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Interacting with music is a uniquely pleasurable activity that is ubiquitous across human cultures. Current theories suggest that a prominent driver of musical pleasure responses is the violation and confirmation of temporal predictions. For example, the pleasurable urge to move to music (PLUMM), which is associated with the broader concept of groove, is higher for moderately complex rhythms compared to simple and complex rhythms. This inverted U-shaped relation between PLUMM and rhythmic complexity is thought to result from a balance between predictability and uncertainty. That is, moderately complex rhythms lead to strongly weighted prediction errors which elicit an urge to move to reinforce the predictive model (i.e., the meter). However, the details of these processes and how they bring about positive affective responses are currently underspecified. We propose that the intrinsic motivation for learning progress drives PLUMM and informs the music humans choose to listen to, dance to, and create. Here, learning progress reflects the rate of prediction error minimization over time. Accordingly, reducible prediction errors signal the potential for learning progress, producing a pleasurable, curious state characterized by the mobilization of attentional and memory resources. We discuss this hypothesis in the context of current psychological and neuroscientific research on musical pleasure and PLUMM. We propose a theoretical neuroscientific model focusing on the roles of dopamine and norepinephrine within a feedback loop linking prediction-based learning, curiosity, and memory. This perspective provides testable predictions that will motivate future research to further illuminate the fundamental relation between predictions, movement, and reward. [ABSTRACT FROM AUTHOR]

• Previous work shows benefit of regular rhythmic priming on grammaticality judgment. • The rhythmic priming effect is not replicated in English speakers aged 7-12 years. • Regular rhythmic priming does not improve syntactic analysis of relative clauses. • The benefit of rhythmic priming on language may be age- and/or language-specific. A growing body of research has demonstrated the association between music and language, particularly between rhythm and grammar skills in children. A compelling piece of evidence for the influence of music on language comes from findings that a brief exposure to regular musical rhythm improved subsequent syntactic language performance in children. Nevertheless, those observations were made on one particular task, i.e., grammaticality judgment, mostly with French-speaking children. Here, we sought to corroborate and extend the rhythmic priming effect with English-speaking children aged 7 to 12 years who underwent two different syntactic tasks on spoken sentences: one involving judgment on morphosyntactic well-formedness (grammaticality judgment) and the other requiring noun–verb relation analysis (sentence comprehension), both following either regular or irregular rhythmic priming. Half of the children were administered synthetic speech stimuli (Experiment 1), and the other half were presented with natural speech (Experiment 2). Across the two experiments, we did not find any rhythmic priming effect; children's performance on both the grammaticality judgment and sentence comprehension tasks was comparable irrespective of the regularity in prior rhythms. These results imply that the positive influence of regular rhythmic priming on syntactic processing may be confined to specific language or age populations, warranting further investigation. [ABSTRACT FROM AUTHOR]

The purpose of this study is to discuss the concept of "verse" and "poetic rhythm". With this investigation, we try to understand the idea of "free verse", one of the main characteristics of the XIX's production of Portuguese poetic work. For this, we introduce considerations about the first two concepts, specially about these etymological origins, with the purpose to figure how "free verse" deals with the traditional idea of rhythm in poetry, which is no longer submitted to the versification's theories. [ABSTRACT FROM AUTHOR]