benefits of training were absent for pianists who trained with inverted feedback when they attempted to reproduce a melody with a different structure than the melody used for training. This suggests that piano experience may constrain one's ability to generalize learning that is based on novel sensorimotor associations.

Potential benefits of music playing in stroke upper limb motor rehabilitation

Music-based interventions have emerged as a promising tool in stroke motor rehabilitation as they integrate most of the principles of motor training and multimodal stimulation. This paper aims to review the use of music in the rehabilitation of upper extremity motor function after stroke. First, we review the evidence supporting current music-based interventions including Music-supported Therapy, Music glove, group music therapy, Rhythm- and music-based intervention, and Musical sonification. Next, we describe the mechanisms that may be responsible for the effectiveness of these interventions, focusing on motor learning aspects, how multimodal stimulation may boost motor performance, and emotional and motivational aspects related to music. Then, we discuss methodological concerns in music therapy research related to modifications of therapy protocols, evaluation of patients and study designs. Finally, we highlight clinical considerations for the implementation of music-based interventions in clinical settings.