Discrimination of Regular and Irregular Rhythms Explained by a Time Difference Accumulation Model

Keeping time and rhythm by internal simulation of sensory stimuli and behavioral actions

Effective behavior often requires synchronizing our actions with changes in the environment. Rhythmic changes in the environment are easy to predict, and we can readily time our actions to them. Yet, how the brain encodes and maintains rhythms is not known. Here, we trained primates to internally maintain rhythms of different tempos and performed large-scale recordings of neuronal activity across the sensory-motor hierarchy. Results show that maintaining rhythms engages multiple brain areas, including visual, parietal, premotor, prefrontal, and hippocampal regions. Each recorded area displayed oscillations in firing rates and oscillations in broadband local field potential power that reflected the temporal and spatial characteristics of an internal metronome, which flexibly encoded fast, medium, and slow tempos. The presence of widespread metronome-related activity, in the absence of stimuli and motor activity, suggests that internal simulation of stimuli and actions underlies timekeeping and rhythm maintenance.

The Processing of Short Time Intervals: Some Critical Issues

Humans have the capability to make judgments about the relative duration of time intervals with accuracy (correct perceived duration) and precision (low variability). However, this capability has limitations, some of which are discussed in the present chapter. These limitations, either in terms of accuracy or precision, are obvious when there are changes in the physical characteristics of the stimuli used to mark the intervals to be judged. The characteristics are the structure (filled vs. empty) of the intervals and the sensory origin of the stimuli used to mark them. The variability of time estimates also depends on the use of single intervals by opposition to the use of sequences of intervals, and on the duration range under investigation. In addition to the effect caused by the physical characteristics of the stimuli, the perceived duration also relies on the way of presenting successive stimuli and on whether the intervals are marked by a single source or by different sources with distance (spatial effect) between them.

Estimating Time and Rhythm by Predicting External Stimuli

In this chapter, we present recent findings from our group showing that elapsed time, interval timing, and rhythm maintenance might be achieved by the well-known ability of the brain to predict the future states of the world. The difference between predictions and actual sensory evidence is used to generate perceptual and behavioral adjustments that help subjects achieve desired behavioral goals. Concretely, we show that (1) accumulating prediction errors is a plausible strategy humans could use to determine whether a train of consecutive stimuli arrives at regular or irregular intervals. By analyzing the behavior of human and non-human primate subjects performing rhythm perception tasks, we demonstrate that (2) the ability to estimate elapsed time and internally maintain rhythms is shared across primates and humans. Neurophysiological recordings show that (3) the medial premotor cortex engages in rhythm entrainment and maintains oscillatory activity that reveals an internal metronome's spatial and temporal characteristics. Finally, we demonstrate that (4) the amplitude of gamma oscillations within this cortex increases proportionally to the total elapsed time. In conjunction with our most recent experiments, our results suggest that timing might be achieved by an internal simulation of the sensory stimuli and the motor commands that define the timing task that needs to be performed.

Probabilistic modelling of microtiming perception

Music performances are rich in systematic temporal irregularities called "microtiming", too fine-grained to be notated in a musical score but important for musical expression and communication. Several studies have examined listeners' preference for rhythms varying in microtiming, but few have addressed precisely how microtiming is perceived, especially in terms of cognitive mechanisms, making the empirical evidence difficult to interpret. Here we provide evidence that microtiming perception can be simulated as a process of probabilistic prediction. Participants performed an XAB discrimination test, in which an archetypal popular drum rhythm was presented with different microtiming. The results indicate that listeners could implicitly discriminate the mean and variance of stimulus microtiming. Furthermore, their responses were effectively simulated by a Bayesian model of entrainment, using a distance function derived from its dynamic posterior estimate over phase. Wide individual differences in participant sensitivity to microtiming were predicted by a model parameter likened to noisy timekeeping processes in the brain. Overall, this suggests that the cognitive mechanisms underlying perception of microtiming reflect a continuous inferential process, potentially driving qualitative judgements of rhythmic feel.

Sex differences in vocal learning ability in songbirds are linked with differences in flexible rhythm pattern perception

Humans readily recognize familiar rhythmic patterns, such as isochrony (equal timing between events) across a wide range of rates. This reflects a facility with perceiving the relative timing of events, not just absolute interval durations. Several lines of evidence suggest this ability is supported by precise temporal predictions arising from forebrain auditory-motor interactions. We have shown previously that male zebra finches, Taeniopygia guttata, which possess specialized auditory-motor networks and communicate with rhythmically patterned sequences, share our ability to flexibly recognize isochrony across rates. To test the hypothesis that flexible rhythm pattern perception is linked to vocal learning, we ask whether female zebra finches, which do not learn to sing, can also recognize global temporal patterns. We find that females can flexibly recognize isochrony across a wide range of rates but perform slightly worse than males on average. These findings are consistent with recent work showing that while females have reduced forebrain song regions, the overall network connectivity of vocal premotor regions is similar to males and may support predictions of upcoming events. Comparative studies of male and female songbirds thus offer an opportunity to study how individual differences in auditory-motor connectivity influence perception of relative timing, a hallmark of human music perception.

Keep your finger on the pulse: Better rate perception and gap detection with vibrotactile compared to visual stimuli

Important characteristics of the environment can be represented in the temporal pattern of sensory stimulation. In two experiments, we compared accuracy of temporal processing by different modalities. Experiment 1 examined binary categorization of rate for visual (V) or vibrotactile (T) stimulus pulses presented at either 4 or 6 Hz. Inter-pulse intervals were either constant or variable, perturbed by random Gaussian variates. Subjects categorized the rate of T pulse sequences more accurately than V sequences. In V conditions only, subjects disproportionately tended to mis-categorize 4-Hz pulse rates, for all but the most variable sequences. In Experiment 2, we compared gap detection thresholds across modalities, using the same V and T pulses from Experiment 1, as well as with bimodal (VT) pulses. Visual gap detection thresholds were larger (3[Formula: see text]) than tactile thresholds. Additionally, performance with VT stimuli seemed to be nearly completely dominated by their T components. Together, these results suggest (i) that vibrotactile temporal acuity surpasses visual temporal acuity, and (ii) that vibrotactile stimulation has considerable, untapped potential to convey temporal information like that needed for eyes-free alerting signals.

Music and Brain Circuitry: Strategies for Strengthening Evidence-Based Research for Music-Based Interventions

The neuroscience of music and music-based interventions (MBIs) is a fascinating but challenging research field. While music is a ubiquitous component of every human society, MBIs may encompass listening to music, performing music, music-based movement, undergoing music education and training, or receiving treatment from music therapists. Unraveling the brain circuits activated and influenced by MBIs may help us gain better understanding of the therapeutic and educational values of MBIs by gathering strong research evidence. However, the complexity and variety of MBIs impose unique research challenges. This article reviews the recent endeavor led by the National Institutes of Health to support evidence-based research of MBIs and their impact on health and diseases. It also highlights fundamental challenges and strategies of MBI research with emphases on the utilization of animal models, human brain imaging and stimulation technologies, behavior and motion capturing tools, and computational approaches. It concludes with suggestions of basic requirements when studying MBIs and promising future directions to further strengthen evidence-based research on MBIs in connections with brain circuitry.SIGNIFICANCE STATEMENT Music and music-based interventions (MBI) engage a wide range of brain circuits and hold promising therapeutic potentials for a variety of health conditions. Comparative studies using animal models have helped in uncovering brain circuit activities involved in rhythm perception, while human imaging, brain stimulation, and motion capture technologies have enabled neural circuit analysis underlying the effects of MBIs on motor, affective/reward, and cognitive function. Combining computational analysis, such as prediction method, with mechanistic studies in animal models and humans may unravel the complexity of MBIs and their effects on health and disease.

Audiovisual interaction with rate-varying signals

A task-irrelevant, amplitude-modulating sound influences perception of a size-modulating visual stimulus. To probe the limits of this audiovisual interaction we vary the second temporal derivative of object size and of sound amplitude. In the study's first phase subjects see a visual stimulus size-modulating with f ″ ( x ) > 0, 0, or <0, and judge each one's rate as increasing, constant, or decreasing. Visual stimuli are accompanied by a steady, non-modulated auditory stimulus. The novel combination of multiple stimuli and multi-alternative responses allows subjects' similarity space to be estimated from the stimulus-response confusion matrix. In the study's second phase, rate-varying visual stimuli are presented in concert with auditory stimuli whose second derivative also varied. Subjects identified each visual stimuli as one of the three types, while trying to ignore the accompanying sound. Unlike some previous results with f ″ ( x ) fixed at 0, performance benefits relatively little when visual and auditory stimuli share the same directional change in modulation. However, performance does drop when visual and auditory stimului differ in their directions of rate change. Our task's computational demands may make it particularly vulnerable to the effects of a dynamic task-irrelevant stimulus.

Vocal learning and flexible rhythm pattern perception are linked: Evidence from songbirds

We can recognize the cadence of a friend’s voice or the rhythm of a familiar song across a wide range of tempi. This shows that our perception of temporal patterns relies strongly on the relative timing of events rather than on specific absolute durations. This tendency is foundational to speech and music perception, but to what extent is it shared by other species? We hypothesize that animals that learn their vocalizations are more likely to share this tendency. Here, we show that a vocal learning songbird robustly recognizes a basic rhythmic pattern independent of rate. Our findings pave the way for neurobiological studies to identify how the brain represents and perceives the temporal structure of auditory sequences.

Rhythm perception is fundamental to speech and music. Humans readily recognize a rhythmic pattern, such as that of a familiar song, independently of the tempo at which it occurs. This shows that our perception of auditory rhythms is flexible, relying on global relational patterns more than on the absolute durations of specific time intervals. Given that auditory rhythm perception in humans engages a complex auditory–motor cortical network even in the absence of movement and that the evolution of vocal learning is accompanied by strengthening of forebrain auditory–motor pathways, we hypothesize that vocal learning species share our perceptual facility for relational rhythm processing. We test this by asking whether the best-studied animal model for vocal learning, the zebra finch, can recognize a fundamental rhythmic pattern—equal timing between event onsets (isochrony)—based on temporal relations between intervals rather than on absolute durations. Prior work suggests that vocal nonlearners (pigeons and rats) are quite limited in this regard and are biased to attend to absolute durations when listening to rhythmic sequences. In contrast, using naturalistic sounds at multiple stimulus rates, we show that male zebra finches robustly recognize isochrony independent of absolute time intervals, even at rates distant from those used in training. Our findings highlight the importance of comparative studies of rhythmic processing and suggest that vocal learning species are promising animal models for key aspects of human rhythm perception. Such models are needed to understand the neural mechanisms behind the positive effect of rhythm on certain speech and movement disorders.