Passive listening to preferred motor tempo modulates corticospinal excitability

Resonance and beat perception of ballroom dancers: An EEG study

PURPOSE

The ability to synchronize the perceptual and motor systems is important for full motor coordination and the core determinant of motor skill performance. Dance-related training has been found to effectively improve sensorimotor synchronization, however, the underlying characteristics behind these improvements still warrant further exploration. This study was conducted to investigate the behavioral and neuroactivity characteristics of ballroom dancers relative to those of non-dancers.

PARTICIPANTS AND METHODS

Thirty-two dancers (19.8 ± 1.8 years old) and 31 non-dancers (22.6 ± 3.1 years old) were recruited to perform a finger-tapping task in synchrony with audiovisual beat stimuli at two intervals: 400 and 800 ms, while simultaneously recording EEG data. Behavioral and neural activity data were recorded during the task.

RESULTS

The dancers employed a predictive strategy when synchronizing with the beat. EEG recordings revealed stronger brain resonance with external rhythmic stimuli, indicating heightened neural resonance compared to non-dancers (p < 0.05). The task was more challenging with an 800-ms beat interval, as observed through both behavioral metrics and corresponding neural signatures in the EEG data, leading to poorer synchronization performance and necessitating a greater allocation of attentional resources (ps < 0.05).

CONCLUSION

When performing the finger-tapping task involving audiovisual beats, the beat interval was the primary factor influencing movement synchronization, neural activity and attentional resource allocation. Although no significant behavioral differences were observed between dancers and non-dancers, dancers have enhanced neural resonance in response to rhythmic stimuli. Further research using more ecologically valid tasks and stimuli may better capture the full extent of dancers' synchronization abilities.

Exploring the accuracy of musical tempo memory: The effects of reproduction method, reference tempo, and musical expertise

Although people commonly remember and recreate the tempo of musical pieces with high accuracy, comparatively less is known regarding sources of potential variation in musical tempo memory. This study therefore aimed to investigate musical tempo memory accuracy and the effects of reference tempo, reproduction method, musical expertise, and their interaction. A sample of 403 individuals with varying levels of musical training participated in the experimental online study, including nonmusicians, amateur musicians, and professional musicians. Participants were tasked with reproducing the tempos of 19 popular pop/rock songs using two methods: tempo tapping and adjusting the tempo of the audio file based on the previously tapped tempo. Results from multilevel models revealed overall high accuracy in tempo memory, with tempo adjusting yielding greater accuracy compared with tempo tapping. Higher musical expertise was associated with increased accuracy in tempo production. In addition, we observed a quadratic effect of reference tempo, with the greatest accuracy in tempo reproduction around 120 bpm. Gender, age, familiarity with the pieces, and accompaniment strategies were also associated with greater accuracy. These findings provide insights into the factors influencing musical tempo memory and have implications for understanding the cognitive processes involved in tempo perception and reproduction.

A novel method for estimating properties of attentional oscillators reveals an age-related decline in flexibility

Dynamic attending theory proposes that the ability to track temporal cues in the auditory environment is governed by entrainment, the synchronization between internal oscillations and regularities in external auditory signals. Here, we focused on two key properties of internal oscillators: their preferred rate, the default rate in the absence of any input; and their flexibility, how they adapt to changes in rhythmic context. We developed methods to estimate oscillator properties (Experiment 1) and compared the estimates across tasks and individuals (Experiment 2). Preferred rates, estimated as the stimulus rates with peak performance, showed a harmonic relationship across measurements and were correlated with individuals' spontaneous motor tempo. Estimates from motor tasks were slower than those from the perceptual task, and the degree of slowing was consistent for each individual. Task performance decreased with trial-to-trial changes in stimulus rate, and responses on individual trials were biased toward the preceding trial's stimulus properties. Flexibility, quantified as an individual's ability to adapt to faster-than-previous rates, decreased with age. These findings show domain-specific rate preferences for the assumed oscillatory system underlying rhythm perception and production, and that this system loses its ability to flexibly adapt to changes in the external rhythmic context during aging.

The effects of music combined to paired associative stimulation on motor-evoked potentials and alertness in spinal cord injury patients and healthy subjects

Paired associative stimulation (PAS) consisting of high-intensity transcranial magnetic stimulation (TMS) and high-frequency peripheral nerve stimulation (known as high-PAS) induces plastic changes and improves motor performance in patients with incomplete spinal cord injury (SCI). Listening to music during PAS may potentially improve mood and arousal and facilitate PAS-induced neuroplasticity via auditory-motor coupling, but the effects have not been explored. This pilot study aimed to determine if the effect of high-PAS on motor-evoked potentials (MEPs) and subjective alertness can be augmented with music. Ten healthy subjects and nine SCI patients received three high-PAS sessions in randomized order (PAS only, PAS with music synchronized to TMS, PAS with self-selected music). MEPs were measured before (PRE), after (POST), 30 min (POST30), and 60 min (POST60) after stimulation. Alertness was evaluated with a questionnaire. In healthy subjects, MEPs increased at POST in all sessions and remained higher at POST60 in PAS with synchronized music compared with the other sessions. There was no difference in alertness. In SCI patients, MEPs increased at POST and POST30 in PAS only but not in other sessions, whereas alertness was higher in PAS with self-selected music. More research is needed to determine the potential clinical effects of using music during high-PAS.

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.

Syncopation as Probabilistic Expectation: Conceptual, Computational, and Experimental Evidence

Definitions of syncopation share two characteristics: the presence of a meter or analogous hierarchical rhythmic structure and a displacement or contradiction of that structure. These attributes are translated in terms of a Bayesian theory of syncopation, where the syncopation of a rhythm is inferred based on a hierarchical structure that is, in turn, learned from the ongoing musical stimulus. Several experiments tested its simplest possible implementation, with equally weighted priors associated with different meters and independence of auditory events, which can be decomposed into two terms representing note density and deviation from a metric hierarchy. A computational simulation demonstrated that extant measures of syncopation fall into two distinct factors analogous to the terms in the simple Bayesian model. Next, a series of behavioral experiments found that perceived syncopation is significantly related to both terms, offering support for the general Bayesian construction of syncopation. However, we also found that the prior expectations associated with different metric structures are not equal across meters and that there is an interaction between density and hierarchical deviation, implying that auditory events are not independent from each other. Together, these findings provide evidence that syncopation is a manifestation of a form of temporal expectation that can be directly represented in Bayesian terms and offer a complementary, feature-driven approach to recent Bayesian models of temporal prediction.

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.

Explaining flexible continuous speech comprehension from individual motor rhythms

When speech is too fast, the tracking of the acoustic signal along the auditory pathway deteriorates, leading to suboptimal speech segmentation and decoding of speech information. Thus, speech comprehension is limited by the temporal constraints of the auditory system. Here we ask whether individual differences in auditory-motor coupling strength in part shape these temporal constraints. In two behavioural experiments, we characterize individual differences in the comprehension of naturalistic speech as function of the individual synchronization between the auditory and motor systems and the preferred frequencies of the systems. Obviously, speech comprehension declined at higher speech rates. Importantly, however, both higher auditory-motor synchronization and higher spontaneous speech motor production rates were predictive of better speech-comprehension performance. Furthermore, performance increased with higher working memory capacity (digit span) and higher linguistic, model-based sentence predictability-particularly so at higher speech rates and for individuals with high auditory-motor synchronization. The data provide evidence for a model of speech comprehension in which individual flexibility of not only the motor system but also auditory-motor synchronization may play a modulatory role.

Spontaneous motor tempo over the course of a week: the role of the time of the day, chronotype, and arousal

The spontaneous motor tempo (SMT) or internal tempo describes the natural pace of predictive and emergent movements such as walking or hand clapping. One of the main research interests in the study of the spontaneous motor tempo relates to factors affecting its pace. Previous studies suggest an influence of the circadian rhythm (i.e., 24-h cycle of the biological clock), physiological arousal changes, and potentially also musical experience. This study aimed at investigating these effects in participants' everyday life by measuring their SMT four times a day over seven consecutive days, using an experience sampling method. The pace of the SMT was assessed with a finger-tapping paradigm in a self-developed web application. Measured as the inter-tap interval, the overall mean SMT was 650 ms (SD = 253 ms). Using multi-level modelling (MLM), results show that the pace of the SMT sped up over the course of the day, and that this effect depended on the participants' chronotype, since participants tending towards morning type were faster in the morning compared to participants tending towards evening type. During the day, the pace of the SMT of morning types stayed relatively constant, whereas it became faster for evening-type participants. Furthermore, higher arousal in participants led to a faster pace of the SMT. Musical sophistication did not influence the SMT. These results indicate that the circadian rhythm influences the internal tempo, since the pace of SMT is not only dependent on the time of the day, but also on the individual entrainment to the 24-h cycle (chronotype).

Using Motor Tempi to Understand Rhythm and Grammatical Skills in Developmental Language Disorder and Typical Language Development

Children with developmental language disorder (DLD) show relative weaknesses on rhythm tasks beyond their characteristic linguistic impairments. The current study compares preferred tempo and the width of an entrainment region for 5- to 7-year-old typically developing (TD) children and children with DLD and considers the associations with rhythm aptitude and expressive grammar skills in the two populations. Preferred tempo was measured with a spontaneous motor tempo task (tapping tempo at a comfortable speed), and the width (range) of an entrainment region was measured by the difference between the upper (slow) and lower (fast) limits of tapping a rhythm normalized by an individual's spontaneous motor tempo. Data from N = 16 children with DLD and N = 114 TD children showed that whereas entrainment-region width did not differ across the two groups, slowest motor tempo, the determinant of the upper (slow) limit of the entrainment region, was at a faster tempo in children with DLD vs. TD. In other words, the DLD group could not pace their slow tapping as slowly as the TD group. Entrainment-region width was positively associated with rhythm aptitude and receptive grammar even after taking into account potential confounding factors, whereas expressive grammar did not show an association with any of the tapping measures. Preferred tempo was not associated with any study variables after including covariates in the analyses. These results motivate future neuroscientific studies of low-frequency neural oscillatory mechanisms as the potential neural correlates of entrainment-region width and their associations with musical rhythm and spoken language processing in children with typical and atypical language development.

Elements of musical and dance sophistication predict musical groove perception

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

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.

Regular rhythmic and audio-visual stimulations enhance procedural learning of a perceptual-motor sequence in healthy adults: A pilot study

Procedural learning is essential for the effortless execution of many everyday life activities. However, little is known about the conditions influencing the acquisition of procedural skills. The literature suggests that sensory environment may influence the acquisition of perceptual-motor sequences, as tested by a Serial Reaction Time Task. In the current study, we investigated the effects of auditory stimulations on procedural learning of a visuo-motor sequence. Given that the literature shows that regular rhythmic auditory rhythm and multisensory stimulations improve motor speed, we expected to improve procedural learning (reaction times and errors) with repeated practice with auditory stimulations presented either simultaneously with visual stimulations or with a regular tempo, compared to control conditions (e.g., with irregular tempo). Our results suggest that both congruent audio-visual stimulations and regular rhythmic auditory stimulations promote procedural perceptual-motor learning. On the contrary, auditory stimulations with irregular or very quick tempo alter learning. We discuss how regular rhythmic multisensory stimulations may improve procedural learning with respect of a multisensory rhythmic integration process.

Beat perception in polyrhythms: Time is structured in binary units

In everyday life, we group and subdivide time to understand the sensory environment surrounding us. Organizing time in units, such as diurnal rhythms, phrases, and beat patterns, is fundamental to behavior, speech, and music. When listening to music, our perceptual system extracts and nests rhythmic regularities to create a hierarchical metrical structure that enables us to predict the timing of the next events. Foot tapping and head bobbing to musical rhythms are observable evidence of this process. In the special case of polyrhythms, at least two metrical structures compete to become the reference for these temporal regularities, rendering several possible beats with which we can synchronize our movements. While there is general agreement that tempo, pitch, and loudness influence beat perception in polyrhythms, we focused on the yet neglected influence of beat subdivisions, i.e., the least common denominator of a polyrhythm ratio. In three online experiments, 300 participants listened to a range of polyrhythms and tapped their index fingers in time with the perceived beat. The polyrhythms consisted of two simultaneously presented isochronous pulse trains with different ratios (2:3, 2:5, 3:4, 3:5, 4:5, 5:6) and different tempi. For ratios 2:3 and 3:4, we additionally manipulated the pitch of the pulse trains. Results showed a highly robust influence of subdivision grouping on beat perception. This was manifested as a propensity towards beats that are subdivided into two or four equally spaced units, as opposed to beats with three or more complex groupings of subdivisions. Additionally, lower pitched pulse trains were more often perceived as the beat. Our findings suggest that subdivisions, not beats, are the basic unit of beat perception, and that the principle underlying the binary grouping of subdivisions reflects a propensity towards simplicity. This preference for simple grouping is widely applicable to human perception and cognition of time.

Spontaneous Motor Tempo: Investigating Psychological, Chronobiological, and Demographic Factors in a Large-Scale Online Tapping Experiment

The spontaneous motor tempo (SMT) describes the pace of regular and repeated movements such as hand clapping or walking. It is typically measured by letting people tap with their index finger at a pace that feels most natural and comfortable to them. A number of factors have been suggested to influence the SMT, such as age, time of the day, arousal, and potentially musical experience. This study aimed at investigating the effects of these factors in a combined and out-of-the-lab context by implementing the finger-tapping paradigm in an online experiment using a self-developed web application. Due to statistical multimodality in the distribution of participants' SMT (N = 3,576), showing peaks at modes of around 250 ms, a Gaussian mixture model was applied that grouped participants into six clusters, ranging from Very Fast (M = 265 ms, SD = 74) to Very Slow (M = 1,757 ms, SD = 166). These SMT clusters differed in terms of age, suggesting that older participants had a slower SMT, and time of the day, showing that the earlier it was, the slower participants' SMT. While arousal did not differ between the SMT clusters, more aroused participants showed faster SMTs across all normalized SMT clusters. Effects of musical experience were inconclusive. With a large international sample, these results provide insights into factors influencing the SMT irrespective of cultural background, which can be seen as a window into human timing processes.

Right Inferior Parietal Lobule Activity Is Associated With Handwriting Spontaneous Tempo

Handwriting is a complex activity including motor planning and visuomotor integration and referring to some brain areas identified as "writing centers." Although temporal features of handwriting are as important as spatial ones, to our knowledge, there is no evidence of the description of specific brain areas associated with handwriting tempo. People with multiple sclerosis (PwMS) show handwriting impairments that are mainly referred to as the temporal features of the task. The aim of this work was to assess differences in the brain activation pattern elicited by handwriting between PwMS and healthy controls (HC), with the final goal of identifying possible areas specific for handwriting tempo. Subjects were asked to write a sentence at their spontaneous speed. PwMS differed only in temporal handwriting features from HC and showed reduced activation with a subset of the clusters observed in HC. Spearman's correlation analysis was performed between handwriting temporal parameters and the activity in the brain areas resulting from the contrast analysis, HC > PwMS. We found that the right inferior parietal lobule (IPL) negatively correlated with the duration of the sentence, indicating that the higher the right IPL activity, the faster the handwriting performance. We propose that the right IPL might be considered a "writing tempo center."

Music Modulates Awake Bruxism in Chronic Painful Temporomandibular Disorders

OBJECTIVE

In this experimental study, we aimed to determine whether guided music listening (GML) - a music intervention based on models of mood mediation and attention modulation - modulates masticatory muscle activity and awake bruxism in subjects with chronic painful muscular temporomandibular disorders (TMD myalgia, mTMD), a condition causing a significant burden to patients, their families, and healthcare systems.

BACKGROUND

Awake bruxism - a stress behavior characterized by clenching of the teeth - is a strong contributor to chronic mTMD. GML modulates psychological stress and motor responses and could thus reduce muscle activity in chronic musculoskeletal conditions, including mTMD.

METHODS

We recorded the electromyographic (EMG) activity in the right masseter of 14 women with chronic (>6 months) mTMD (median [IQR] = 39.5.3 [24.3] years) and 15 pain-free women (median [IQR] = 30.0 [3.5] years) during a GML session, including 3 music (stressful, relaxing, and participants' favorite music) and a no-music (pink noise) control blocks, each lasting 15 minutes. We measured the motor effort of the right masseter relative to the participants' maximum voluntary contraction (MVC), the muscular effort to maintain mandibular posture (EMG_posture ), and to produce spontaneous awake bruxism episodes (EMG_bruxism ), and the duration and frequency of spontaneous awake bruxism episodes. We tested between-group and within-group (between blocks) differences, as well as the effect of the interaction group by experimental block on these outcome measures.

RESULTS

In both groups, EMG_posture was significantly affected by the interaction group by experimental block (P < .001). Compared to pink noise [mean (95% CI); mTMD: 2.2 (1.6-2.8) %MVC; Controls: 1.1 (0.5-1.7) %MVC], EMG_posture increased during the stressful music block [contrast estimate (95% CI); mTMD: +0.8 (0.7-0.8) %MVC; Controls: +0.3 (0.3-0.4) %MVC; both P < .001], and decreased during the relaxing [mTMD: -0.4 (-0.5 to -0.4) %MVC; Controls: -0.3 (-0.4 to -0.3) %MVC; both P < .001] and favorite [mTMD: -0.5 (-0.6 to -0.5) %MVC; Controls: -0.5 (-0.5 to -0.4) %MVC; both P < .001] music blocks. EMG_posture was greater in mTMD individuals than controls during the favorite music [contrast estimate (95% CI): +1.1 (0.2-1.9) %MVC; P = .019] and the pink noise [+1.1 (0.2-2.0) %MVC; P = .014] blocks. EMG_bruxism was significantly affected by the interaction group by experimental block (P < .001). In mTMD participants, compared to the pink noise block [mean (95% CI); 23.8 (16.0-31.6) %MVC], EMG_bruxism increased during the stressful music block [contrast estimate (95% CI); +10.2 (8.6-11.8) %MVC], and decreased during the relaxing [-6.2 (-8.1 to -4.3) %MVC; P < .001] and favorite [-10.2 (-12.2 to -9.1) %MVC; P < .001] music blocks. These effects were not observed in the control group [mean (95% CI); pink noise: 19.3 (10.9-27.6); stressful: 21.2 (12.9-29.4) %MVC; relaxing: 21.6 (13.3-29.9) %MVC; favorite: 24.2 (15.8-32.7) %MVC; all P > .05]. EMG_bruxism was significantly greater in mTMD participants than controls during the stressful music block [contrast estimate (95% CI): +12.9 (1.6-24.2) %MVC; P = .026). GML did not affect the duration or the frequency of awake bruxism in either group (median [IQR], mTMD: 23.5 [96.7] s, range 1-1300 seconds; Controls: 5.5 [22.5], range 0-246 seconds; P = .108). The frequency of awake bruxism episodes was greater in the mTMD group compared to controls only during the pink noise block (median [IQR], mTMD: 5 [15.3] episodes, range 0-62 episodes; Controls: 1 [3] episode, range 0-27 episodes; P = .046). No significant between-group differences were found in either the overall time spent engaging in awake bruxism (median [IQR], mTMD: 23.5 [96.7] s, range 1-1300 seconds; Controls: 5.5 [22.5], range 0-246 seconds; P = .108), or during each block (all P > .05).

CONCLUSIONS

In subjects with chronic mTMD, relaxing music and the individual's favorite music decreased the muscular effort during spontaneous awake bruxism episodes by 26% and 44% (relative changes), respectively. In contrast, stressful music increases it by about 43%. Because of its positive effects on awake bruxism, GML with selected music could be a promising and non-invasive component of a multimodal approach for the management of chronic mTMD.

Testing the stability of 'Default' motor and auditory-perceptual rhythms-A replication failure dataset

Several studies have found that the motor rhythms that individuals produce spontaneously, for example during finger tapping, clapping or walking, are also rated perceptually as ‘very comfortable’ to listen to. This motivated proposal of the Preferred Period Hypothesis, suggesting that individuals have a characteristic preferred rhythm, that generalizes across perception and production.

However, some of the experimental procedures used previously raise two methodological concerns: First, in many of these studies, the rhythms used for assessment of participants’ Perceptual Preferred Tempo (PPT) were tailored specifically around each participant's personal Spontaneous Motor Tempo (SMT). This may have biased results toward the central rhythm used, artificially increasing the similarity between spontaneous motor and auditory perceptual preferences. Second, a key prediction of the Preferred Period Hypothesis is that the same default rhythms are repeatedly found within-subject. However, measures of consistency are seldom reported, and increased within-subject variability has sometimes been used to exclude participants.

The current study was an attempt to replicate reports of a correspondence between motor and perceptual rhythms, and closely followed previous experimental protocols by conducting three tasks: SMT was evaluated by instructing participants to tap ‘at their most comfortable rate’; PPT was assessed by asking participants to rate a 10 different rhythms according to how ‘comfortable’ they were; and motor-replication of rhythms was assessed using a Synchronization-Continuation task, over a wide range of rhythms.

However, in contrast to previous studies, for all participants we use the same 10 perceptual rhythms in both the PPT and Synchronization-Continuation task, irrespective of their SMT. Moreover, we assessed and report measures of within- and between-trial consistency, in order to evaluate whether participants gave similar rating and produced similar motor rhythms across multiple sessions throughout the experiment.

The data presented here fail to show any correlation between motor and perceptual preferences, nor do they support improved synchronization-continuation performance near an individual's so-called SMT or PPT. Rather, they demonstrate substantial within-subject variability in the spontaneous motor rhythms produced across repeated sessions, as well as their subjective rating of perceived rhythms. This report accompanies our article “Spontaneous and Stimulus-Driven Rhythmic Behaviors in ADHD Adults and Controls”[1], and provided motivation and insight for modifying the procedures used for SMT and PPT evaluation, and their interpretation.

Individualized goal directed dance rehabilitation in chronic state of severe traumatic brain injury: A case study

Few long-term studies report late outcomes after severe traumatic brain injury. New rehabilitation techniques are needed for this heterogenous patient group. We present a dance intervention six and half years after an extreme severe TBI including excessive diffuse axonal injury, which disconnects the brain networks. Given the fact, that efficient brain function depends on the integrated operation of large-scale brain networks like default mode network (DMN), we created an intervention with multisensory and multimodal approach and goal-directed behavior. The intervention lasted four months including weekly one-hour dance lessons with the help of a physiotherapist and dance teacher. The measures included functional independence measure (FIM), repeated electroencephalogram (EEG) analysis of three subnets of DMN and clinical evaluations and observations. The results showed clear improvement after the intervention, and FIM stayed in elevated level during several years after the intervention. We present suggestion for further studies using larger patient groups.

Steady-state evoked potentials distinguish brain mechanisms of self-paced versus synchronization finger tapping

Sensorimotor synchronization (SMS) requires aligning motor actions to external events and represents a core part of both musical and dance performances. In the current study, to isolate the brain mechanisms involved in synchronizing finger tapping with a musical beat, we compared SMS to pure self-paced finger tapping and listen-only conditions at different tempi. We analyzed EEG data using frequency domain steady-state evoked potentials (SSEPs) to identify sustained electrophysiological brain activity during repetitive tasks. Behavioral results revealed different timing modes between SMS and self-paced finger tapping, associated with distinct scalp topographies, thus suggesting different underlying brain sources. After subtraction of the listen-only brain activity, SMS was compared to self-paced finger tapping. Resulting source estimations showed stronger activation of the left inferior frontal gyrus during SMS, and stronger activation of the bilateral inferior parietal lobule during self-paced finger tapping. These results point to the left inferior frontal gyrus as a pivot for perception-action coupling. We discuss our findings in the context of the ongoing debate about SSEPs interpretation given the variety of brain events contributing to SSEPs and similar EEG frequency responses.

Intrinsic Rhythmicity Predicts Synchronization-Continuation Entrainment Performance

Rhythmic entrainment-defined as a stable temporal relationship between external periodic signals and endogenous rhythmic processes-allows individuals to coordinate with environmental rhythms. However, the impact of inter-individual differences on entrainment processes as a function of the tempo of external periodic signals remain poorly understood. To better understand the effects of endogenous differences and varying tempos on rhythmic entrainment, 20 young healthy adults participated in a spontaneous motor tempo (SMT) task and synchronization-continuation tasks at three experimental tempos (50, 70, and 128 bpm; 1200, 857, and 469 ms inter onset interval (IOI)). We hypothesized that SMT task performance and tempo would influence externally paced synchronization-continuation task behavior. Indeed, intrinsic rhythmicity assessed through the SMT task predicted performance in the externally paced task, allowing us to characterize differences in entrainment behavior between participants with low and high endogenous rhythmicity. High rhythmicity individuals, defined by better SMT performance, deviated from externally paced pulses sooner than individuals with low rhythmicity, who were able to maintain externally paced pulses for longer. The magnitude of these behavioral differences depended on the experimental tempo of the synchronization-continuation task. Our results indicate that differences in intrinsic rhythmicity vary between individuals and relate to tempo-dependent entrainment performance.

Lift speed moderates the effects of muscle activity on perceived heaviness

Research has shown that perceived heaviness is a function of the ratio of muscle activity (measured by electromyogram [EMG]) to the resulting acceleration of the object. However, objects will commonly be lifted at different speeds, implying variation in both EMG and acceleration. This study examined the effects of lifting speed by having participants report perceived heaviness for objects lifted by elbow flexion at three different speeds: slow, preferred, and fast. EMG and angular acceleration were recorded during these lifts. Both EMG and angular acceleration changed across lift speed. Nevertheless, despite these variations, perceived heaviness consistently scaled to the ratio of EMG to angular acceleration. The exponents on these parameters suggested that the saliency of muscle activity and movement changed across the three lift speeds.

Directed Motor-Auditory EEG Connectivity Is Modulated by Music Tempo

Beat perception is fundamental to how we experience music, and yet the mechanism behind this spontaneous building of the internal beat representation is largely unknown. Existing findings support links between the tempo (speed) of the beat and enhancement of electroencephalogram (EEG) activity at tempo-related frequencies, but there are no studies looking at how tempo may affect the underlying long-range interactions between EEG activity at different electrodes. The present study investigates these long-range interactions using EEG activity recorded from 21 volunteers listening to music stimuli played at 4 different tempi (50, 100, 150 and 200 beats per minute). The music stimuli consisted of piano excerpts designed to convey the emotion of “peacefulness”. Noise stimuli with an identical acoustic content to the music excerpts were also presented for comparison purposes. The brain activity interactions were characterized with the imaginary part of coherence (iCOH) in the frequency range 1.5–18 Hz (δ, θ, α and lower β) between all pairs of EEG electrodes for the four tempi and the music/noise conditions, as well as a baseline resting state (RS) condition obtained at the start of the experimental task. Our findings can be summarized as follows: (a) there was an ongoing long-range interaction in the RS engaging fronto-posterior areas; (b) this interaction was maintained in both music and noise, but its strength and directionality were modulated as a result of acoustic stimulation; (c) the topological patterns of iCOH were similar for music, noise and RS, however statistically significant differences in strength and direction of iCOH were identified; and (d) tempo had an effect on the direction and strength of motor-auditory interactions. Our findings are in line with existing literature and illustrate a part of the mechanism by which musical stimuli with different tempi can entrain changes in cortical activity.

Neural Entrainment to the Beat: The "Missing-Pulse" Phenomenon

Most humans have a near-automatic inclination to tap, clap, or move to the beat of music. The capacity to extract a periodic beat from a complex musical segment is remarkable, as it requires abstraction from the temporal structure of the stimulus. It has been suggested that nonlinear interactions in neural networks result in cortical oscillations at the beat frequency, and that such entrained oscillations give rise to the percept of a beat or a pulse. Here we tested this neural resonance theory using MEG recordings as female and male individuals listened to 30 s sequences of complex syncopated drumbeats designed so that they contain no net energy at the pulse frequency when measured using linear analysis. We analyzed the spectrum of the neural activity while listening and compared it to the modulation spectrum of the stimuli. We found enhanced neural response in the auditory cortex at the pulse frequency. We also showed phase locking at the times of the missing pulse, even though the pulse was absent from the stimulus itself. Moreover, the strength of this pulse response correlated with individuals' speed in finding the pulse of these stimuli, as tested in a follow-up session. These findings demonstrate that neural activity at the pulse frequency in the auditory cortex is internally generated rather than stimulus-driven. The current results are both consistent with neural resonance theory and with models based on nonlinear response of the brain to rhythmic stimuli. The results thus help narrow the search for valid models of beat perception.SIGNIFICANCE STATEMENT Humans perceive music as having a regular pulse marking equally spaced points in time, within which musical notes are temporally organized. Neural resonance theory (NRT) provides a theoretical model explaining how an internal periodic representation of a pulse may emerge through nonlinear coupling between oscillating neural systems. After testing key falsifiable predictions of NRT using MEG recordings, we demonstrate the emergence of neural oscillations at the pulse frequency, which can be related to pulse perception. These findings rule out alternative explanations for neural entrainment and provide evidence linking neural synchronization to the perception of pulse, a widely debated topic in recent years.

Spontaneous movement tempo can be influenced by combining action observation and somatosensory stimulation

Spontaneous movement tempo (SMT) was a popular field of study of the Gestalt psychologists It can be determined from subjects freely tapping out a rhythm with their finger, and it has been found to average about 2 Hz. A previous study showed that SMT changed after the observation of rhythmical movements performed at frequency different from the SMT. This effect was long-lasting only when movement execution immediately followed action observation (AO). We recently demonstrated that only when AO was combined with peripheral nerve stimulation (AO-PNS) was it possible to induce plastic changes in the excitability of the motor cortex, whereas AO and PNS alone did not evoke any changes. Here we investigated whether the observation of rhythmical actions at a frequency higher than the SMT combined with PNS induced lasting changes in SMT even in absence of immediate movement execution. Forty-eight participants were assigned to four groups. In AO-PNS group they observed a video showing a right hand performing a finger opposition movement sequence at 3 Hz and contemporarily received an electrical stimulation at the median nerve; in AO group and PNS group participants either observed the same video or received the same electrical stimulation of the AO-PNS group, respectively; in LANDSCAPE group subjects observed a neutral video. Participants performed a finger opposition movement sequence at spontaneous movement rate before and 30 min after the conditioning protocols. Results showed that SMT significantly changed only after AO-PNS. This result suggested that the AO-PNS protocol was able to induce lasting changes in SMT due to neuroplasticity mechanisms, indicating possible application of AO-PNS in rehabilitative treatments.

Distractor Effect of Auditory Rhythms on Self-Paced Tapping in Chimpanzees and Humans

Humans tend to spontaneously align their movements in response to visual (e.g., swinging pendulum) and auditory rhythms (e.g., hearing music while walking). Particularly in the case of the response to auditory rhythms, neuroscientific research has indicated that motor resources are also recruited while perceiving an auditory rhythm (or regular pulse), suggesting a tight link between the auditory and motor systems in the human brain. However, the evolutionary origin of spontaneous responses to auditory rhythms is unclear. Here, we report that chimpanzees and humans show a similar distractor effect in perceiving isochronous rhythms during rhythmic movement. We used isochronous auditory rhythms as distractor stimuli during self-paced alternate tapping of two keys of an electronic keyboard by humans and chimpanzees. When the tempo was similar to their spontaneous motor tempo, tapping onset was influenced by intermittent entrainment to auditory rhythms. Although this effect itself is not an advanced rhythmic ability such as dancing or singing, our results suggest that, to some extent, the biological foundation for spontaneous responses to auditory rhythms was already deeply rooted in the common ancestor of chimpanzees and humans, 6 million years ago. This also suggests the possibility of a common attentional mechanism, as proposed by the dynamic attending theory, underlying the effect of perceiving external rhythms on motor movement.

Impaired movement timing in neurological disorders: rehabilitation and treatment strategies

Timing abnormalities have been reported in many neurological disorders, including Parkinson's disease (PD). In PD, motor-timing impairments are especially debilitating in gait. Despite impaired audiomotor synchronization, PD patients' gait improves when they walk with an auditory metronome or with music. Building on that research, we make recommendations for optimizing sensory cues to improve the efficacy of rhythmic cuing in gait rehabilitation. Adaptive rhythmic metronomes (that synchronize with the patient's walking) might be especially effective. In a recent study we showed that adaptive metronomes synchronized consistently with PD patients' footsteps without requiring attention; this improved stability and reinstated healthy gait dynamics. Other strategies could help optimize sensory cues for gait rehabilitation. Groove music strongly engages the motor system and induces movement; bass-frequency tones are associated with movement and provide strong timing cues. Thus, groove and bass-frequency pulses could deliver potent rhythmic cues. These strategies capitalize on the close neural connections between auditory and motor networks; and auditory cues are typically preferred. However, moving visual cues greatly improve visuomotor synchronization and could warrant examination in gait rehabilitation. Together, a treatment approach that employs groove, auditory, bass-frequency, and adaptive (GABA) cues could help optimize rhythmic sensory cues for treating motor and timing deficits.

Action observation: mirroring across our spontaneous movement tempo

During action observation (AO), the activity of the “mirror system” is influenced by the viewer’s expertise in the observed action. A question that remains open is whether the temporal aspects of the subjective motor repertoire can influence the “mirror system” activation.

Repetition enhancement and memory effects for duration

A remarkable aspect of conscious perception is that moments carryover from one to the next, also known as temporal continuity. This ability is thus crucial for detecting regularities, such as in speech and music, and may rely on an accurate perception of time. Investigations of human time perception have detailed two electroencephalographic (EEG) components associated with timing, the contingent negative variation (CNV) and late positive component of timing (LPCt); however, the precise roles of these components in timing remain elusive. Recently, we demonstrated that the perception of duration is influenced by durations presented on prior trials, which we explained by the creation of an implicit memory standard that adapts to local changes in sequence presentation. Here, we turn to the neural basis of this effect. Human participants performed a temporal bisection task in which they were required to classify the duration of auditory stimuli into short and long duration categories; crucially, the presentation order was first-order counterbalanced, allowing us to measure the effect of each presented duration on the next. EEG recordings revealed that the CNV and LPCt signals both covaried with the duration presented on the current trial, with CNV predicting reaction time and LPCt predicting choice. Additionally, both signals covaried with the duration presented in the prior trial but in different ways, with the CNV amplitude reflecting the change in the memory standard and the LPCt reflecting decision uncertainty. Furthermore, we observed a repetition enhancement effect of duration only for the CNV, suggesting that this signal additionally indexes the similarity of successive durations. These findings demonstrate dissociable roles for the CNV and LPCt, and demonstrate that both signals are continuously updated on a trial-by-trial basis that reflects shifts in temporal decisions.