Search

New interdisciplinary research into genetic influences on musicality raises a number of ethical and social issues for future avenues of research and public engagement. The historical intersection of music cognition and eugenics heightens the need to vigilantly weigh the potential risks and benefits of these studies and the use of their outcomes. Here, we bring together diverse disciplinary expertise (complex trait genetics, music cognition, musicology, bioethics, developmental psychology, and neuroscience) to interpret and guide the ethical use of findings from recent and future studies. We discuss a framework for incorporating principles of ethically and socially responsible conduct of musicality genetics research into each stage of the research lifecycle: study design, study implementation, potential applications, and communication. [ABSTRACT FROM AUTHOR]

Uncovering the genetic underpinnings of musical ability and engagement is a foundational step for exploring their wide‐ranging associations with cognition, health, and neurodevelopment. Prior studies have focused on using twin and family designs, demonstrating moderate heritability of musical phenotypes. The current study used genome‐wide complex trait analysis and polygenic score (PGS) approaches utilizing genotype data to examine genetic influences on two musicality traits (rhythmic perception and music engagement) in N = 1792 unrelated adults in the Vanderbilt Online Musicality Study. Meta‐analyzed heritability estimates (including a replication sample of Swedish individuals) were 31% for rhythmic perception and 12% for self‐reported music engagement. A PGS derived from a recent study on beat synchronization ability predicted both rhythmic perception (β = 0.11) and music engagement (β = 0.19) in our sample, suggesting that genetic influences underlying self‐reported beat synchronization ability also influence individuals' rhythmic discrimination aptitude and the degree to which they engage in music. Cross‐trait analyses revealed a modest contribution of PGSs from several nonmusical traits (from the cognitive, personality, and circadian chronotype domains) to individual differences in musicality (β = −0.06 to 0.07). This work sheds light on the complex relationship between the genetic architecture of musical rhythm processing, beat synchronization, music engagement, and other nonmusical traits. [ABSTRACT FROM AUTHOR]

Technologies, such as mobile devices or sets of connected sensors, provide new and engaging opportunities to devise music‐based interventions. Among the different technological options, serious games offer a valuable alternative. Serious games can engage multisensory processes, creating a rich, rewarding, and motivating rehabilitation setting. Moreover, they can be targeted to specific musical features, such as pitch production or synchronization to a beat. Because serious games are typically low cost and enjoy wide access, they are inclusive tools perfectly suited for remote at‐home interventions using music in various patient populations and environments. The focus of this article is in particular on the use of rhythmic serious games for training auditory–motor synchronization. After reviewing the existing rhythmic games, initial evidence from a recent proof‐of‐concept study in Parkinson's disease is provided. It is shown that rhythmic video games using finger tapping can be used with success as an at‐home protocol, and bring about beneficial effects on motor performance in patients. The use and benefits of rhythmic serious games can extend beyond the rehabilitation of patients with movement disorders, such as to neurodevelopmental disorders, including dyslexia and autism spectrum disorder. [ABSTRACT FROM AUTHOR]

Regular rhythm facilitates audiomotor entrainment and synchronization in motor behavior and vocalizations between individuals. As rhythm entrainment between interacting agents is correlated with higher levels of cooperation and prosocial affiliative behavior, humans can potentially map regular speech rhythm onto higher cooperation and friendliness between interacting individuals. We tested this hypothesis at two rhythmic levels: pulse (recurrent acoustic events) and meter (hierarchical structuring of pulses based on their relative salience). We asked the listeners to make judgments of the hostile or collaborative attitude of two interacting agents who exhibit either regular or irregular pulse (Experiment 1) or meter (Experiment 2). The results confirmed a link between the perception of social affiliation and rhythmicity: evenly distributed pulses (vowel onsets) and consistent grouping of pulses into recurrent hierarchical patterns are more likely to be perceived as cooperation signals. People are more sensitive to regularity at the level of pulse than at the level of meter, and they are more confident when they associate cooperation with isochrony in pulse. The evolutionary origin of this faculty is possibly the need to transmit and perceive coalition information in social groups of human ancestors. We discuss the implications of these findings for the emergence of speech in humans. [ABSTRACT FROM AUTHOR]

I explore the neural and evolutionary origins of phonological hierarchy, building on Peter MacNeilage's frame/content model, which suggests that human speech evolved from primate nonvocal jaw oscillations, for example, lip smack displays, combined with phonation. Considerable recent data, reviewed here, support this proposition. I argue that the evolution of speech motor control required two independent components. The first, identified by MacNeilage, is the diversification of phonetic "content" within a simple sequential "frame," and would be within reach of nonhuman primates, by simply intermittently activating phonation during lip smack displays. Such voicing control requires laryngeal control, hypothesized to necessitate direct corticomotor connections to the nucleus ambiguus. The second component, proposed here, involves imposing additional hierarchical rhythmic structure upon the "flat" control sequences typifying mammalian vocal tract oscillations and is required for the flexible combinatorial capacity observed in modern phonology. I hypothesize that phonological hierarchy resulted from a marriage of a preexisting capacity for sequential structure seen in other primates, with novel hierarchical motor control circuitry (potentially evolved in tool use and/or musical contexts). In turn, this phonological hierarchy paved the way for phrasal syntactic hierarchy. I support these arguments using comparative and neural data from nonhuman primates and birdsong. [ABSTRACT FROM AUTHOR]

Rhythm is fundamental to every motor activity. Neural and physiological mechanisms that underlie rhythmic cognition, in general, and rhythmic pattern generation, in particular, are evolutionarily ancient. As speech production is a kind of motor activity, investigating speech rhythm can provide insight into how general motor patterns have been adapted for more specific use in articulation and speech production. Studies on speech rhythm may further provide insight into the development of speech capacity in humans. As speech capacity is putatively a prerequisite for developing a language faculty, studies on speech rhythm may cast some light on the mystery of language evolution in the human genus. Hereby, we propose an approach to exploring speech rhythm as a window on speech emergence in ontogenesis and phylogenesis, as well as on diachronic linguistic changes. [ABSTRACT FROM AUTHOR]

Why does human speech have rhythm? As we cannot travel back in time to witness how speech developed its rhythmic properties and why humans have the cognitive skills to process them, we rely on alternative methods to find out. One powerful tool is the comparative approach: studying the presence or absence of cognitive/behavioral traits in other species to determine which traits are shared between species and which are recent human inventions. Vocalizations of many species exhibit temporal structure, but little is known about how these rhythmic structures evolved, are perceived and produced, their biological and developmental bases, and communicative functions. We review the literature on rhythm in speech and animal vocalizations as a first step toward understanding similarities and differences across species. We extend this review to quantitative techniques that are useful for computing rhythmic structure in acoustic sequences and hence facilitate cross‐species research. We report links between vocal perception and motor coordination and the differentiation of rhythm based on hierarchical temporal structure. While still far from a complete cross‐species perspective of speech rhythm, our review puts some pieces of the puzzle together. [ABSTRACT FROM AUTHOR]

Language lies at the heart of our experience as humans and disorders of language acquisition carry severe developmental costs. Rhythmic processing lies at the heart of language acquisition. Here, I review our understanding of the perceptual and neural mechanisms that support language acquisition, from a novel amplitude modulation perspective. Amplitude modulation patterns in infant‐ and child‐directed speech support the perceptual experience of rhythm, and the brain encodes these rhythm patterns in part via neuroelectric oscillations. When brain rhythms align themselves with (entrain to) acoustic rhythms, speech intelligibility improves. Recent advances in the auditory neuroscience of speech processing enable studies of neuronal oscillatory entrainment in children and infants. The "amplitude modulation phase hierarchy" theoretical perspective on language acquisition is applicable across languages, and cross‐language investigations adopting this novel perspective would be valuable for the field. [ABSTRACT FROM AUTHOR]

Cochlear implants (CIs) are biomedical devices that provide sound to people with severe‐to‐profound hearing loss by direct electrical stimulation of auditory neurons in the cochlea. Despite the remarkable achievements with respect to speech perception in quiet environments, music perception with CIs remains generally poor due to the degradation of auditory input. Prior studies have shown that both pitch perception and timbre discrimination are poor in CI users, whereas the performance on rhythmic tasks is nearly equivalent to normal hearing participants. There are several caveats, however, to this generalization regarding rhythm processing for CI users. The purpose of this article is to summarize the literature on rhythmic perception for CI users while highlighting important limitations within these studies. We will also identify areas for future research and development of CI‐mediated music processing. It is likely that rhythm processing will continue to advance as our understanding of electrical current delivery to the auditory nerve improves. [ABSTRACT FROM AUTHOR]

How do rhythmic patterns in speech arise? There are many representational frameworks for describing rhythmic patterns, but none of these directly connect representations to articulatory processes, which have physical manifestations in the acoustic signal. Here, a new model of speech rhythm is presented, one in which rhythmic patterns arise from spatial mechanisms that govern the organization of articulatory gestures. The roles of time and space in symbolic representations of the metrical structure are analyzed, and conventional understandings of stress and accent are called into question. One aspect of rhythmic patterns, in particular—the directionality of accentual patterns—is examined closely. A novel dynamical model is developed, which proposes a reinterpretation of directionality and other temporal phenomena in speech. [ABSTRACT FROM AUTHOR]

Abstract: Gait dysfunctions in Parkinson's disease can be partly relieved by rhythmic auditory cueing. This consists in asking patients to walk with a rhythmic auditory stimulus such as a metronome or music. The effect on gait is visible immediately in terms of increased speed and stride length. Moreover, training programs based on rhythmic cueing can have long‐term benefits. The effect of rhythmic cueing, however, varies from one patient to the other. Patients’ response to the stimulation may depend on rhythmic abilities, often deteriorating with the disease. Relatively spared abilities to track the beat favor a positive response to rhythmic cueing. On the other hand, most patients with poor rhythmic abilities either do not respond to the cues or experience gait worsening when walking with cues. An individualized approach to rhythmic auditory cueing with music is proposed to cope with this variability in patients’ response. This approach calls for using assistive mobile technologies capable of delivering cues that adapt in real time to patients’ gait kinematics, thus affording step synchronization to the beat. Individualized rhythmic cueing can provide a safe and cost‐effective alternative to standard cueing that patients may want to use in their everyday lives. [ABSTRACT FROM AUTHOR]

Abstract: The auditory system is extremely precise in processing the temporal information of perceptual events and using these cues to coordinate action. Synchronizing movement to a steady beat relies on this bidirectional connection between sensory and motor systems, and activates many of the auditory and cognitive processes used when reading. Here, we use Interactive Metronome, a clinical intervention technology requiring an individual to clap her hands in time with a steady beat, to investigate whether the links between literacy and synchronization skills, previously established in older children, are also evident in children who are learning to read. We tested 64 typically developing children (ages 5–7 years) on their synchronization abilities, neurophysiological responses to speech in noise, and literacy skills. We found that children who have lower variability in synchronizing have higher phase consistency, higher stability, and more accurate envelope encoding—all neurophysiological response components linked to language skills. Moreover, performing the same task with visual feedback reveals links with literacy skills, notably processing speed, phonological processing, word reading, spelling, morphology, and syntax. These results suggest that rhythm skills and literacy call on overlapping neural mechanisms, supporting the idea that rhythm training may boost literacy in part by engaging sensory‐motor systems. [ABSTRACT FROM AUTHOR]

Abstract: As the volume of studies testing the benefits of active music‐making interventions increases exponentially, it is important to document what exactly is happening during music treatment sessions in order to provide evidence for the mechanisms through which music training affects other domains. Thus, to complement systematic and rigorous attention to outcomes of the treatment, we outline four vital components of treatment fidelity and discuss their implementation in nonmusic‐ and music‐based interventions. We then describe the design of Music Impacting Language Expertise (MILEStone), a new intervention that aims to improve grammar skills in children with specific language impairment by increasing sensitivity to rhythmic structure, which may enhance general temporal processing and sensitivity to syntactic structure. We describe the approach to addressing treatment fidelity in MILEStone adapted from intervention research from other fields, including a behavioral coding system to track instructional episodes and child participation, a treatment manual, activity checklists, provider training and monitoring, a home practice log, and teacher ratings of participant engagement. This approach takes an important first step in modeling a formalized procedure for assessing treatment fidelity in active music‐making intervention research, as a means of increasing methodological rigor in support of evidence‐based practice in clinical and educational settings. [ABSTRACT FROM AUTHOR]

Abstract: Rhythmic incongruity in the form of syncopation is a prominent feature of many contemporary musical styles. Syncopations afford incongruity between rhythmic patterns and the meter, giving rise to mental models of differently accented isochronous beats. Syncopations occur either in isolation or as part of rhythmic patterns, so‐called grooves. On the basis of the predictive coding framework, we discuss how brain processing of rhythm can be seen as a special case of predictive coding. We present a simple, yet powerful model for how the brain processes rhythmic incongruity: the model for predictive coding of rhythmic incongruity. Our model proposes that a given rhythm's syncopation and its metrical uncertainty (precision) is at the heart of how the brain models rhythm and meter based on priors, predictions, and prediction error. Our minimal model can explain prominent features of brain processing of syncopation: why isolated syncopations lead to stronger prediction error in the brains of musicians, as evidenced by larger event‐related potentials to rhythmic incongruity, and why we all experience a stronger urge to move to grooves with a medium level of syncopation compared with low and high levels of syncopation. [ABSTRACT FROM AUTHOR]

Abstract: Infants typically experience music through social interactions with others. One such experience involves caregivers singing to infants while holding and bouncing them rhythmically. These highly social interactions shape infant music perception and may also influence social cognition and behavior. Moving in time with others—interpersonal synchrony—can direct infants’ social preferences and prosocial behavior. Infants also show social preferences and selective prosociality toward singers of familiar, socially learned melodies. Here, we discuss recent studies of the influence of musical engagement on infant social cognition and behavior, highlighting the importance of rhythmic movement and socially relevant melodies. [ABSTRACT FROM AUTHOR]

Abstract: Why does musical rhythm have the structure it does? Musical rhythm, in all its cross‐cultural diversity, exhibits commonalities across world cultures. Traditionally, music research has been split into two fields. Some scientists focused on musicality, namely the human biocognitive predispositions for music, with an emphasis on cross‐cultural similarities. Other scholars investigated music, seen as a cultural product, focusing on the variation in world musical cultures. Recent experiments found deep connections between music and musicality, reconciling these opposing views. Here, we address the question of how individual cognitive biases affect the process of cultural evolution of music. Data from two experiments are analyzed using two complementary techniques. In the experiments, participants hear drumming patterns and imitate them. These patterns are then given to the same or another participant to imitate. The structure of these initially random patterns is tracked along experimental “generations.” Frequentist statistics show how participants’ biases are amplified by cultural transmission, making drumming patterns more structured. Structure is achieved faster in transmission within rather than between participants. A Bayesian model approximates the motif structures participants learned and created. Our data and models suggest that individual biases for musicality may shape the cultural transmission of musical rhythm. [ABSTRACT FROM AUTHOR]

This paper reviews the mounting evidence for shared cognitive mechanisms and neural resources for rhythm and grammar. Evidence for a role of rhythm skills in language development and language comprehension is reviewed here in three lines of research: (1) behavioral and brain data from adults and children, showing that prosody and other aspects of timing of sentences influence online morpho-syntactic processing; (2) comorbidity of impaired rhythm with grammatical deficits in children with language impairment; and (3) our recent work showing a strong positive association between rhythm perception skills and expressive grammatical skills in young school-age children with typical development. Our preliminary follow-up study presented here revealed that musical rhythm perception predicted variance in 6-year-old children's production of complex syntax, as well as online reorganization of grammatical information (transformation); these data provide an additional perspective on the hierarchical relations potentially shared by rhythm and grammar. A theoretical framework for shared cognitive resources for the role of rhythm in perceiving and learning grammatical structure is elaborated on in light of potential implications for using rhythm-emphasized musical training to improve language skills in children. [ABSTRACT FROM AUTHOR]

New approaches to understanding language and reading acquisition propose that the human brain's ability to synchronize its neural firing rate to syllable-length linguistic units may be important to children's ability to acquire human language. Yet, little evidence from brain imaging studies has been available to support this proposal. Here, we summarize three recent brain imaging (functional near-infrared spectroscopy (fNIRS), functional magnetic resonance imaging (fMRI), and magnetoencephalography (MEG)) studies from our laboratories with young English-speaking children (aged 6-12 years). In the first study (fNIRS), we used an auditory beat perception task to show that, in children, the left superior temporal gyrus (STG) responds preferentially to rhythmic beats at 1.5 Hz. In the second study (fMRI), we found correlations between children's amplitude rise-time sensitivity, phonological awareness, and brain activation in the left STG. In the third study (MEG), typically developing children outperformed children with autism spectrum disorder in extracting words from rhythmically rich foreign speech and displayed different brain activation during the learning phase. The overall findings suggest that the efficiency with which left temporal regions process slow temporal (rhythmic) information may be important for gains in language and reading proficiency. These findings carry implications for better understanding of the brain's mechanisms that support language and reading acquisition during both typical and atypical development. [ABSTRACT FROM AUTHOR]

This paper brings together different perspectives on the investigation and understanding of temporal processing and temporal expectations. We aim to bridge different temporal deficit hypotheses in dyslexia, dysphasia, or deafness in a larger framework, taking into account multiple nested temporal scales. We present data testing the hypothesis that temporal attention can be influenced by external rhythmic auditory stimulation (i.e., musical rhythm) and benefits subsequent language processing, including syntax processing and speech production. We also present data testing the hypothesis that phonological awareness can be influenced by several months of musical training and, more particularly, rhythmic training, which in turn improves reading skills. Together, our data support the hypothesis of a causal role of rhythm-based processing for language processing and acquisition. These results open new avenues for music-based remediation of language and hearing impairment. [ABSTRACT FROM AUTHOR]

In humans and other animals, the locomotor and respiratory systems are coupled together through mechanical, neurophysiological, and informational interactions. At a macroscopic observer-environment level, these three types of interactions produce locomotor-respiratory coupling (LRC), whose dynamics are evaluated in this paper. A formal analysis of LRC is presented, exploiting tools from synchronization theories and nonlinear dynamics. The results of two recent studies, in which participants were instructed to cycle or exhale at a natural frequency or in synchrony with an external rhythmic sound, are discussed. The metronome was either absent or present (study 1) and close to or far from the natural frequency of the cycling and breathing systems (study 2). The results evidenced a stabilization of cycling, breathing, and LRC when sound was present compared to when it was absent. A decrease in oxygen consumption was also observed, accompanying the increase in sound-induced LRC stabilization. These results obtained with a simple rhythmic metronome beat have consequences for exercising while listening to music; the consequences are further explored here. [ABSTRACT FROM AUTHOR]

Auditory stimulation via rhythmic cues can be used successfully in the rehabilitation of motor function in patients with motor disorders. A prototypical example is provided by dysfunctional gait in patients with idiopathic Parkinson's disease (PD). Coupling steps to external rhythmic cues (the beat of music or the sounds of a metronome) leads to long-term motor improvements, such as increased walking speed and greater stride length. These effects are likely to be underpinned by compensatory brain mechanisms involving cerebellar-thalamocortical networks. Because these areas are also involved in perceptual and motor timing, parallel improvement in timing tasks is expected in PD beyond purely motor benefits. In keeping with this idea, we report here recent behavioral data showing beneficial effects of musically cued gait training (MCGT) on gait performance (i.e., increased stride length and speed), perceptual timing (e.g., discriminating stimulus durations), and sensorimotor timing abilities (i.e., in paced tapping tasks) in PD patients. Particular attention is paid to individual differences in timing abilities in PD, thus paving the ground for an individualized MCGT-based therapy. [ABSTRACT FROM AUTHOR]

Neurodegenerative changes of the basal ganglia in idiopathic Parkinson's disease (IPD) lead to motor deficits as well as general cognitive decline. Given these impairments, the question arises as to whether motor and nonmotor deficits can be ameliorated similarly. We reason that a domain-general sensorimotor circuit involved in temporal processing may support the remediation of such deficits. Following findings that auditory cuing benefits gait kinematics, we explored whether reported language-processing deficits in IPD can also be remediated via auditory cuing. During continuous EEG measurement, an individual diagnosed with IPD heard two types of temporally predictable but metrically different auditory beat-based cues: a march, which metrically aligned with the speech accent structure, a waltz that did not metrically align, or no cue before listening to naturally spoken sentences that were either grammatically well formed or were semantically or syntactically incorrect. Results confirmed that only the cuing with a march led to improved computation of syntactic and semantic information. We infer that a marching rhythm may lead to a stronger engagement of the cerebello-thalamo-cortical circuit that compensates dysfunctional striato-cortical timing. Reinforcing temporal realignment, in turn, may lead to the timely processing of linguistic information embedded in the temporally variable speech signal. [ABSTRACT FROM AUTHOR]

Rhythmic auditory stimulation (RAS) is a gait rehabilitation method in which patients synchronize footsteps to a metronome or musical beats. Although RAS with music can ameliorate gait abnormalities, outcomes vary, possibly because music properties, such as groove or familiarity, differ across interventions. To optimize future interventions, we assessed how initially familiar and unfamiliar low-groove and high-groove music affected synchronization accuracy and gait in healthy individuals. We also experimentally increased music familiarity using repeated exposure to initially unfamiliar songs. Overall, familiar music elicited faster stride velocity and less variable strides, as well as better synchronization performance (matching of step tempo to beat tempo). High-groove music, as reported previously, led to faster stride velocity than low-groove music. We propose two mechanisms for familiarity's effects. First, familiarity with the beat structure reduces cognitive demands of synchronizing, leading to better synchronization performance and faster, less variable gait. Second, familiarity might have elicited faster gait by increasing enjoyment of the music, as enjoyment was higher after repeated exposure to initially low-enjoyment songs. Future studies are necessary to dissociate the contribution of these mechanisms to the observed RAS effects of familiar music on gait. [ABSTRACT FROM AUTHOR]

Adults who engage in synchronous movement to music later report liking each other better, remembering more about each other, trusting each other more, and are more likely to cooperate with each other compared to adults who engage in asynchronous movements. Although poor motor coordination limits infants' ability to entrain to a musical beat, they perceive metrical structure in auditory rhythm patterns, their movements are affected by the tempo of music they hear, and if they are bounced by an adult to a rhythm pattern, the manner of this bouncing can affect their auditory interpretation of the meter of that pattern. In this paper, we review studies showing that by 14 months of age, infants who are bounced in synchrony with an adult subsequently show more altruistic behavior toward that adult in the form of handing back objects 'accidentally' dropped by the adult compared to infants who are bounced asynchronously with the adult. Furthermore, increased helpfulness is directed at the synchronized bounce partner, but not at a neutral stranger. Interestingly, however, helpfulness does generalize to a 'friend' of the synchronized bounce partner. In sum, synchronous movement between infants and adults has a powerful effect on infants' expression of directed prosocial behavior. [ABSTRACT FROM AUTHOR]

In music therapy for nonfluent aphasia patients who have difficulty producing meaningful words, phrases, and sentences, various benefits of singing have been identified: strengthened breathing and vocal ability, improved articulation and prosody of speech, and increased verbal and nonverbal communicative behaviors. This paper will introduce these various techniques used in clinical music therapy, and summarize findings based on our recent study to illustrate the strength of different techniques emphasizing rhythm, pitch, memory, and vocal/oral motor components dealing with different symptoms. The efficacy of each component is enhanced or diminished by the choice of music and the way it is interactively delivered. This indicates that neural mechanisms underlying speech improvement vary greatly with available acoustic and social cues in aphasic brain. [ABSTRACT FROM AUTHOR]

Increasing evidence shows that the neural circuits involved in beat perception overlap with motor circuitry even in the absence of overt movement. This study investigated effects of tempo on beat-based processing by combining functional magnetic resonance imaging with a perceptual timing paradigm where participants made simple temporal judgments about short rhythmic sequences. Of central interest were judgments about ambiguous test rhythms where the perceived direction of a timing deviation ('speeding up' vs. 'slowing down') depended on the induction of an implied beat. Successful beat induction was reduced when the implied beat was at a slower tempo (1,500 ms) than when it was at a faster tempo (600 ms). Decreased beat induction was accompanied by decreased functional activity in the basal ganglia, premotor and supplementary motor regions, and thalamus. Findings support the conclusion that rhythms presented at a slow tempo reduce involvement of a striato-thalamo-cortico network in beat-based processing. [ABSTRACT FROM AUTHOR]

Rhythm and meter are fundamental components of music that are universal yet also culture specific. Although simple, isochronous meters are preferred and more readily discriminated than highly complex, nonisochronous meters, moderately complex nonisochronous meters do not pose a problem for listeners who are exposed to them from a young age. The present work uses a behavioral task to examine the ease with which listeners of various ages acquire knowledge of unfamiliar metrical structures from passive exposure. We examined perception of familiar (Western) rhythms with an isochronous meter and unfamiliar (Balkan) rhythms with a nonisochronous meter. We compared discrimination by American children (5 to 11 years) and adults before and after a 2-week period of at-home listening to nonisochronous meter music from Bulgaria. During the first session, listeners of all ages exhibited superior discrimination of isochronous than in nonisochronous melodies. Across sessions, this asymmetry declined for young children but not for older children and adults. [ABSTRACT FROM AUTHOR]

Beat induction ( BI) is the cognitive skill that allows us to hear a regular pulse in music to which we can then synchronize. Perceiving this regularity in music allows us to dance and make music together. As such, it can be considered a fundamental musical trait that, arguably, played a decisive role in the origins of music. Furthermore, BI might be considered a spontaneously developing, domain-specific, and species-specific skill. Although both learning and perception/action coupling were shown to be relevant in its development, at least one study showed that the auditory system of a newborn is able to detect the periodicities induced by a varying rhythm. A related study with adults suggested that hierarchical representations for rhythms (meter induction) are formed automatically in the human auditory system. We will reconsider these empirical findings in the light of the question whether beat and meter induction are fundamental cognitive mechanisms. [ABSTRACT FROM AUTHOR]

In a variety of vertebrates, including turtle, many classical and contemporary studies of spinal cord neuronal networks generating rhythmic motor behaviors emphasize a Reciprocal Model with alternation of agonists and antagonists, alternation of excitatory postsynaptic potentials (EPSPs) and inhibitory postsynaptic potentials (IPSPs), and reciprocal inhibition. Some studies of spinal cord neuronal networks, including some in turtle during scratch motor rhythms, describe a Balanced Model with concurrent EPSPs and IPSPs. The present report reviews turtle spinal cord studies and concludes that there is support for a Combined Model with both alternating and concurrent excitation and inhibition, that is, characteristics of both the Reciprocal and the Balanced Models, in the same spinal cord neuronal network for scratch reflex in turtle. Studies of spinal cord neuronal networks for locomotion in a variety of vertebrates also support a Combined Model. [ABSTRACT FROM AUTHOR]

The recent discovery of spontaneous synchronization to music in a nonhuman animal (the sulphur-crested cockatoo Cacatua galerita eleonora) raises several questions. How does this behavior differ from nonmusical synchronization abilities in other species, such as synchronized frog calls or firefly flashes? What significance does the behavior have for debates over the evolution of human music? What kinds of animals can synchronize to musical rhythms, and what are the key methodological issues for research in this area? This paper addresses these questions and proposes some refinements to the “vocal learning and rhythmic synchronization hypothesis.” [ABSTRACT FROM AUTHOR]

The experience of musical rhythm is a remarkable psychophysical phenomenon, in part because the perception of periodicities, namely pulse and meter, arise from stimuli that are not periodic. One possible function of such a transformation is to enable synchronization between individuals through perception of a common abstract temporal structure (e.g., during music performance). Thus, understanding the brain processes that underlie rhythm perception is fundamental to explaining musical behavior. Here, we propose that neural resonance provides an excellent account of many aspects of human rhythm perception. Our framework is consistent with recent brain-imaging studies showing neural correlates of rhythm perception in high-frequency oscillatory activity, and leads to the hypothesis that perception of pulse and meter result from rhythmic bursts of high-frequency neural activity in response to musical rhythms. High-frequency bursts of activity may enable communication between neural areas, such as auditory and motor cortices, during rhythm perception and production. [ABSTRACT FROM AUTHOR]

Perception of musical rhythms is culturally universal. Despite this special status, relatively little is known about the neurobiology of rhythm perception, particularly with respect to beat processing. Findings are presented here from a series of studies that have specifically examined the neural basis of beat perception, using functional magnetic resonance imaging (fMRI) and studying patients with Parkinson's disease. fMRI data indicate that novel beat-based sequences robustly activate the basal ganglia when compared to irregular, nonbeat sequences. Furthermore, although most healthy participants find it much easier to discriminate changes in beat-based sequences compared to irregular sequences, Parkinson's disease patients fail to show the same degree of benefit. Taken together, these data suggest that the basal ganglia are performing a crucial function in beat processing. The results of an additional fMRI study indicate that the role of the basal ganglia is strongly linked to internal generation of the beat. Basal ganglia activity is greater when participants listen to rhythms in which internal generation of the beat is required, as opposed to rhythms with strongly externally cued beats. Functional connectivity between part of the basal ganglia (the putamen) and cortical motor areas (premotor and supplementary motor areas) is also higher during perception of beat rhythms compared to nonbeat rhythms. Increased connectivity between cortical motor and auditory areas is found in those with musical training. The findings from these converging methods strongly implicate the basal ganglia in processing a regular beat, particularly when internal generation of the beat is required. [ABSTRACT FROM AUTHOR]

This review first summarizes three functional magnetic resonance imaging studies conducted to elucidate the neural basis for interactions between the auditory and motor systems in the context of musical rhythm perception and production. The second part of the paper discusses these findings in the context of a proposed model for auditory–motor interactions that engage the posterior aspects of the superior temporal gyrus, and the ventral and dorsal premotor cortex. In the last section, we present outstanding issues that encompass topics, such as the role of auditory versus parietal cortex in sensorimotor integration, sensorimotor integration as an emergent property, the role of mirror neurons, and clinical applications. [ABSTRACT FROM AUTHOR]

Recent evidence indicates that the majority of occasional singers can carry a tune. For example, when asked to sing a well-known song (e.g., “Happy Birthday”), nonmusicians performing at a slow tempo are as proficient as professional singers. Yet, some occasional singers are poor singers, mostly in the pitch domain, and sometimes despite not having impoverished perception. Poor singing is not a monolithic deficit, but is likely to be characterized by a diversity of singing “phenotypes.” Here we systematically examined singing proficiency in a group of occasional singers, with the goal of characterizing the different patterns of poor singing. Participants sang three well-known melodies (e.g., “Jingle Bells”) at a natural tempo and at a slow tempo, as indicated by a metronome. For each rendition, we computed objective measures of pitch and time accuracy with an acoustical method. The results confirmed previous observations that the majority of occasional singers can sing in tune and in time. Moreover, singing at a slow tempo after the target melody to be imitated was presented with a metronome improved pitch and time accuracy. In general, poor singers were mostly impaired on the pitch dimension, although various patterns of impairment emerged. Pitch accuracy or time accuracy could be selectively impaired; moreover, absolute measures of singing proficiency (pitch or tempo transposition) dissociated from relative measures of proficiency (pitch intervals, relative duration). These patterns of dissociations point to a multicomponent system underlying proficient singing that fractionates as a result of a developmental anomaly. [ABSTRACT FROM AUTHOR]

Our perceptions are shaped by both extrinsic stimuli and intrinsic interpretation. The perceptual experience of a simple rhythm, for example, depends upon its metrical interpretation (where one hears the beat). Such interpretation can be altered at will, providing a model to study the interaction of endogenous and exogenous influences in the cognitive organization of perception. Using magnetoencephalography (MEG), we measured brain responses evoked by a repeating, rhythmically ambiguous phrase (two tones followed by a rest). In separate trials listeners were instructed to impose different metrical organizations on the rhythm by mentally placing the downbeat on either the first or the second tone. Since the stimulus was invariant, differences in brain activity between the two conditions should relate to endogenous metrical interpretation. Metrical interpretation influenced early evoked neural responses to tones, specifically in the upper beta range (20–30 Hz). Beta response was stronger (by 64% on average) when a tone was imagined to be the beat, compared to when it was not. A second experiment established that the beta increase closely resembles that due to physical accents, and thus may represent the genesis of a subjective accent. The results demonstrate endogenous modulation of early auditory responses, and suggest a unique role for the beta band in linking of endogenous and exogenous processing. Given the suggested role of beta in motor processing and long-range intracortical coordination, it is hypothesized that the motor system influences metrical interpretation of sound, even in the absence of overt movement. [ABSTRACT FROM AUTHOR]

Why does music pervade our lives and those of all known human beings living today and in the recent past? Why do we feel compelled to engage in musical activity, or at least simply enjoy listening to music even if we choose not to actively participate? I argue that this is because musicality—communication using variations in pitch, rhythm, dynamics and timbre, by a combination of the voice, body (as in dance), and material culture—was essential to the lives of our pre-linguistic hominin ancestors. As a consequence we have inherited a desire to engage with music, even if this has no adaptive benefit for us today as a species whose communication system is dominated by spoken language. In this article I provide a summary of the arguments to support this view. [ABSTRACT FROM AUTHOR]

Meter is considered an important structuring mechanism in the perception and experience of rhythm in music. Combining behavioral and electrophysiological measures, in the present study we investigate whether meter is more likely a learned phenomenon, possibly a result of musical expertise, or whether sensitivity to meter is also active in adult nonmusicians and newborn infants. The results provide evidence that meter induction is active in adult nonmusicians and that beat induction is already functional right after birth. [ABSTRACT FROM AUTHOR]

The perception of meter, or the alternation of strong and weak beats, was assessed in musically trained listeners through magnetoencephalography. Metrical accents were examined with no temporal disruption of the serial grouping of tones. Results showed an effect of metrical processing among identical standard tones in the left hemisphere, with larger responses on strong than on weak beats. Moreover, processing of occasional increases in intensity (phenomenal accents) varied as a function of metrical position in the left hemisphere, but not in the right. Our findings support the view of a relatively early, left-hemispheric effect of metrical processing in musicians. [ABSTRACT FROM AUTHOR]