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When speech is too fast, the tracking of the acoustic signal along the auditory pathway deteriorates, leading to suboptimal speech segmentation and decoding of speech information. Thus, speech comprehension is limited by the temporal constraints of the auditory system. Here we ask whether individual differences in auditory-motor coupling strength in part shape these temporal constraints. In two behavioural experiments, we characterize individual differences in the comprehension of naturalistic speech as function of the individual synchronization between the auditory and motor systems and the preferred frequencies of the systems. Obviously, speech comprehension declined at higher speech rates. Importantly, however, both higher auditory-motor synchronization and higher spontaneous speech motor production rates were predictive of better speech-comprehension performance. Furthermore, performance increased with higher working memory capacity (digit span) and higher linguistic, model-based sentence predictability—particularly so at higher speech rates and for individuals with high auditory-motor synchronization. The data provide evidence for a model of speech comprehension in which individual flexibility of not only the motor system but also auditory-motor synchronization may play a modulatory role. [ABSTRACT FROM AUTHOR]

Musical training provides an ideal platform for investigating action representation for sound. Learning to play an instrument requires integration of sensory and motor perception-action processes. Functional neuroimaging studies have indicated that listening to trained music can result in the activity in premotor areas, even after a short period of training. These studies suggest that action representation systems are heavily dependent on specific sensorimotor experience. However, others suggest that because humans naturally move to music, sensorimotor training is not necessary and there is a more general action representation for music. We previously demonstrated that EEG mu suppression, commonly implemented to demonstrate mirror-neuron-like action representation while observing movements, can also index action representations for sounds in pianists. The current study extends these findings to a group of non-musicians who learned to play randomised sequences on a piano, in order to acquire specific sound-action mappings for the five fingers of their right hand. We investigated training-related changes in neural dynamics as indexed by mu suppression and task-related coherence measures. To test the specificity of training effects, we included sounds similar to those encountered in the training and additionally rhythm sequences. We found no effect of training on mu suppression between pre- and post-training EEG recordings. However, task-related coherence indexing functional connectivity between electrodes over audiomotor areas increased after training. These results suggest that long-term training in musicians and short-term training in novices may be associated with different stages of audiomotor integration that can be reflected in different EEG measures. Furthermore, the changes in functional connectivity were specifically found for piano tones, and were not apparent when participants listened to rhythms, indicating some degree of specificity related to training. [ABSTRACT FROM AUTHOR]

Learning to play a musical instrument is a demanding process requiring years of intense practice. Dramatic changes in brain connectivity, volume, and functionality have been shown in skilled musicians. It is thought that music learning involves the formation of novel audio visuomotor associations, but not much is known about the gradual acquisition of this ability. In the present study, we investigated whether formal music training enhances audiovisual multisensory processing. To this end, pupils at different stages of education were examined based on the hypothesis that the strength of audio/visuomotor associations would be augmented as a function of the number of years of conservatory study (expertise). The study participants were violin and clarinet students of pre-academic and academic levels and of different chronological ages, ages of acquisition, and academic levels. A violinist and a clarinetist each played the same score, and each participant viewed the video corresponding to his or her instrument. Pitch, intensity, rhythm, and sound duration were matched across instruments. In half of the trials, the soundtrack did not match (in pitch) the corresponding musical gestures. Data analysis indicated a correlation between the number of years of formal training (expertise) and the ability to detect an audiomotor incongruence in music performance (relative to the musical instrument practiced), thus suggesting a direct correlation between knowing how to play and perceptual sensitivity. [ABSTRACT FROM AUTHOR]

Locusts, Locusta migratoria, flying under closed-loop conditions in a flight simulator, control the stability of their visual environment by means of correctional steering and so minimize retinal slip (the optomotor reaction). Correctional steering includes modulation of the wingbeat, ruddering with abdomen and legs and compensatory head movements. Pulsed ultrasounds that simulate bat echolocation signals elicit avoidance steering in flying locusts: ruddering and yaw torque are directed away from the sound source. In this article the two modes of steering are compared and their interaction is studied. [ABSTRACT FROM AUTHOR]