From locomotion to dance and back : exploring rhythmic sensorimotor synchronization

Le rythme est un aspect important du mouvement et de la perception de l’environnement. Lorsque l’on danse, la pulsation musicale induit une activité neurale oscillatoire qui permet au système nerveux d’anticiper les évènements musicaux à venir. Le système moteur peut alors s’y synchroniser. Cette thèse développe de nouvelles techniques d’investigation des rythmes neuraux non strictement périodiques, tels que ceux qui régulent le tempo naturellement variable de la marche ou la perception rythmes musicaux. Elle étudie des réponses neurales reflétant la discordance entre ce que le système nerveux anticipe et ce qu’il perçoit, et qui sont nécessaire pour adapter la synchronisation de mouvements à un environnement variable. Elle montre aussi comment l’activité neurale évoquée par un rythme musical complexe est renforcée par les mouvements qui y sont synchronisés. Enfin, elle s’intéresse à ces rythmes neuraux chez des patients ayant des troubles de la marche ou de la conscience.Rhythms are central in human behaviours spanning from locomotion to music performance. In dance, self-sustaining and dynamically adapting neural oscillations entrain to the regular auditory inputs that is the musical beat. This entrainment leads to anticipation of forthcoming sensory events, which in turn allows synchronization of movements to the perceived environment. This dissertation develops novel technical approaches to investigate neural rhythms that are not strictly periodic, such as naturally tempo-varying locomotion movements and rhythms of music. It studies neural responses reflecting the discordance between what the nervous system anticipates and the actual timing of events, and that are critical for synchronizing movements to a changing environment. It also shows how the neural activity elicited by a musical rhythm is shaped by how we move. Finally, it investigates such neural rhythms in patient with gait or consciousness disorders

Exploring Neural Entrainment and Beat Perception Through Movement

The way humans move to music has a large impact on how music is synchronized to, interpreted, and enjoyed. It is understood that movements to music aid in beat perception, and neural oscillations have the ability to entrain to musical rhythms. This study attempted to link these two well-established phenomena by exploring the use of movement to simple and complex musical rhythms to enhance neural entrainment. Ten undergraduate students engaged in 60 simple and complex musical rhythms, either tapping along to the beat or listening without movement, while undergoing EEG recording. Although the differences in brain response amplitude were not significant, brain activity responses to movement to complex rhythms were numerically greater than those prior to movement or movement to simple rhythms. These findings suggest that movement to complex musical rhythms has the potential to enhance neural entrainment, however a larger sample is needed to see these effects

Neural tracking of the musical beat is enhanced by low-frequency sounds

Music makes us move, and using bass instruments to build the rhythmic foundations of music is especially effective at inducing people to dance to periodic pulse-like beats. Here, we show that this culturally widespread practice may exploit a neurophysiological mechanism whereby low-frequency sounds shape the neural representations of rhythmic input by boosting selective locking to the beat. Cortical activity was captured using electroencephalography (EEG) while participants listened to a regular rhythm or to a relatively complex syncopated rhythm conveyed either by low tones (130 Hz) or high tones (1236.8 Hz). We found that cortical activity at the frequency of the perceived beat is selectively enhanced compared with other frequencies in the EEG spectrum when rhythms are conveyed by bass sounds. This effect is unlikely to arise from early cochlear processes, as revealed by auditory physiological modeling, and was particularly pronounced for the complex rhythm requiring endogenous generation of the beat. The effect is likewise not attributable to differences in perceived loudness between low and high tones, as a control experiment manipulating sound intensity alone did not yield similar results. Finally, the privileged role of bass sounds is contingent on allocation of attentional resources to the temporal properties of the stimulus, as revealed by a further control experiment examining the role of a behavioral task. Together, our results provide a neurobiological basis for the convention of using bass instruments to carry the rhythmic foundations of music and to drive people to move to the beat

How musical rhythms entrain the human brain : clarifying the neural mechanisms of sensory-motor entrainment to rhythms

When listening to music, people across cultures tend to spontaneously perceive and move the body along a periodic pulse-like meter. Increasing evidence suggests that this ability is supported by neural mechanisms that selectively amplify periodicities corresponding to the perceived metric pulses. However, the nature of these neural mechanisms, i.e., the endogenous or exogenous factors that may selectively enhance meter periodicities in brain responses to rhythm, remains largely unknown. This question was investigated in a series of studies in which the electroencephalogram (EEG) of healthy participants was recorded while they listened to musical rhythm. From this EEG, selective contrast at meter periodicities in the elicited neural activity was captured using frequency-tagging, a method allowing direct comparison of this contrast between the sensory input, EEG response, biologically-plausible models of auditory subcortical processing, and behavioral output. The results show that the selective amplification of meter periodicities is shaped by a continuously updated combination of factors including sound spectral content, long-term training and recent context, irrespective of attentional focus and beyond auditory subcortical nonlinear processing. Together, these observations demonstrate that perception of rhythm involves a number of processes that transform the sensory input via fixed low-level nonlinearities, but also through flexible mappings shaped by prior experience at different timescales. These higher-level neural mechanisms could represent a neurobiological basis for the remarkable flexibility and stability of meter perception relative to the acoustic input, which is commonly observed within and across individuals. Fundamentally, the current results add to the evidence that evolution has endowed the human brain with an extraordinary capacity to organize, transform, and interact with rhythmic signals, to achieve adaptive behavior in a complex dynamic environment

Rhythm and Time in Music Epitomize the Temporal Dynamics of Human Communicative Behavior: The Broad Implications of London's Trinity

Three key issues about rhythm and timing in music are drawn to the attention of linguists in a paper by London (2012). In this commentary, I argue that these issues are relevant not only to linguists, but also to those in any field dealing with the temporal dynamics of human communicative behavior. Thus, the distinction between endogenously and exogenously driven mechanisms of perceptual organization, the active nature of perception, and the presence of multiple time scales are topics that also concern experimental psychologists and cognitive neuroscientists. London’s argument that these three issues play a crucial role in the perception of rhythm and timing implies that they should be considered collectively when attempting to understand diverse communicative acts

Lateralised dynamic modulations of corticomuscular coherence associated with bimanual learning of rhythmic patterns

Supplementary Information: The online version contains supplementary material available at https://doi.org/ 10.1038/s41598-022-10342-5Human movements are spontaneously attracted to auditory rhythms, triggering an automatic activation of the motor system, a central phenomenon to music perception and production. Cortico- muscular coherence (CMC) in the theta, alpha, beta and gamma frequencies has been used as an index of the synchronisation between cortical motor regions and the muscles. Here we investigated how learning to produce a bimanual rhythmic pattern composed of low- and high-pitch sounds affects CMC in the beta frequency band. Electroencephalography (EEG) and electromyography (EMG) from the left and right First Dorsal Interosseus and Flexor Digitorum Superficialis muscles were concurrently recorded during constant pressure on a force sensor held between the thumb and index finger while listening to the rhythmic pattern before and after a bimanual training session. During the training, participants learnt to produce the rhythmic pattern guided by visual cues by pressing the force sensors with their left or right hand to produce the low- and high-pitch sounds, respectively. Results revealed no changes after training in overall beta CMC or beta oscillation amplitude, nor in the correlation between the left and right sides for EEG and EMG separately. However, correlation analyses indicated that left- and right-hand beta EEG–EMG coherence were positively correlated over time before training but became uncorrelated after training. This suggests that learning to bimanually produce a rhythmic musical pattern reinforces lateralised and segregated cortico-muscular communication.This work was supported by a grant from the Australian Research Council (DP170104322)

Finding rhythm through auditory imagery: an approach to Parkinson’s Disease treatment

The following research article explores music therapy in the treatment of Parkinson’s Disease (PD). The general interaction between the rhythmic properties of music and motor associated brain areas is discussed at length. These interactions provide a basis for understanding how music therapy can address the rhythmic impairments of the disease. Dance therapy, Musical Sonification, Rhythmic Auditory Stimulation (RAS) are three types of music-based therapies that have been found to be effective in treating the motor symptoms of PD. These therapies may be particularly effective for the PD population because they draw upon musical rhythm as an external pacing cue.While external pacing cues have been found to help PD patients entrain to rhythm, research has not yet explored how rhythm can be internalized over time. The current article proposes that the experience of Involuntary Musical Imagery (INMI) may offer patients a means of creating an internalized representation of rhythm that can be maintained beyond the therapeutic setting. Strategies to increase the occurrence of INMI are explored, accounting for individual differences and certain musical characteristics. In addition to advocating for music-based therapies in the treatment of PD, there also calls for increased research on how INMI may be incorporated into these therapies

Musicing, Materiality, and the Emotional Niche

Building on Elliot and SilvermanÕs (2015) embodied and enactive approach to musicing, I argue for an extended approach: namely, the idea that music can function as an environmental scaffolding supporting the development of various experiences and embodied practices that would otherwise remain inaccessible. I focus especially on the materiality of music. I argue that one of the central ways we use music, as a material resource, is to manipulate social spaceÑand in so doing, manipulate our emotions. Acts of musicing, thought of as processes of environmental space manipulation, are thus examples of what I term Òemotional niche construction.Ó I explore three dimensions of this process and appeal to different strands of empirical work to support this picture

Investigating how neural entrainment relates to beat perception by disentangling the stimulus-driven response

Beat perception – the ability to perceive a steady pulse in music – is nearly ubiquitous in humans, but the neural mechanisms underlying this ability are unknown. A growing number of electroencephalography (EEG) studies suggest that beat perception is related to neural entrainment, a phenomenon in which cyclic changes in the excitability of populations of neurons synchronize with a rhythmic stimulus. However, the relationship between acoustically-driven and entrainment-driven neural activity is unclear. This thesis presents EEG research that extends our understanding neural entrainment is related to beat perception by characterizing, equating, and finally removing the stimulus-driven response in the neural signal isolating the entrainment-driven responses. Chapter 1 presents a general overview of how neural entrainment may relate to beat perception, the common methods of measuring neural entrainment, and current debates in the literature about how best to account for the stimulus-driven response in the neural signal and also what the neural power spectrum reflects. Chapter 2 presents research on how perceptual and acoustic factors in auditory stimuli influence neural spectral power in a series of experiments in which beat strength, tone duration, and onset/offset ramp duration were manipulated. The results suggest that both perceptual and acoustic factors influence neural spectral power, and that accounting for the stimulus-driven response in the neural spectrum is more complicated than previously assumed. Chapter 3 presents research on how power and phase of the neural signal relate to beat strength and beat location while controlling the stimulus-driven response. The results indicated a relationship between neural entrainment and beat strength, and also, between oscillatory phase and beat location. Chapter 4 presents research on the potential neural mechanisms of beat perception by examining neural activity during a silent immediately after rhythm perception for testing for ongoing, oscillatory activity. The results, although not statistically robust, suggest that entrained activity continues into silence, indicating a relationship between neural entrainment and beat perception. Chapter 5 presents a general discussion of Chapters 2-4 in the context of the existing literature, limitations, and broader interpretations of how these results relate to future directions in the field

Rhythmic complexity and predictive coding::A novel approach to modeling rhythm and meter perception in music

Musical rhythm, consisting of apparently abstract intervals of accented temporal events, has a remarkable capacity to move our minds and bodies. How does the cognitive system enable our experiences of rhythmically complex music? In this paper, we describe some common forms of rhythmic complexity in music and propose the theory of predictive coding (PC) as a framework for understanding how rhythm and rhythmic complexity are processed in the brain. We also consider why we feel so compelled by rhythmic tension in music. First, we consider theories of rhythm and meter perception, which provide hierarchical and computational approaches to modeling. Second, we present the theory of PC, which posits a hierarchical organization of brain responses reflecting fundamental, survival-related mechanisms associated with predicting future events. According to this theory, perception and learning is manifested through the brain’s Bayesian minimization of the error between the input to the brain and the brain’s prior expectations. Third, we develop a PC model of musical rhythm, in which rhythm perception is conceptualized as an interaction between what is heard (“rhythm”) and the brain’s anticipatory structuring of music (“meter”). Finally, we review empirical studies of the neural and behavioral effects of syncopation, polyrhythm and groove, and propose how these studies can be seen as special cases of the PC theory. We argue that musical rhythm exploits the brain’s general principles of prediction and propose that pleasure and desire for sensorimotor synchronization from musical rhythm may be a result of such mechanisms