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The ability to extract rhythmic structure is important for the development of language, music, and social communication. Although previous studies show infants' brains entrain to the periodicities of auditory rhythms and even different metrical interpretations (e.g., groups of two vs three beats) of ambiguous rhythms, whether the premature brain tracks beat and meter frequencies has not been explored previously. We used high-resolution electroencephalography while premature infants (n= 19, 5 male; mean age, 32 ± 2.59 weeks gestational age) heard two auditory rhythms in the incubators. We observed selective enhancement of the neural response at both beat- and meter-related frequencies. Further, neural oscillations at the beat and duple (groups of 2) meter were phase aligned with the envelope of the auditory rhythmic stimuli. Comparing the relative power at beat and meter frequencies across stimuli and frequency revealed evidence for selective enhancement of duple meter. This suggests that even at this early stage of development, neural mechanisms for processing auditory rhythms beyond simple sensory coding are present. Our results add to a few previous neuroimaging studies demonstrating discriminative auditory abilities of premature neural networks. Specifically, our results demonstrate the early capacities of the immature neural circuits and networks to code both simple beat and beat grouping (i.e., hierarchical meter) regularities of auditory sequences. Considering the importance of rhythm processing for acquiring language and music, our findings indicate that even before birth, the premature brain is already learning this important aspect of the auditory world in a sophisticated and abstract way.SIGNIFICANCE STATEMENTProcessing auditory rhythm is of great neurodevelopmental importance. In an electroencephalography experiment in premature newborns, we found converging evidence that when presented with auditory rhythms, the premature brain encodes multiple periodicities corresponding to beat and beat grouping (meter) frequencies, and even selectively enhances the neural response to meter compared with beat, as in human adults. We also found that the phase of low-frequency neural oscillations aligns to the envelope of the auditory rhythms and that this phenomenon becomes less precise at lower frequencies. These findings demonstrate the initial capacities of the developing brain to code auditory rhythm and the importance of special care to the auditory environment of this vulnerable population during a highly dynamic period of neural development.

The ability to coordinate with others is fundamental for humans to achieve shared goals. Often, harmonious interpersonal coordination requires learning, such as ensemble musicians rehearing together to synchronize their low-level timing and high-level aesthetic musical expressions. We investigated how the coordination dynamics of a professional string quartet changed as they learned unfamiliar pieces together across eight trials. During all trials, we recorded each musician's body sway motion data, and quantified the group's body sway similarity (cross-correlation) and information flow (Granger causality) on each trial. In line with our hypothesis, group similarity increased, while group information flow decreased significantly across trials. In addition, there was a trend such that group similarity, but not information flow, was related to the quality of the performances. As the ensemble converged on a joint interpretation through rehearsing, their body sways reflected the change from interpersonal information flow for coordinative mutual adaptations and corrections, to synchronous musical coordination made possible by the musicians learning a common internally based expressive interpretation.

From auditory rhythm patterns, listeners extract the underlying steady beat and perceptually group beats to form metres. While previous studies show infants discriminate different auditory metres, it remains unknown whether they can maintain (imagine) a metrical interpretation of an ambiguous rhythm through top-down processes. We investigated this via electroencephalographic mismatch responses. We primed 6-month-old infants (N = 24) to hear a 6-beat ambiguous rhythm either in duple metre (n = 13) or in triple metre (n = 11) through loudness accents either on every second or every third beat. Periods of priming were inserted before sequences of the ambiguous unaccented rhythm. To elicit mismatch responses, occasional pitch deviants occurred on either beat 4 (strong beat in triple metre; weak in duple) or beat 5 (strong in duple; weak in triple) of the unaccented trials. At frontal left sites, we found a significant interaction between beat and priming group in the predicted direction. Post-hoc analyses showed that mismatch response amplitudes were significantly larger for beat 5 in the duple-primed than triple-primed group (p = .047) and were non-significantly larger for beat 4 in the triple-primed than duple-primed group. Further, amplitudes were generally larger in infants with musically experienced parents. At frontal right sites, mismatch responses were generally larger for those in the duple compared with triple group, which may reflect a processing advantage for duple metre. These results indicate that infants can impose a top-down, internally generated metre on ambiguous auditory rhythms, an ability that would aid early language and music learning.

The urge to move to music (groove) depends in part on rhythmic syncopation in the music. For adults, the syncopation-groove relationship has an inverted-U shape: listeners want to move most to rhythms that have some, but not too much, syncopation. However, we do not know whether the syncopation-groove relationship is relatively sensitive to, or resistant to, a listener's experience. In two sets of experiments, we tested whether the syncopation-groove relationship is affected by dance experience or changes through development in childhood. Dancers and nondancers rated groove for 50 rhythmic patterns varying in syncopation. Dancers' and nondancers' ratings did not differ (and Bayesian tests provided substantial evidence that they were equivalent) in terms of mean groove and the optimal level of syncopation. Similarly, ballet and hip-hop dancers' syncopation-groove relationships did not differ. However, dancers had more robust syncopation-groove relationships (higher goodness-of-fit) than nondancers. Children (3-6 years old) completed two tasks to assess their syncopation-groove relationships: In a 2-alternative-forced choice task, children compared rhythms from 2 of 3 possible levels of syncopation (low, medium, and high) and chose which rhythm in a pair was better for dancing. In a dance task, children danced to the same rhythms. Results from both tasks indicated that for children, as for adults, medium syncopation rhythms elicit more groove than low syncopation rhythms. A follow-up experiment replicated the 2AFC results. Taken together, the results suggest the optimal level of syncopation for groove is resistant to experience, although experience may affect the robustness of the inverted-U relationship. This article is protected by copyright. All rights reserved.

Anticipating the future is essential for efficient perception and action planning. Yet the role of anticipation in event segmentation is understudied because empirical research has focused on retrospective cues such as surprise. We address this concern in the context of perception of musical-phrase boundaries. A computational model of cognitive sequence processing was used to control the information-dynamic properties of tone sequences. In an implicit, self-paced listening task ( N = 38), undergraduates dwelled longer on tones generating high entropy (i.e., high uncertainty) than on those generating low entropy (i.e., low uncertainty). Similarly, sequences that ended on tones generating high entropy were rated as sounding more complete ( N = 31 undergraduates). These entropy effects were independent of both the surprise (i.e., information content) and phrase position of target tones in the original musical stimuli. Our results indicate that events generating high entropy prospectively contribute to segmentation processes in auditory sequence perception, independently of the properties of the subsequent event.

Humans are social animals who engage in a variety of collective activities requiring coordinated action. Among these, music is a defining and ancient aspect of human sociality. Human social interaction has largely been addressed in dyadic paradigms and it is yet to be determined whether the ensuing conclusions generalize to larger groups. Studied more extensively in nonhuman animal behaviour, the presence of multiple agents engaged in the same task space creates different constraints and possibilities than in simpler dyadic interactions. We addressed whether collective dynamics play a role in human circle drumming. The task was to synchronize in a group with an initial reference pattern and then maintain synchronization after it was muted. We varied the number of drummers, from solo to dyad, quartet, and octet. The observed lower variability, lack of speeding up, smoother individual dynamics, and leader-less inter-personal coordination indicated that stability increased as group size increased, a sort of temporal wisdom of crowds. We propose a hybrid continuous-discrete Kuramoto model for emergent group synchronization with pulse-based coupling that exhibits a mean field positive feedback loop. This research suggests that collective phenomena are among the factors that play a role in social cognition.

Objective Developmental dyslexia is a reading disorder that features difficulties in perceiving and tracking rhythmic regularities in auditory streams, such as speech and music. Studies on typical healthy participants have shown that power fluctuations of neural oscillations in beta band (15–25 Hz) reflect an essential mechanism for tracking rhythm or entrainment and relate to predictive timing and attentional processes. Here we investigated whether adults with dyslexia have atypical beta power fluctuation. Methods The electroencephalographic activities of individuals with dyslexia (n = 13) and typical control participants (n = 13) were measured while they passively listened to an isochronous tone sequence (2 Hz presentation rate). The time–frequency neural activities generated from auditory cortices were analyzed. Results The phase of beta power fluctuation at the 2 Hz stimulus presentation rate differed and appeared opposite between individuals with dyslexia and controls. Conclusions Atypical beta power fluctuation might reflect deficits in perceiving and tracking auditory rhythm in dyslexia. Significance These findings extend our understanding of atypical neural activities for tracking rhythm in dyslexia and could inspire novel methods to objectively measure the benefits of training, and predict potential benefit of auditory rhythmic rehabilitation programs on an individual basis.

Many foundational questions in the psychology of music require cross-cultural approaches, yet the vast majority of work in the field to date has been conducted with Western participants and Western music. For cross-cultural research to thrive, it will require collaboration between people from different disciplinary backgrounds, as well as strategies for overcoming differences in assumptions, methods, and terminology. This position paper surveys the current state of the field and offers a number of concrete recommendations focused on issues involving ethics, empirical methods, and definitions of “music” and “culture.”

Infants and children are able to track statistical regularities in perceptual input, which allows them to acquire structural aspects of language and music, such as syntax. However, much more is known about the development of linguistic compared to musical syntax. In the present study, we examined 3.5-year-olds’ implicit knowledge of Western musical pitch structure using electroencephalography (EEG). Event-related potentials (ERPs) were measured while children listened to chord sequences that either 1) followed Western harmony rules, 2) ended on a chord that went outside the key, or 3) ended on an in-key but less expected chord harmonically. Whereas adults tend to show an early right anterior negativity (ERAN) in response to unexpected chords (Koelsch, 2009), 3.5-year-olds in our study showed an immature response that was positive rather than negative in polarity. Our results suggest that very young children exhibit implicit knowledge of the pitch structure of Western music years before they have been shown to demonstrate that knowledge in behavioral tasks.

Rhythms are important for understanding coordinated behaviours in ecological systems. The repetitive nature of rhythms affords prediction, planning of movements and coordination of processes within and between individuals. A major challenge is to understand complex forms of coordination when they differ from complete synchronization. By expressing phase as ratio of a cycle, we adapted levels of the Farey tree as a metric of complexity mapped to the range between in-phase and anti-phase synchronization. In a bimanual tapping task, this revealed an increase of variability with ratio complexity, a range of hidden and unstable yet measurable modes, and a rank-frequency scaling law across these modes. We use the phase-attractive circle map to propose an interpretation of these findings in terms of hierarchical cross-frequency coupling (CFC). We also consider the tendency for small-integer attractors in the single-hand repeated tapping of three-interval rhythms reported in the literature. The phase-attractive circle map has wider basins of attractions for such ratios. This work motivates the question whether CFC intrinsic to neural dynamics implements low-level priors for timing and coordination and thus becomes involved in phenomena as diverse as attractor states in bimanual coordination and the cross-cultural tendency for musical rhythms to have simple interval ratios. This article is part of the theme issue ‘Synchrony and rhythm interaction: from the brain to behavioural ecology’.

Millions of children are impacted by neurodevelopmental disorders (NDDs), which unfold early in life, have varying genetic etiologies and can involve a variety of specific or generalized impairments in social, cognitive and motor functioning requiring potentially lifelong specialized supports. While specific disorders vary in their domain of primary deficit (e.g. autism spectrum disorder (social), attention-deficit/hyperactivity disorder (attention), developmental coordination disorder (motor) and developmental language disorder (language)), comorbidities between NDDs are common. Intriguingly, many NDDs are associated with difficulties in skills related to rhythm, timing and synchrony though specific profiles of rhythm/timing impairments vary across disorders. Impairments in rhythm/timing may instantiate vulnerabilities for a variety of NDDs and may contribute to both the primary symptoms of each disorder as well as the high levels of comorbidities across disorders. Drawing upon genetic, neural, behavioural and interpersonal constructs across disorders, we consider how disrupted rhythm and timing skills early in life may contribute to atypical developmental cascades that involve overlapping symptoms within the context of a disorder's primary deficits. Consideration of the developmental context, as well as common and unique aspects of the phenotypes of different NDDs, will inform experimental designs to test this hypothesis including via potential mechanistic intervention approaches.This article is part of the theme issue ‘Synchrony and rhythm interaction: from the brain to behavioural ecology’.

Aesthetic experience seems both regular and idiosyncratic. On one hand, there are powerful regularities in what we tend to find attractive versus unattractive (e.g., beaches versus mud puddles).

An extensive literature has investigated the impact of musical training on cognition and academic achievement in children and adolescents. However, most of the studies have relied on cross-sectional designs, which makes it impossible to elucidate whether the observed differences are a consequence of the engagement in musical activities. Previous meta-analyses with longitudinal studies have also found inconsistent results, possibly due to their reliance on vague definitions of musical training. In addition, more evidence has appeared in recent years. The current meta-analysis investigates the impact of early programs that involve learning to play musical instruments on cognitive and academic skills, as previous meta-analyses have not focused on this form of musical training. Following a systematic search, 34 independent samples of children and adolescents were included. All the studies had pre-post designs and, at least, one control group. Overall, we found a small but significant benefit (g = 0.24) with short-term programs, regardless of whether they were randomized or not. In addition, a small advantage at baseline was observed in studies with self-selection (g = 0.28), indicating that participants who had the opportunity to select the activity consistently showed a slightly superior performance prior to the beginning of the intervention. Our findings support a nature and nurture approach to the relationship between instrumental training and cognitive performance. Nevertheless, evidence from well-conducted studies is still scarce and more studies are necessary to reach firmer conclusions.

Accurate time perception is crucial for hearing (speech, music) and action (walking, catching). Motor brain regions are recruited during auditory time perception. Therefore, the hypothesis was tested that children (age 6-7) at risk for developmental coordination disorder (rDCD), a neurodevelopmental disorder involving motor difficulties, would show nonmotor auditory time perception deficits. Psychophysical tasks confirmed that children with rDCD have poorer duration and rhythm perception than typically developing children (N = 47, d = 0.95-1.01). Electroencephalography showed delayed mismatch negativity or P3a event-related potential latency in response to duration or rhythm deviants, reflecting inefficient brain processing (N = 54, d = 0.71-0.95). These findings are among the first to characterize perceptual timing deficits in DCD, suggesting important theoretical and clinical implications.

The regularity of musical beat makes it a powerful stimulus promoting movement synchrony among people. Synchrony can increase interpersonal trust, affiliation, and cooperation. Musical pieces can be classified according to the quality of groove; the higher the groove, the more it induces the desire to move. We investigated questions related to collective music-listening among 33 participants in an experiment conducted in a naturalistic yet acoustically controlled setting of a research concert hall with motion tracking. First, does higher groove music induce (1) movement with more energy and (2) higher interpersonal movement coordination? Second, does visual social information manipulated by having eyes open or eyes closed also affect energy and coordination? Participants listened to pieces from four categories formed by crossing groove (high, low) with tempo (higher, lower). Their upper body movement was recorded via head markers. Self-reported ratings of grooviness, emotional valence, emotional intensity, and familiarity were collected after each song. A biomechanically motivated measure of movement energy increased with high-groove songs and was positively correlated with grooviness ratings, confirming the theoretically implied but less tested motor response to groove. Participants’ ratings of emotional valence and emotional intensity correlated positively with movement energy, suggesting that movement energy relates to emotional engagement with music. Movement energy was higher in eyes-open trials, suggesting that seeing each other enhanced participants’ responses, consistent with social facilitation or contagion. Furthermore, interpersonal coordination was higher both for the high-groove and eyes-open conditions, indicating that the social situation of collective music listening affects how music is experienced.

Social bonding is fundamental to human society, and romantic interest involves an important type of bonding. Speed dating research paradigms offer both high external validity and experimental control for studying romantic interest in real-world settings. While previous studies focused on the effect of social and personality factors on romantic interest, the role of non-verbal interaction has been little studied in initial romantic interest, despite being commonly viewed as a crucial factor. The present study investigated whether romantic interest can be predicted by non-verbal dyadic interactive body sway, and enhanced by movement-promoting (‘groovy’) background music. Participants’ body sway trajectories were recorded during speed dating. Directional (predictive) body sway coupling, but not body sway similarity, predicted interest in a long-term relationship above and beyond rated physical attractiveness. In addition, presence of groovy background music promoted interest in meeting a dating partner again. Overall, we demonstrate that romantic interest is reflected by non-verbal body sway in dyads in a real-world dating setting. This novel approach could potentially be applied to investigate non-verbal aspects of social bonding in other dynamic interpersonal interactions such as between infants and parents and in non-verbal populations including those with communication disorders.

The evolutionary origins of complex capacities such as musicality are not simple, and likely involved many interacting steps of musicality-specific adaptations, exaptations, and cultural creation. A full account of the origins of musicality needs to consider the role of ancient adaptations such as credible singing, auditory scene analysis, and prediction-reward circuits in constraining the emergence of musicality.

Accurate perception and production of emotional states is important for successful social interactions across the lifespan. Previous research has shown that when identifying emotion in faces, preschool children are more likely to confuse emotions that share valence, but differ in arousal (e.g. sadness and anger) than emotions that share arousal, but differ on valence (e.g. anger and joy). Here, we examined the influence of valence and arousal on children's production of emotion in music. Three-, 5- and 7-year-old children recruited from the greater Hamilton area (N = 74) 'performed' music to produce emotions using a self-pacing paradigm, in which participants controlled the onset and offset of each chord in a musical sequence by repeatedly pressing and lifting the same key on a MIDI piano. Key press velocity controlled the loudness of each chord. Results showed that (a) differentiation of emotions by 5-year-old children was mainly driven by arousal of the target emotion, with differentiation based on both valence and arousal at 7 years and (b) tempo and loudness were used to differentiate emotions earlier in development than articulation. The results indicate that the developmental trajectory of emotion understanding in music may differ from the developmental trajectory in other domains.

Human movements often spontaneously fall into synchrony with auditory and visual environmental rhythms. Related behavioral studies have shown that motor responses are automatically and unintentionally coupled with external rhythmic stimuli. However, the neurophysiological processes underlying such motor entrainment remain largely unknown. Here, we investigated with electroencephalography (EEG) and electromyography (EMG) the modulation of neural and muscular activity induced by periodic audio and/or visual sequences. The sequences were presented at either 1 or 2 Hz, while participants maintained constant finger pressure on a force sensor. The results revealed that although there was no change of amplitude in participants’ EMG in response to the sequences, the synchronization between EMG and EEG recorded over motor areas in the beta (12–40 Hz) frequency band was dynamically modulated, with maximal coherence occurring about 100 ms before each stimulus. These modulations in beta EEG–EMG motor coherence were found for the 2-Hz audio–visual sequences, confirming at a neurophysiological level the enhancement of motor entrainment with multimodal rhythms that fall within preferred perceptual and movement frequency ranges. Our findings identify beta band cortico-muscular coupling as a potential underlying mechanism of motor entrainment, further elucidating the nature of the link between sensory and motor systems in humans.

Joint action is essential in daily life, as humans often must coordinate with others to accomplish shared goals. Previous studies have mainly focused on sensorimotor aspects of joint action, with measurements reflecting event-to-event precision of interpersonal sensorimotor coordination (e.g., tapping). However, while emotional factors are often closely tied to joint actions, they are rarely studied, as event-to-event measurements are insufficient to capture higher-order aspects of joint action such as emotional expression. To quantify joint emotional expression, we used motion capture to simultaneously measure the body sway of each musician in a trio (piano, violin, cello) during performances. Excerpts were performed with or without emotional expression. Granger causality was used to analyze body sway movement time series amongst musicians, which reflects information flow. Results showed that the total Granger-coupling of body sway in the ensemble was higher when performing pieces with emotional expression than without. Granger-coupling further correlated with the emotional intensity as rated by both the ensemble members themselves and by musician judges, based on the audio recordings alone. Together, our findings suggest that Granger-coupling of co-actors’ body sways reflects joint emotional expression in a music ensemble, and thus provide a novel approach to studying joint emotional expression.