Brain lateralization of metrical accenting in musicians

Spontaneous grouping of saccade timing in the presence of task-irrelevant objects

Sequential movements are often grouped into several chunks, as evidenced by the modulation of the timing of each elemental movement. Even during synchronized tapping with a metronome, we sometimes feel subjective accent for every few taps. To examine whether motor segmentation emerges during synchronized movements, we trained monkeys to generate a series of predictive saccades synchronized with visual stimuli which sequentially appeared for a fixed interval (400 or 600 ms) at six circularly arranged landmark locations. We found two types of motor segmentations that featured periodic modulation of saccade timing. First, the intersaccadic interval (ISI) depended on the target location and saccade direction, indicating that particular combinations of saccades were integrated into motor chunks. Second, when a task-irrelevant rectangular contour surrounding three landmarks ("inducer") was presented, the ISI significantly modulated depending on the relative target location to the inducer. All patterns of individual differences seen in monkeys were also observed in humans. Importantly, the effects of the inducer greatly decreased or disappeared when the animals were trained to generate only reactive saccades (latency >100 ms), indicating that the motor segmentation may depend on the internal rhythms. Thus, our results demonstrate two types of motor segmentation during synchronized movements: one is related to the hierarchical organization of sequential movements and the other is related to the spontaneous grouping of rhythmic events. This experimental paradigm can be used to investigate the underlying neural mechanism of temporal grouping during rhythm production.

Structural meter perception is pre-attentive

A prominent question in timing research is whether meter perception is possible without attention to meter. So far, research has probed attention effects on meter perception with a surface-based approach that may create confounds between meter and rhythm, and not with a structural approach requiring abstraction from surface patterns. The available pattern of findings suggests that different meter dimensions (meter as beat hierarchy vs. meter as regular cycle length) may yield different attention effects: meter as cycle-length regularity may require attention (it is attentive but not pre-attentive), while meter as beat-hierarchy may be pre-attentive. However, it is unknown whether this dissociation prevails under structural meter processing. We examined attention effects on the EEG correlates of structural meter-processing, considering the two dimensions of meter perception: hierarchy and cycle-length. While the results for hierarchy violations were inconclusive, cycle-length violations induced pre-attentive, but not attentive, responses. These pre-attentive responses corresponded to late ERPs (300-600 ms), consistent with deep, structural meter-processing. Our findings highlight the importance of pre-attentive processing in meter perception, and they raise the hypothesis of dissociation between surface- and structure-based meter processing.

Accent-induced stabilization of spontaneous auditory-motor synchronization

Humans spontaneously synchronize their movements with external auditory rhythms such as a metronome or music. Although such synchronization preferentially occurs toward a simple 1:1 movement-sound frequency ratio, the parameters facilitating spontaneous synchronization to more complex frequency ratios remain largely unclear. The present study investigates the dynamics of spontaneous auditory-motor synchronization at a range of frequency ratios between movement and sound, and examines the benefit of simple accentuation pattern on synchronization emergence and stability. Participants performed index finger oscillations at their preferred tempo while listening to a metronome presented at either their preferred tempo, or twice or three times faster (frequency ratios of 1:1, 1:2 or 1:3) with different patterns of accentuation (unaccented, binary or ternary accented), and no instruction to synchronize. Participants' movements were spontaneously entrained to the auditory stimuli in the three different frequency ratio conditions. Moreover, the emergence and stability of the modes of coordination were influenced by the interaction between frequency ratio and pattern of accentuation. Coherent patterns, such as a 1:3 frequency ratio supported by a ternary accentuation, facilitated the emergence and stability of the corresponding mode of coordination. Furthermore, ternary accentuation induced a greater gain in stability for the corresponding mode of coordination than was observed with binary accentuation. Together, these findings demonstrate the importance of matching accentuation pattern and movement tempo for enhanced synchronization, opening new perspectives for stabilizing complex rhythmic motor behaviors, such as running.

Influence of Musical Enculturation on Brain Responses to Metric Deviants

The ability to recognize metric accents is fundamental in both music and language perception. It has been suggested that music listeners prefer rhythms that follow simple binary meters, which are common in Western music. This means that listeners expect odd-numbered beats to be strong and even-numbered beats to be weak. In support of this, studies have shown that listeners exposed to Western music show stronger novelty and incongruity related P3 and irregularity detection related mismatch negativity (MMN) brain responses to attenuated odd- than attenuated even-numbered metric positions. Furthermore, behavioral evidence suggests that music listeners' preferences can be changed by long-term exposure to non-Western rhythms and meters, e.g., by listening to African or Balkan music. In our study, we investigated whether it might be possible to measure effects of music enculturation on neural responses to attenuated tones on specific metric positions. We compared the magnetic mismatch negativity (MMNm) to attenuated beats in a “Western group” of listeners (n = 12) mainly exposed to Western music and a “Bicultural group” of listeners (n = 13) exposed for at least 1 year to both Sub-Saharan African music in addition to Western music. We found that in the “Western group” the MMNm was higher in amplitude to deviant tones on odd compared to even metric positions, but not in the “Bicultural group.” In support of this finding, there was also a trend of the “Western group” to rate omitted beats as more surprising on odd than even metric positions, whereas the “Bicultural group” seemed to discriminate less between metric positions in terms of surprise ratings. Also, we observed that the overall latency of the MMNm was significantly shorter in the Bicultural group compared to the Western group. These effects were not biased by possible differences in rhythm perception ability or music training, measured with the Musical Ear Test (MET). Furthermore, source localization analyses suggest that auditory, inferior temporal, sensory-motor, superior frontal, and parahippocampal regions might be involved in eliciting the MMNm to the metric deviants. These findings suggest that effects of music enculturation can be measured on MMNm responses to attenuated tones on specific metric positions.

What makes a rhythm complex? The influence of musical training and accent type on beat perception

Perception of a regular beat in music is inferred from different types of accents. For example, increases in loudness cause intensity accents, and the grouping of time intervals in a rhythm creates temporal accents. Accents are expected to occur on the beat: when accents are "missing" on the beat, the beat is more difficult to find. However, it is unclear whether accents occurring off the beat alter beat perception similarly to missing accents on the beat. Moreover, no one has examined whether intensity accents influence beat perception more or less strongly than temporal accents, nor how musical expertise affects sensitivity to each type of accent. In two experiments, we obtained ratings of difficulty in finding the beat in rhythms with either temporal or intensity accents, and which varied in the number of accents on the beat as well as the number of accents off the beat. In both experiments, the occurrence of accents on the beat facilitated beat detection more in musical experts than in musical novices. In addition, the number of accents on the beat affected beat finding more in rhythms with temporal accents than in rhythms with intensity accents. The effect of accents off the beat was much weaker than the effect of accents on the beat and appeared to depend on musical expertise, as well as on the number of accents on the beat: when many accents on the beat are missing, beat perception is quite difficult, and adding accents off the beat may not reduce beat perception further. Overall, the different types of accents were processed qualitatively differently, depending on musical expertise. Therefore, these findings indicate the importance of designing ecologically valid stimuli when testing beat perception in musical novices, who may need different types of accent information than musical experts to be able to find a beat. Furthermore, our findings stress the importance of carefully designing rhythms for social and clinical applications of beat perception, as not all listeners treat all rhythms alike.

Rhythmic facilitation of sensory processing: A critical review

Here we review the role of brain oscillations in sensory processing. We examine the idea that neural entrainment of intrinsic oscillations underlies the processing of rhythmic stimuli in the context of simple isochronous rhythms as well as in music and speech. This has been a topic of growing interest over recent years; however, many issues remain highly controversial: how do fluctuations of intrinsic neural oscillations-both spontaneous and entrained to external stimuli-affect perception, and does this occur automatically or can it be actively controlled by top-down factors? Some of the controversy in the literature stems from confounding use of terminology. Moreover, it is not straightforward how theories and findings regarding isochronous rhythms generalize to more complex, naturalistic stimuli, such as speech and music. Here we aim to clarify terminology, and distinguish between different phenomena that are often lumped together as reflecting "neural entrainment" but may actually vary in their mechanistic underpinnings. Furthermore, we discuss specific caveats and confounds related to making inferences about oscillatory mechanisms from human electrophysiological data.

The music in the brain hemispheres

The mini-review provides an overview on the differences between the right and left hemispheres of the brain. Recent studies highlight the contribution of the two hemispheres to the physical and mental control, and the interaction language-music. We focused the attention on the behaviour of the right and left hemispheres about the music and on what happens when music areas are damaged.

Visual Enhancement of Illusory Phenomenal Accents in Non-Isochronous Auditory Rhythms

Musical rhythms encompass temporal patterns that often yield regular metrical accents (e.g., a beat). There have been mixed results regarding perception as a function of metrical saliency, namely, whether sensitivity to a deviant was greater in metrically stronger or weaker positions. Besides, effects of metrical position have not been examined in non-isochronous rhythms, or with respect to multisensory influences. This study was concerned with two main issues: (1) In non-isochronous auditory rhythms with clear metrical accents, how would sensitivity to a deviant be modulated by metrical positions? (2) Would the effects be enhanced by multisensory information? Participants listened to strongly metrical rhythms with or without watching a point-light figure dance to the rhythm in the same meter, and detected a slight loudness increment. Both conditions were presented with or without an auditory interference that served to impair auditory metrical perception. Sensitivity to a deviant was found greater in weak beat than in strong beat positions, consistent with the Predictive Coding hypothesis and the idea of metrically induced illusory phenomenal accents. The visual rhythm of dance hindered auditory detection, but more so when the latter was itself less impaired. This pattern suggested that the visual and auditory rhythms were perceptually integrated to reinforce metrical accentuation, yielding more illusory phenomenal accents and thus lower sensitivity to deviants, in a manner consistent with the principle of inverse effectiveness. Results were discussed in the predictive framework for multisensory rhythms involving observed movements and possible mediation of the motor system.

Tracing the neural basis of auditory entrainment

Neurons in the auditory cortex synchronize their responses to temporal regularities in sound input. This coupling or "entrainment" is thought to facilitate beat extraction and rhythm perception in temporally structured sounds, such as music. As a consequence of such entrainment, the auditory cortex responds to an omitted (silent) sound in a regular sequence. Although previous studies suggest that the auditory brainstem frequency-following response (FFR) exhibits some of the beat-related effects found in the cortex, it is unknown whether omissions of sounds evoke a brainstem response. We simultaneously recorded cortical and brainstem responses to isochronous and irregular sequences of consonant-vowel syllable /da/ that contained sporadic omissions. The auditory cortex responded strongly to omissions, but we found no evidence of evoked responses to omitted stimuli from the auditory brainstem. However, auditory brainstem responses in the isochronous sound sequence were more consistent across trials than in the irregular sequence. These results indicate that the auditory brainstem faithfully encodes short-term acoustic properties of a stimulus and is sensitive to sequence regularity, but does not entrain to isochronous sequences sufficiently to generate overt omission responses, even for sequences that evoke such responses in the cortex. These findings add to our understanding of the processing of sound regularities, which is an important aspect of human cognitive abilities like rhythm, music and speech perception.

Neural entrainment to the rhythmic structure of music

The neural resonance theory of musical meter explains musical beat tracking as the result of entrainment of neural oscillations to the beat frequency and its higher harmonics. This theory has gained empirical support from experiments using simple, abstract stimuli. However, to date there has been no empirical evidence for a role of neural entrainment in the perception of the beat of ecologically valid music. Here we presented participants with a single pop song with a superimposed bassoon sound. This stimulus was either lined up with the beat of the music or shifted away from the beat by 25% of the average interbeat interval. Both conditions elicited a neural response at the beat frequency. However, although the on-the-beat condition elicited a clear response at the first harmonic of the beat, this frequency was absent in the neural response to the off-the-beat condition. These results support a role for neural entrainment in tracking the metrical structure of real music and show that neural meter tracking can be disrupted by the presentation of contradictory rhythmic cues.

Temporal attending and prediction influence the perception of metrical rhythm: evidence from reaction times and ERPs

The processing of rhythmic events in music is influenced by the induced metrical structure. Two mechanisms underlying this may be temporal attending and temporal prediction. Temporal fluctuations in attentional resources may influence the processing of rhythmic events by heightening sensitivity at metrically strong positions. Temporal predictions may attenuate responses to events that are highly expected within a metrical structure. In the current study we aimed to disentangle these two mechanisms by examining responses to unexpected sounds, using intensity increments and decrements as deviants. Temporal attending was hypothesized to lead to better detection of deviants in metrically strong (on the beat) than weak (offbeat) positions due to heightened sensitivity on the beat. Temporal prediction was hypothesized to lead to best detection of increments in offbeat positions and decrements on the beat, as they would be most unexpected in these positions. We used a speeded detection task to measure detectability of the deviants under attended conditions (Experiment 1). Under unattended conditions (Experiment 2), we used EEG to measure the mismatch negativity (MMN), an ERP component known to index the detectability of unexpected auditory events. Furthermore, we examined the amplitude of the auditory evoked P1 and N1 responses, which are known to be sensitive to both attention and prediction. We found better detection of small increments in offbeat positions than on the beat, consistent with the influence of temporal prediction (Experiment 1). In addition, we found faster detection of large increments on the beat as opposed to offbeat (Experiment 1), and larger amplitude P1 responses on the beat as compared to offbeat, both in support of temporal attending (Experiment 2). As such, we showed that both temporal attending and temporal prediction shape our processing of metrical rhythm.

Neural responses to sounds presented on and off the beat of ecologically valid music

The tracking of rhythmic structure is a vital component of speech and music perception. It is known that sequences of identical sounds can give rise to the percept of alternating strong and weak sounds, and that this percept is linked to enhanced cortical and oscillatory responses. The neural correlates of the perception of rhythm elicited by ecologically valid, complex stimuli, however, remain unexplored. Here we report the effects of a stimulus' alignment with the beat on the brain's processing of sound. Human subjects listened to short popular music pieces while simultaneously hearing a target sound. Cortical and brainstem electrophysiological onset responses to the sound were enhanced when it was presented on the beat of the music, as opposed to shifted away from it. Moreover, the size of the effect of alignment with the beat on the cortical response correlated strongly with the ability to tap to a beat, suggesting that the ability to synchronize to the beat of simple isochronous stimuli and the ability to track the beat of complex, ecologically valid stimuli may rely on overlapping neural resources. These results suggest that the perception of musical rhythm may have robust effects on processing throughout the auditory system.

Dynamic allocation of attention to metrical and grouping accents in rhythmic sequences

Most people find it easy to perform rhythmic movements in synchrony with music, which reflects their ability to perceive the temporal periodicity and to allocate attention in time accordingly. Musicians and non-musicians were tested in a click localization paradigm in order to investigate how grouping and metrical accents in metrical rhythms influence attention allocation, and to reveal the effect of musical expertise on such processing. We performed two experiments in which the participants were required to listen to isochronous metrical rhythms containing superimposed clicks and then to localize the click on graphical and ruler-like representations with and without grouping structure information, respectively. Both experiments revealed metrical and grouping influences on click localization. Musical expertise improved the precision of click localization, especially when the click coincided with a metrically strong beat. Critically, although all participants located the click accurately at the beginning of an intensity group, only musicians located it precisely when it coincided with a strong beat at the end of the group. Removal of the visual cue of grouping structures enhanced these effects in musicians and reduced them in non-musicians. These results indicate that musical expertise not only enhances attention to metrical accents but also heightens sensitivity to perceptual grouping.