Role-Specific Brain Activations in Leaders and Followers During Joint Action

Leadership dynamics in musical groups: Quantifying effects of musical structure on directionality of influence in concert performance videos

Music ensemble performance provides an ecologically valid context for investigating leadership dynamics in small group interactions. Musical texture, specifically the relative salience of simultaneously sounding ensemble parts, is a feature that can potentially alter leadership dynamics by introducing hierarchical relationships between individual parts. The present study extended previous work on quantifying interpersonal coupling in musical ensembles by examining the relationship between musical texture and leader-follower relations, operationalised as directionality of influence between co-performers' body motion in concert video recordings. It was hypothesised that the directionality of influence, indexed by Granger Causality, would be greater for 'homophonic' textures with a clear distinction between melody and accompaniment parts than for 'polyphonic' textures with less distinction between melody and accompaniment. This hypothesis was tested by using pose estimation algorithms to track instrumentalists' body movements in a string quartet and a clarinet quintet, and then applying Granger Causality analysis to their head motion to estimate directional influence between instrumentalist pairs for sections of the pieces that varied in texture. It was found that Granger Causality values were generally higher (indicating greater directionality of influence) for homophonic than polyphonic textures. Furthermore, considering melody and accompaniment instrument roles revealed more evidence for the melody instrument influencing accompanying instruments than vice versa, plus a high degree of directionality among accompanying instruments, in homophonic textures. These observed patterns of directional information flow in co-performer body motion are consistent with changing leader-follower relations depending on hierarchical relations between ensemble parts in terms of the relative salience of melodic material in the musical texture. The finding that automatic pose estimation can detect modulations of leadership dynamics in standard video recordings under naturalistic performance conditions has implications for investigating interpersonal coordination in large-scale music video datasets representing different cultural traditions, and for exploring nonverbal communication in group activities more generally.

An fMRI-study of leading and following using rhythmic tapping

Leading and following is about synchronizing and joining actions in accordance with the differences that the leader and follower roles provide. The neural reactivity representing these roles was measured in an explorative fMRI-study, where two persons lead and followed each other in finger tapping using simple, individual, pre-learnt rhythms. All participants acted both as leader and follower. Neural reactivity for both lead and follow related to social awareness and adaptation distributed over the lateral STG, STS and TPJ. Reactivity for follow contrasted with lead mostly reflected sensorimotor and rhythmic processing in cerebellum IV, V, somatosensory cortex and SMA. During leading, as opposed to following, neural reactivity was observed in the insula and bilaterally in the superior temporal gyrus, pointing toward empathy, sharing of feelings, temporal coding and social engagement. Areas for continuous adaptation, in the posterior cerebellum and Rolandic operculum, were activated during both leading and following. This study indicated mutual adaptation of leader and follower during tapping and that the roles gave rise to largely similar neuronal reactivity. The differences between the roles indicated that leading was more socially focused and following had more motoric- and temporally related neural reactivity.

Alpha oscillations related to self-other integration and distinction during live orchestral performance: A naturalistic case study

Ensemble music performance requires musicians to achieve precise interpersonal coordination while maintaining autonomous control over their own actions. To do so, musicians dynamically shift between integrating other performers' actions into their own action plans and maintaining a distinction between their own and others' actions. Research in laboratory settings has shown that this dynamic process of self-other integration and distinction is indexed by sensorimotor alpha oscillations. The purpose of the current descriptive case study was to examine oscillations related to self-other integration and distinction in a naturalistic performance context. We measured alpha activity from four violinists during a concert hall performance of a 60-musician orchestra. We selected a musical piece from the orchestra's repertoire and, before analyzing alpha activity, performed a score analysis to divide the piece into sections that were expected to strongly promote self-other integration and distinction. In line with previous laboratory findings, performers showed suppressed and enhanced alpha activity during musical sections that promoted self-other integration and distinction, respectively. The current study thus provides preliminary evidence that findings from carefully controlled laboratory experiments generalize to complex real-world performance. Its findings also suggest directions for future research and potential applications of interest to musicians, music educators, and music therapists.

Cortical activation during cooperative joint actions and competition in children with and without an autism spectrum condition (ASC): an fNIRS study

Children with an Autism Spectrum Condition (ASC) have social communication and perceptuomotor difficulties that affect their ability to engage in dyadic play. In this study, we compared spatio-temporal errors and fNIRS-related cortical activation between children with and without an ASC during a Lincoln Log dyadic game requiring them to play leader or follower roles, move in synchrony or while taking turns, and move cooperatively or competitively with an adult partner. Children with an ASC had greater motor, planning, and spatial errors and took longer to complete the building tasks compared to typically developing (TD) children. Children with an ASC had lower superior temporal sulcus (STS) activation during Turn-take and Compete, and greater Inferior Parietal Lobe (IPL) activation during Lead and Turn-take compared to TD children. As dyadic play demands increased, TD children showed greater STS activation during Turn-take (vs. Synchrony) and Compete (vs. Cooperate) whereas children with an ASC showed greater IPL activation during Lead and Compete (vs. Cooperate). Our findings suggest that children with an ASC rely on self-generated action plans (i.e., increased IPL activation) more than relying on their partner’s action cues (i.e., reduced STS activation) when engaging in dyadic play including joint actions and competition.

Temporal Coordination in Piano Duet Networked Music Performance (NMP): Interactions Between Acoustic Transmission Latency and Musical Role Asymmetries

Today’s audio, visual, and internet technologies allow people to interact despite physical distances, for casual conversation, group workouts, or musical performance. Musical ensemble performance is unique because interaction integrity critically depends on the timing between each performer’s actions and when their acoustic outcomes arrive. Acoustic transmission latency (ATL) between players is substantially longer for networked music performance (NMP) compared to traditional in-person spaces where musicians can easily adapt. Previous work has shown that longer ATLs slow the average tempo in ensemble performance, and that asymmetric co-actor roles and empathy-related traits affect coordination patterns in joint action. Thus, we are interested in how musicians collectively adapt to a given latency and how such adaptation patterns vary with their task-related and person-related asymmetries. Here, we examined how two pianists performed duets while hearing each other’s auditory outcomes with an ATL of 10, 20, or 40 ms. To test the hypotheses regarding task-related asymmetries, we designed duets such that pianists had: (1) a starting or joining role and (2) a similar or dissimilar musical part compared to their co-performer, with respect to pitch range and melodic contour. Results replicated previous clapping-duet findings showing that longer ATLs are associated with greater temporal asynchrony between partners and increased average tempo slowing. While co-performer asynchronies were not affected by performer role or part similarity, at the longer ATLs starting performers displayed slower tempos and smaller tempo variability than joining performers. This asymmetry of stability vs. flexibility between starters and joiners may sustain coordination, consistent with recent joint action findings. Our data also suggest that relative independence in musical parts may mitigate ATL-related challenges. Additionally, there may be a relationship between co-performer differences in empathy-related personality traits such as locus of control and coordination during performance under the influence of ATL. Incorporating the emergent coordinative dynamics between performers could help further innovation of music technologies and composition techniques for NMP.

The extrastriate body area is involved in reciprocal imitation of hand gestures, vocalizations, and facial expressions: A univariate and multivariate fMRI study

The extrastriate body area (EBA) in the lateral occipito-temporal cortex has an important role in reciprocal interaction, as it detects congruence between self and other's hand actions. However, it is unclear whether the EBA can detect congruence regardless of the type of action. In the present study, we examined the neural substrate underlying congruence detection of three types of actions: hand gestures, vocalizations, and facial expressions. A univariate analysis revealed a congruency effect, especially for imitating action, for all three types of actions in the EBA. A multi-voxel pattern analysis classifier in the EBA was able to distinguish between initiating interaction from responding to interaction in all experiments. Correspondingly, the congruency effect in the EBA revealed by univariate analysis was stronger for responding to than for initiating interaction. These findings suggest that the EBA might contribute to detect congruence regardless of the body part used (i.e. face or hand) and the type of action (i.e. gestural or vocal). Moreover, initiating and responding to interaction might be processed differently within the EBA. This study highlights the role of the EBA in comparing between self and other's actions beyond hand actions.Running head: Function of EBA in reciprocal imitation.

Dance on the Brain: Enhancing Intra- and Inter-Brain Synchrony

Dance has traditionally been viewed from a Eurocentric perspective as a mode of self-expression that involves the human body moving through space, performed for the purposes of art, and viewed by an audience. In this Hypothesis and Theory article, we synthesize findings from anthropology, sociology, psychology, dance pedagogy, and neuroscience to propose The Synchronicity Hypothesis of Dance, which states that humans dance to enhance both intra- and inter-brain synchrony. We outline a neurocentric definition of dance, which suggests that dance involves neurobehavioral processes in seven distinct areas including sensory, motor, cognitive, social, emotional, rhythmic, and creative. We explore The Synchronicity Hypothesis of Dance through several avenues. First, we examine evolutionary theories of dance, which suggest that dance drives interpersonal coordination. Second, we examine fundamental movement patterns, which emerge throughout development and are omnipresent across cultures of the world. Third, we examine how each of the seven neurobehaviors increases intra- and inter-brain synchrony. Fourth, we examine the neuroimaging literature on dance to identify the brain regions most involved in and affected by dance. The findings presented here support our hypothesis that we engage in dance for the purpose of intrinsic reward, which as a result of dance-induced increases in neural synchrony, leads to enhanced interpersonal coordination. This hypothesis suggests that dance may be helpful to repattern oscillatory activity, leading to clinical improvements in autism spectrum disorder and other disorders with oscillatory activity impairments. Finally, we offer suggestions for future directions and discuss the idea that our consciousness can be redefined not just as an individual process but as a shared experience that we can positively influence by dancing together.

The motor-related brain activity that supports joint action: A review

Recent years have seen a rapid increase in research investigating the motor-related brain activity that supports joint action. This research has employed a variety of joint action tasks and an array of neuroimaging techniques, including fMRI, fNIRS, EEG, and TMS. In this review, we provide an overview of this research to delineate what is known about the motor-related brain activity that contributes to joint action and to highlight key questions for future research. Taken together, the surveyed research supports three major conclusions. First, the mere presence of a joint action context is sufficient to modulate motor activity elicited by observing others' actions. Second, joint action is supported by dissociable motor activity associated with a person's own actions, their partner's actions, and the joint action, and by between-brain coupling of motor-related oscillatory activity. Third, the structure of a joint action modulates the motor activity involved: Unique motor activity is associated with performing joint actions comprised of complementary actions and with holding the roles of leader and follower within a joint action. We conclude the review by highlighting overarching themes and key questions for future research.

Musical Role Asymmetries in Piano Duet Performance Influence Alpha-Band Neural Oscillation and Behavioral Synchronization

Recent work in interpersonal coordination has revealed that neural oscillations, occurring spontaneously in the human brain, are modulated during the sensory, motor, and cognitive processes involved in interpersonal interactions. In particular, alpha-band (8-12 Hz) activity, linked to attention in general, is related to coordination dynamics and empathy traits. Researchers have also identified an association between each individual's attentiveness to their co-actor and the relative similarity in the co-actors' roles, influencing their behavioral synchronization patterns. We employed music ensemble performance to evaluate patterns of behavioral and neural activity when roles between co-performers are systematically varied with complete counterbalancing. Specifically, we designed a piano duet task, with three types of co-actor dissimilarity, or asymmetry: (1) musical role (starting vs. joining), (2) musical task similarity (similar vs. dissimilar melodic parts), and (3) performer animacy (human-to-human vs. human-to-non-adaptive computer). We examined how the experience of these asymmetries in four initial musical phrases, alternatingly played by the co-performers, influenced the pianists' performance of a subsequent unison phrase. Electroencephalography was recorded simultaneously from both performers while playing keyboards. We evaluated note-onset timing and alpha modulation around the unison phrase. We also investigated whether each individual's self-reported empathy was related to behavioral and neural activity. Our findings revealed closer behavioral synchronization when pianists played with a human vs. computer partner, likely because the computer was non-adaptive. When performers played with a human partner, or a joining performer played with a computer partner, having a similar vs. dissimilar musical part did not have a significant effect on their alpha modulation immediately prior to unison. However, when starting performers played with a computer partner with a dissimilar vs. similar part there was significantly greater alpha synchronization. In other words, starting players attended less to the computer partner playing a similar accompaniment, operating in a solo-like mode. Moreover, this alpha difference based on melodic similarity was related to a difference in note-onset adaptivity, which was in turn correlated with performer trait empathy. Collectively our results extend previous findings by showing that musical ensemble performance gives rise to a socialized context whose lasting effects encompass attentiveness, perceptual-motor coordination, and empathy.