fNIRS & e-drum: An ecological approach to monitor hemodynamic and behavioural effects of rhythmic auditory cueing training

Converging evidence suggests a beneficial effect of rhythmic music-therapy in easing motor dysfunctions. Nevertheless, the neural systems underpinning both the direct effect and the influence of rhythm on movement control and execution during training in ecological settings are still largely unknown. In this study, we propose an ecological approach to monitor brain activity and behavioural performance during rhythmic auditory cueing short-term training. Our approach envisages the combination of functional near-infrared spectroscopy (fNIRS), which is a non-invasive neuroimaging technique that allows unconstrained movements of participants, with electronic drum (e-drum), which is an instrument able to collect behavioural tapping data in real time. The behavioural and brain effects of this short-term training were investigated on a group of healthy participants, who well tolerated the experimental settings, since none of them withdrew from the study. The rhythmic auditory cueing short-term training improved beat regularity and decreased group variability. At the group level, the training resulted in a reduction of brain activity primarily in premotor areas. Furthermore, participants with the highest behavioural improvement during training showed the smallest reduction in brain activity. Overall, we conclude that our study could pave the way towards translating the proposed approach to clinical settings.

Music to One's Ears: Familiarity and Music Engagement in People With Parkinson's Disease

Parkinson's disease (PD) is a complex diagnosis commonly associated with motor dysfunction, but known to comprise cognitive, psychiatric, and mood disturbances as well. Music has been successfully used to address motor and non-motor symptoms of PD. Still, little is known about the nature of an individual with PD's experience and relationship with music on conceptual and emotional levels, which may factor into their engagement in music-based techniques to ameliorate impairments. Two surveys were administered to 19 individuals with PD and 15 individuals without PD in order to gauge their subjective impressions and valuations of music. Participants completed The Brief Music Experience Questionnaire (BMEQ), a standard self-report measure pertaining to the role of music in one's life, prior to performing a perception task which involved listening to and making sound adjustments to three music recordings. Following the perception task, a custom Exit Survey was administered to evaluate the experience of listening to and engaging with the music in the perception task. In all six dimensions of the BMEQ, examining aspects of music experience including commitment to music, self-reported musical aptitude, social uplift, affective reactions, positive psychotropic effects, and reactive musical behavior (RMB, pertaining to actions or behaviors in response to music), the mean and the median were greater for the control group than for the PD group, but the difference was only statistically significant in the RMB dimension. On the Exit Survey, both groups assessed recent, specific, and interactive music listening more positively than the imagined, hypothetical or general music experiences addressed on the BMEQ. Additionally, familiarity had a greater effect on listening pleasure for participants with PD than those without PD. We conclude that people with PD may perceive less of an automatic connection between music and activity than their healthy peers. Additionally, they may receive more pleasure and value from music than they anticipate. Taken together, our results suggest that people with PD may require encouragement to participate as well as empowerment to choose familiar selections in order to better access music-based interventions and the benefits they can offer.