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Whitton SA, Jiang F. Sensorimotor synchronization with visual, auditory, and tactile modalities. PSYCHOLOGICAL RESEARCH 2023; 87:2204-2217. [PMID: 36773102 PMCID: PMC10567517 DOI: 10.1007/s00426-023-01801-3] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Abstract] [MESH Headings] [Grants] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Received: 06/04/2022] [Accepted: 01/30/2023] [Indexed: 02/12/2023]
Abstract
While it is well known that humans are highly responsive to rhythm, the factors that influence our ability to synchronize remain unclear. In the current study, we examined how stimulus modality and rhythmic deviation, along with the synchronizer's level of musicality, impacted sensorimotor synchronization (SMS). Utilizing a finger-tapping task and three sensory modalities (visual, auditory, and tactile), we manipulated rhythmic deviation by varying the temporal position, intensity, and availability of cues across four deviation levels. Additionally, to determine our participants' musical familiarity and aptitude, we administered the Goldsmiths Musical Sophistication Index (Gold-MSI) questionnaire. We found that SMS to external rhythmic stimuli was significantly more precise for auditory and tactile than for visual sequences. Further, we found SMS consistency significantly decreased in all modalities with increased rhythmic deviation, suggesting rhythmic deviation directly relates to SMS difficulty. Moreover, a significant correlation was found between Gold-MSI scores and SMS consistency in the most rhythmically deviant level, such that the higher one's musical general sophistication score, the greater one's SMS ability. This held for all three modalities. Combined, these findings suggest that rhythmic synchronization performance is affected not only by the modality and rhythmic deviation of the stimuli but also by the musical general sophistication of the synchronizer.
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Affiliation(s)
| | - Fang Jiang
- Department of Psychology, University of Nevada, Reno, USA
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2
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Varlet M, Nozaradan S, Schmidt RC, Keller PE. Neural tracking of visual periodic motion. Eur J Neurosci 2023; 57:1081-1097. [PMID: 36788113 DOI: 10.1111/ejn.15934] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Received: 05/14/2021] [Revised: 02/10/2023] [Accepted: 02/10/2023] [Indexed: 02/16/2023]
Abstract
Periodicity is a fundamental property of biological systems, including human movement systems. Periodic movements support displacements of the body in the environment as well as interactions and communication between individuals. Here, we use electroencephalography (EEG) to investigate the neural tracking of visual periodic motion, and more specifically, the relevance of spatiotemporal information contained at and between their turning points. We compared EEG responses to visual sinusoidal oscillations versus nonlinear Rayleigh oscillations, which are both typical of human movements. These oscillations contain the same spatiotemporal information at their turning points but differ between turning points, with Rayleigh oscillations having an earlier peak velocity, shown to increase an individual's capacity to produce accurately synchronized movements. EEG analyses highlighted the relevance of spatiotemporal information between the turning points by showing that the brain precisely tracks subtle differences in velocity profiles, as indicated by earlier EEG responses for Rayleigh oscillations. The results suggest that the brain is particularly responsive to velocity peaks in visual periodic motion, supporting their role in conveying behaviorally relevant timing information at a neurophysiological level. The results also suggest key functions of neural oscillations in the Alpha and Beta frequency bands, particularly in the right hemisphere. Together, these findings provide insights into the neural mechanisms underpinning the processing of visual periodic motion and the critical role of velocity peaks in enabling proficient visuomotor synchronization.
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Affiliation(s)
- Manuel Varlet
- The MARCS Institute for Brain, Behaviour and Development, Western Sydney University, Penrith, Australia.,School of Psychology, Western Sydney University, Penrith, Australia
| | - Sylvie Nozaradan
- Institute of Neuroscience (IONS), Université catholique de Louvain (UCL), Brussels, Belgium
| | - Richard C Schmidt
- Department of Psychology, College of the Holy Cross, Worcester, Massachusetts, USA
| | - Peter E Keller
- The MARCS Institute for Brain, Behaviour and Development, Western Sydney University, Penrith, Australia.,Center for Music in the Brain, Department of Clinical Medicine, Aarhus University & The Royal Academy of Music Aarhus/Aalborg, Aarhus, Denmark
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3
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Zhan L, Huang Y, Guo Z, Yang J, Gu L, Zhong S, Wu X. Visual over auditory superiority in sensorimotor timing under optimized condition. Front Psychol 2022; 13:1048943. [PMID: 36507012 PMCID: PMC9731274 DOI: 10.3389/fpsyg.2022.1048943] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 09/20/2022] [Accepted: 11/04/2022] [Indexed: 11/25/2022] Open
Abstract
Auditory over visual advantage in temporal processing is generally appreciated, such as the well-established auditory superiority in sensorimotor timing. To test for a possible visual superiority in temporal processing, here, we present a data set composed of a large 60 subjects sample and a data set including eight smaller samples of approximately 15 subjects, showing that synchronization to a temporally regular sequence was more stable for a visual bouncing ball (VB) than for auditory tones (ATs). The results demonstrate that vision can be superior over audition in sensorimotor timing under optimized conditions, challenging the generally believed auditory superiority in temporal processing. In contrast to the auditory-specific biological substrates of timing in sensorimotor interaction, the present finding points to tight visual-motor cortical coupling in sensorimotor timing.
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4
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Henry MJ, Cook PF, de Reus K, Nityananda V, Rouse AA, Kotz SA. An ecological approach to measuring synchronization abilities across the animal kingdom. Philos Trans R Soc Lond B Biol Sci 2021; 376:20200336. [PMID: 34420382 PMCID: PMC8380968 DOI: 10.1098/rstb.2020.0336] [Citation(s) in RCA: 5] [Impact Index Per Article: 1.7] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Indexed: 02/03/2023] Open
Abstract
In this perspective paper, we focus on the study of synchronization abilities across the animal kingdom. We propose an ecological approach to studying nonhuman animal synchronization that begins from observations about when, how and why an animal might synchronize spontaneously with natural environmental rhythms. We discuss what we consider to be the most important, but thus far largely understudied, temporal, physical, perceptual and motivational constraints that must be taken into account when designing experiments to test synchronization in nonhuman animals. First and foremost, different species are likely to be sensitive to and therefore capable of synchronizing at different timescales. We also argue that it is fruitful to consider the latent flexibility of animal synchronization. Finally, we discuss the importance of an animal's motivational state for showcasing synchronization abilities. We demonstrate that the likelihood that an animal can successfully synchronize with an environmental rhythm is context-dependent and suggest that the list of species capable of synchronization is likely to grow when tested with ecologically honest, species-tuned experiments. This article is part of the theme issue ‘Synchrony and rhythm interaction: from the brain to behavioural ecology’.
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Affiliation(s)
- Molly J Henry
- Research Group 'Neural and Environmental Rhythms', Max Planck Institute for Empirical Aesthetics, Grüneburgweg 14, 60322 Frankfurt am Main, Germany
| | - Peter F Cook
- Department of Psychology, New College of Florida, 5800 Bayshore Rd, Sarasota, FL 34234, USA
| | - Koen de Reus
- Comparative Bioacoustics Group, Max Planck Institute for Psycholinguistics, Wundtlaan 1, 6525 XD Nijmegen, The Netherlands.,Artificial Intelligence Lab, Vrije Universiteit Brussel, Boulevard de la Plaine 9, 1050 Ixelles, Belgium
| | - Vivek Nityananda
- Biosciences Institute, Newcastle University, Newcastle Upon Tyne, NE2 4HH, UK
| | - Andrew A Rouse
- Department of Psychology, Tufts University, 419 Boston Ave, Medford, MA 02155, USA
| | - Sonja A Kotz
- Department of Neuropsychology and Psychopharmacology, Faculty of Psychology and Neuroscience, Maastricht University, Universiteitssingel 40, 6200 MD Maastricht, The Netherlands
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5
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Khan O, Ahmed I, Cottingham J, Rahhal M, Arvanitis TN, Elliott MT. Timing and correction of stepping movements with a virtual reality avatar. PLoS One 2020; 15:e0229641. [PMID: 32109252 PMCID: PMC7048307 DOI: 10.1371/journal.pone.0229641] [Citation(s) in RCA: 7] [Impact Index Per Article: 1.8] [Reference Citation Analysis] [Abstract] [MESH Headings] [Grants] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 06/10/2019] [Accepted: 02/11/2020] [Indexed: 12/17/2022] Open
Abstract
Research into the ability to coordinate one's movements with external cues has focussed on the use of simple rhythmic, auditory and visual stimuli, or interpersonal coordination with another person. Coordinating movements with a virtual avatar has not been explored, in the context of responses to temporal cues. To determine whether cueing of movements using a virtual avatar is effective, people's ability to accurately coordinate with the stimuli needs to be investigated. Here we focus on temporal cues, as we know from timing studies that visual cues can be difficult to follow in the timing context. Real stepping movements were mapped onto an avatar using motion capture data. Healthy participants were then motion captured whilst stepping in time with the avatar's movements, as viewed through a virtual reality headset. The timing of one of the avatar step cycles was accelerated or decelerated by 15% to create a temporal perturbation, for which participants would need to correct to, in order to remain in time. Step onset times of participants relative to the corresponding step-onsets of the avatar were used to measure the timing errors (asynchronies) between them. Participants completed either a visual-only condition, or auditory-visual with footstep sounds included, at two stepping tempo conditions (Fast: 400ms interval, Slow: 800ms interval). Participants' asynchronies exhibited slow drift in the Visual-Only condition, but became stable in the Auditory-Visual condition. Moreover, we observed a clear corrective response to the phase perturbation in both the fast and slow tempo auditory-visual conditions. We conclude that an avatar's movements can be used to influence a person's own motion, but should include relevant auditory cues congruent with the movement to ensure a suitable level of entrainment is achieved. This approach has applications in physiotherapy, where virtual avatars present an opportunity to provide the guidance to assist patients in adhering to prescribed exercises.
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Affiliation(s)
- Omar Khan
- Warwick Manufacturing Group, Institute of Digital Healthcare, University of Warwick, Coventry, United Kingdom
| | - Imran Ahmed
- Warwick Medical School, University of Warwick, Coventry, United Kingdom
| | - Joshua Cottingham
- Department of Computer Science, University of Warwick, Coventry, United Kingdom
| | - Musa Rahhal
- School of Engineering, University of Warwick, Coventry, United Kingdom
| | - Theodoros N. Arvanitis
- Warwick Manufacturing Group, Institute of Digital Healthcare, University of Warwick, Coventry, United Kingdom
| | - Mark T. Elliott
- Warwick Manufacturing Group, Institute of Digital Healthcare, University of Warwick, Coventry, United Kingdom
- * E-mail:
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6
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Takehana A, Uehara T, Sakaguchi Y. Audiovisual synchrony perception in observing human motion to music. PLoS One 2019; 14:e0221584. [PMID: 31454393 PMCID: PMC6711538 DOI: 10.1371/journal.pone.0221584] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Abstract] [MESH Headings] [Grants] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 04/17/2019] [Accepted: 08/09/2019] [Indexed: 11/18/2022] Open
Abstract
To examine how individuals perceive synchrony between music and body motion, we investigated the characteristics of synchrony perception during observation of a Japanese Radio Calisthenics routine. We used the constant stimuli method to present video clips of an individual performing an exercise routine. We generated stimuli with a range of temporal shifts between the visual and auditory streams, and asked participants to make synchrony judgments. We then examined which movement-feature points agreed with music beats when the participants perceived synchrony. We found that extremities (e.g., hands and feet) reached the movement endpoint or moved through the lowest position at music beats associated with synchrony. Movement onsets never agreed with music beats. To investigate whether visual information about the feature points was necessary for synchrony perception, we conducted a second experiment where only limited portions of video clips were presented to the participants. Participants consistently judged synchrony even when the video image did not contain the critical feature points, suggesting that a prediction mechanism contributes to synchrony perception. To discuss the meaning of these feature points with respect to synchrony perception, we examined the temporal relationship between the motion of body parts and the ground reaction force (GRF) of exercise performers, which reflected the total force acting on the performer. Interestingly, vertical GRF showed local peaks consistently synchronized with music beats for most exercises, with timing that was closely correlated with the timing of movement feature points. This result suggests that synchrony perception in humans is based on some global variable anticipated from visual information, instead of the feature points found in the motion of individual body parts. In summary, the present results indicate that synchrony perception during observation of human motion to music depends largely on spatiotemporal prediction of the performer's motion.
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Affiliation(s)
- Akira Takehana
- Department of Mechanical Engineering and Intelligent Systems, Graduate School of Informatics and Engineering, University of Electro-Communications, Chofu, Tokyo, Japan
| | - Tsukasa Uehara
- Department of Mechanical Engineering and Intelligent Systems, Graduate School of Informatics and Engineering, University of Electro-Communications, Chofu, Tokyo, Japan
| | - Yutaka Sakaguchi
- Department of Mechanical Engineering and Intelligent Systems, Graduate School of Informatics and Engineering, University of Electro-Communications, Chofu, Tokyo, Japan
- Research Center for Performance Art Science, University of Electro-Communications, Chofu, Tokyo, Japan
- * E-mail:
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7
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Gu L, Huang Y, Wu X. Advantage of audition over vision in a perceptual timing task but not in a sensorimotor timing task. PSYCHOLOGICAL RESEARCH 2019; 84:2046-2056. [PMID: 31190091 DOI: 10.1007/s00426-019-01204-3] [Citation(s) in RCA: 2] [Impact Index Per Article: 0.4] [Reference Citation Analysis] [Abstract] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Received: 02/13/2019] [Accepted: 05/24/2019] [Indexed: 12/28/2022]
Abstract
Timing is essential for various behaviors and relative to vision, audition is considered to be specialized for temporal processing. The present study conducted a sensorimotor timing task that required tapping in synchrony with a temporally regular sequence and a perceptual timing task that required detecting a timing deviation among a temporally regular sequence. The sequence was composed of auditory tones, visual flashes, or a visual bouncing ball. In the sensorimotor task, sensorimotor timing performance (synchronization stability) of the bouncing ball was much greater than that of flashes and was comparable to that of tones. In the perceptual task, where perceptual timing performance of the bouncing ball was greater than that of flashes, it was poorer than that of tones. These results suggest the facilitation of both perceptual and sensorimotor processing of temporal information by the bouncing ball. Given such facilitation of temporal processing, however, audition is still superior over vision in perceptual detection of timing.
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Affiliation(s)
- Li Gu
- State Key Laboratory of Ophthalmology, Guangdong Provincial Key Lab of Ophthalmology and Visual Science, Zhongshan Ophthalmic Center, Sun Yat-Sen University, Guangzhou, China.,Department of Psychology, Sun Yat-Sen University, 132 Waihuan East Road, Higher Education Mega Center, Guangzhou, 510006, Guangdong, China
| | - Yingyu Huang
- Department of Psychology, Sun Yat-Sen University, 132 Waihuan East Road, Higher Education Mega Center, Guangzhou, 510006, Guangdong, China
| | - Xiang Wu
- Department of Psychology, Sun Yat-Sen University, 132 Waihuan East Road, Higher Education Mega Center, Guangzhou, 510006, Guangdong, China.
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Metrical congruency and kinematic familiarity facilitate temporal binding between musical and dance rhythms. Psychon Bull Rev 2019; 25:1416-1422. [PMID: 29766450 DOI: 10.3758/s13423-018-1480-3] [Citation(s) in RCA: 3] [Impact Index Per Article: 0.6] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Indexed: 12/20/2022]
Abstract
Although music and dance are often experienced simultaneously, it is unclear what modulates their perceptual integration. This study investigated how two factors related to music-dance correspondences influenced audiovisual binding of their rhythms: the metrical match between the music and dance, and the kinematic familiarity of the dance movement. Participants watched a point-light figure dancing synchronously to a triple-meter rhythm that they heard in parallel, whereby the dance communicated a triple (congruent) or a duple (incongruent) visual meter. The movement was either the participant's own or that of another participant. Participants attended to both streams while detecting a temporal perturbation in the auditory beat. The results showed lower sensitivity to the auditory deviant when the visual dance was metrically congruent to the auditory rhythm and when the movement was the participant's own. This indicated stronger audiovisual binding and a more coherent bimodal rhythm in these conditions, thus making a slight auditory deviant less noticeable. Moreover, binding in the metrically incongruent condition involving self-generated visual stimuli was correlated with self-recognition of the movement, suggesting that action simulation mediates the perceived coherence between one's own movement and a mismatching auditory rhythm. Overall, the mechanisms of rhythm perception and action simulation could inform the perceived compatibility between music and dance, thus modulating the temporal integration of these audiovisual stimuli.
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9
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Gonzalez-Sanchez VE, Zelechowska A, Jensenius AR. Correspondences Between Music and Involuntary Human Micromotion During Standstill. Front Psychol 2018; 9:1382. [PMID: 30131742 PMCID: PMC6090462 DOI: 10.3389/fpsyg.2018.01382] [Citation(s) in RCA: 10] [Impact Index Per Article: 1.7] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 01/25/2018] [Accepted: 07/17/2018] [Indexed: 11/13/2022] Open
Abstract
The relationships between human body motion and music have been the focus of several studies characterizing the correspondence between voluntary motion and various sound features. The study of involuntary movement to music, however, is still scarce. Insight into crucial aspects of music cognition, as well as characterization of the vestibular and sensorimotor systems could be largely improved through a description of the underlying links between music and involuntary movement. This study presents an analysis aimed at quantifying involuntary body motion of a small magnitude (micromotion) during standstill, as well as assessing the correspondences between such micromotion and different sound features of the musical stimuli: pulse clarity, amplitude, and spectral centroid. A total of 71 participants were asked to stand as still as possible for 6 min while being presented with alternating silence and music stimuli: Electronic Dance Music (EDM), Classical Indian music, and Norwegian fiddle music (Telespringar). The motion of each participant's head was captured with a marker-based, infrared optical system. Differences in instantaneous position data were computed for each participant and the resulting time series were analyzed through cross-correlation to evaluate the delay between motion and musical features. The mean quantity of motion (QoM) was found to be highest across participants during the EDM condition. This musical genre is based on a clear pulse and rhythmic pattern, and it was also shown that pulse clarity was the metric that had the most significant effect in induced vertical motion across conditions. Correspondences were also found between motion and both brightness and loudness, providing some evidence of anticipation and reaction to the music. Overall, the proposed analysis techniques provide quantitative data and metrics on the correspondences between micromotion and music, with the EDM stimulus producing the clearest music-induced motion patterns. The analysis and results from this study are compatible with embodied music cognition and sensorimotor synchronization theories, and provide further evidence of the movement inducing effects of groove-related music features and human response to sound stimuli. Further work with larger data sets, and a wider range of stimuli, is necessary to produce conclusive findings on the subject.
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Affiliation(s)
- Victor E Gonzalez-Sanchez
- RITMO Centre for Interdisciplinary Studies in Rhythm, Time and Motion, Department of Musicology, University of Oslo, Oslo, Norway
| | - Agata Zelechowska
- RITMO Centre for Interdisciplinary Studies in Rhythm, Time and Motion, Department of Musicology, University of Oslo, Oslo, Norway
| | - Alexander Refsum Jensenius
- RITMO Centre for Interdisciplinary Studies in Rhythm, Time and Motion, Department of Musicology, University of Oslo, Oslo, Norway
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10
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Your move or mine? Music training and kinematic compatibility modulate synchronization with self- versus other-generated dance movement. PSYCHOLOGICAL RESEARCH 2018; 84:62-80. [PMID: 29380047 DOI: 10.1007/s00426-018-0987-6] [Citation(s) in RCA: 7] [Impact Index Per Article: 1.2] [Reference Citation Analysis] [Abstract] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Received: 07/21/2017] [Accepted: 01/18/2018] [Indexed: 01/25/2023]
Abstract
Motor simulation has been implicated in how musicians anticipate the rhythm of another musician's action to achieve interpersonal synchronization. Here, we investigated whether similar mechanisms govern a related form of rhythmic action: dance. We examined (1) whether synchronization with visual dance stimuli was influenced by movement agency, (2) whether music training modulated simulation efficiency, and (3) what cues were relevant for simulating the dance rhythm. Participants were first recorded dancing the basic Charleston steps paced by a metronome, and later in a synchronization task they tapped to the rhythm of their own point-light dance stimuli, stimuli of another physically matched participant or one matched in movement kinematics, and a quantitative average across individuals. Results indicated that, while there was no overall "self advantage" and synchronization was generally most stable with the least variable (averaged) stimuli, motor simulation was driven-indicated by high tap-beat variability correlations-by familiar movement kinematics rather than morphological features. Furthermore, music training facilitated simulation, such that musicians outperformed non-musicians when synchronizing with others' movements but not with their own movements. These findings support action simulation as underlying synchronization in dance, linking action observation and rhythm processing in a common motor framework.
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Ravignani A, Madison G. The Paradox of Isochrony in the Evolution of Human Rhythm. Front Psychol 2017; 8:1820. [PMID: 29163252 PMCID: PMC5681750 DOI: 10.3389/fpsyg.2017.01820] [Citation(s) in RCA: 44] [Impact Index Per Article: 6.3] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 05/25/2017] [Accepted: 09/30/2017] [Indexed: 01/04/2023] Open
Abstract
Isochrony is crucial to the rhythm of human music. Some neural, behavioral and anatomical traits underlying rhythm perception and production are shared with a broad range of species. These may either have a common evolutionary origin, or have evolved into similar traits under different evolutionary pressures. Other traits underlying rhythm are rare across species, only found in humans and few other animals. Isochrony, or stable periodicity, is common to most human music, but isochronous behaviors are also found in many species. It appears paradoxical that humans are particularly good at producing and perceiving isochronous patterns, although this ability does not conceivably confer any evolutionary advantage to modern humans. This article will attempt to solve this conundrum. To this end, we define the concept of isochrony from the present functional perspective of physiology, cognitive neuroscience, signal processing, and interactive behavior, and review available evidence on isochrony in the signals of humans and other animals. We then attempt to resolve the paradox of isochrony by expanding an evolutionary hypothesis about the function that isochronous behavior may have had in early hominids. Finally, we propose avenues for empirical research to examine this hypothesis and to understand the evolutionary origin of isochrony in general.
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Affiliation(s)
- Andrea Ravignani
- Language and Cognition Department, Max Planck Institute for Psycholinguistics, Nijmegen, Netherlands.,Veterinary and Research Department, Sealcentre Pieterburen, Pieterburen, Netherlands.,Artificial Intelligence Lab, Vrije Universiteit Brussel, Brussels, Belgium
| | - Guy Madison
- Department of Psychology, Umeå University, Umeå, Sweden
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Gasenzer ER, Leischik R. [Music, pulse, heart and sport]. Herz 2017; 43:43-52. [PMID: 28116463 DOI: 10.1007/s00059-016-4520-7] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Received: 01/19/2016] [Revised: 10/15/2016] [Accepted: 11/26/2016] [Indexed: 10/20/2022]
Abstract
Music, with its various elements, such as rhythm, sound and melody had the unique ability even in prehistoric, ancient and medieval times to have a special fascination for humans. Nowadays, it is impossible to eliminate music from our daily lives. We are accompanied by music in shopping arcades, on the radio, during sport or leisure time activities and in wellness therapy. Ritualized drumming was used in the medical sense to drive away evil spirits or to undergo holy enlightenment. Today we experience the varied effects of music on all sensory organs and we utilize its impact on cardiovascular and neurological rehabilitation, during invasive cardiovascular procedures or during physical activities, such as training or work. The results of recent studies showed positive effects of music on heart rate and in therapeutic treatment (e. g. music therapy). This article pursues the impact of music on the body and the heart and takes sports medical aspects from the past and the present into consideration; however, not all forms of music and not all types of musical activity are equally suitable and are dependent on the type of intervention, the sports activity or form of movement and also on the underlying disease. This article discusses the influence of music on the body, pulse, on the heart and soul in the past and the present day.
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Affiliation(s)
- E R Gasenzer
- Fakultät für Medizin, Universität Witten/Herdecke, 58448, Witten, Deutschland. .,Lehrstuhl für Chirurgische Forschung, Institut für Forschung in der Operativen Medizin, Universität Witten/Herdecke, Ostmerheimer Str. 200, 51109, Köln, Deutschland.
| | - R Leischik
- Fakultät für Medizin, Universität Witten/Herdecke, 58448, Witten, Deutschland. .,Senior Lecturer Prevention, Health Promotion and Sports Medicine, Lehrauftrag für Prävention, Sportmedizin, Gesundheitsförderung, Universität Witten-Herdecke, Elberfelder Str.1, 58095, Hagen, Deutschland.
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13
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Su YH. Visual Enhancement of Illusory Phenomenal Accents in Non-Isochronous Auditory Rhythms. PLoS One 2016; 11:e0166880. [PMID: 27880850 PMCID: PMC5120798 DOI: 10.1371/journal.pone.0166880] [Citation(s) in RCA: 4] [Impact Index Per Article: 0.5] [Reference Citation Analysis] [Abstract] [MESH Headings] [Grants] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 05/24/2016] [Accepted: 11/04/2016] [Indexed: 11/19/2022] Open
Abstract
Musical rhythms encompass temporal patterns that often yield regular metrical accents (e.g., a beat). There have been mixed results regarding perception as a function of metrical saliency, namely, whether sensitivity to a deviant was greater in metrically stronger or weaker positions. Besides, effects of metrical position have not been examined in non-isochronous rhythms, or with respect to multisensory influences. This study was concerned with two main issues: (1) In non-isochronous auditory rhythms with clear metrical accents, how would sensitivity to a deviant be modulated by metrical positions? (2) Would the effects be enhanced by multisensory information? Participants listened to strongly metrical rhythms with or without watching a point-light figure dance to the rhythm in the same meter, and detected a slight loudness increment. Both conditions were presented with or without an auditory interference that served to impair auditory metrical perception. Sensitivity to a deviant was found greater in weak beat than in strong beat positions, consistent with the Predictive Coding hypothesis and the idea of metrically induced illusory phenomenal accents. The visual rhythm of dance hindered auditory detection, but more so when the latter was itself less impaired. This pattern suggested that the visual and auditory rhythms were perceptually integrated to reinforce metrical accentuation, yielding more illusory phenomenal accents and thus lower sensitivity to deviants, in a manner consistent with the principle of inverse effectiveness. Results were discussed in the predictive framework for multisensory rhythms involving observed movements and possible mediation of the motor system.
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Affiliation(s)
- Yi-Huang Su
- Department of Movement Science, Faculty of Sport and Health Sciences, Technical University of Munich, Munich, Germany
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