Sensitivity to event timing in regular and irregular sequences: influences of musical skill

A matter of time: how musical training affects time perception

Musical training has been linked to changes in early attentional and perceptual processing. Thus, such an altered attentional and perceptual processing has enabled musicians to judge the duration differently than non-musicians. Although these claims seem intriguing, there are many questions that are not addressed yet, for example, how would the performance of musically-trained differ from that of untrained on visual and auditory temporal judgments? Is there any advantage to musically-trained person in temporal processing? To understand these questions, we thus conducted a series of Auditory and Visual Temporal Bisection Tasks on 32 musically-trained and 32 musically-untrained participants. We hypothesized that if music training modulates general sensitivity to temporal dimensions, then the temporal judgments of musically-trained participants would differ from those of untrained participants in both visual and auditory tasks. Each participant performed a total of 140 trials (70 visual and 70 auditory) in two different blocks. For each participant, a Point of Subjective Equality (PSE) was obtained for visual and auditory conditions. The findings revealed a significant modality effect on time perception, with auditory stimuli being consistently overestimated compared to visual stimuli. Surprisingly, the musically-trained group exhibited a tendency to underestimate duration relative to the musically-untrained participants. Although these results may appear counterintuitive at first glance, a detailed analysis indicates that the length of musical training plays a significant role in modulating temporal processing within the musically-trained group.

thebeat: A Python package for working with rhythms and other temporal sequences

thebeat is a Python package for working with temporal sequences and rhythms in the behavioral and cognitive sciences, as well as in bioacoustics. It provides functionality for creating experimental stimuli, and for visualizing and analyzing temporal data. Sequences, sounds, and experimental trials can be generated using single lines of code. thebeat contains functions for calculating common rhythmic measures, such as interval ratios, and for producing plots, such as circular histograms. thebeat saves researchers time when creating experiments, and provides the first steps in collecting widely accepted methods for use in timing research. thebeat is an open-source, on-going, and collaborative project, and can be extended for use in specialized subfields. thebeat integrates easily with the existing Python ecosystem, allowing one to combine our tested code with custom-made scripts. The package was specifically designed to be useful for both skilled and novice programmers. thebeat provides a foundation for working with temporal sequences onto which additional functionality can be built. This combination of specificity and plasticity should facilitate research in multiple research contexts and fields of study.

Neural substrates of top-down processing during perceptual duration-based timing and beat-based timing

Temporal context is a crucial factor in timing. Previous studies have revealed that the timing of regular stimuli, such as isochronous beats or rhythmic sequences (termed beat-based timing), activated the basal ganglia, whereas the timing of single intervals or irregular stimuli (termed duration-based timing) activated the cerebellum. We conducted a functional magnetic resonance imaging (fMRI) experiment to determine whether top-down processing of perceptual duration-based and beat-based timings affected brain activation patterns. Our participants listened to auditory sequences containing both single intervals and isochronous beats and judged either the duration of the intervals or the tempo of the beats. Whole-brain analysis revealed that both duration judgments and tempo judgments activated similar areas, including the basal ganglia and cerebellum, with no significant difference in the activated regions between the two conditions. In addition, an analysis of the regions of interest revealed no significant differences between the activation levels measured for the two tasks in the basal ganglia as well as the cerebellum. These results suggested that a set of common brain areas were involved in top-down processing of both duration judgments and tempo judgments. Our findings indicate that perceptual duration-based timing and beat-based timing are driven by stimulus regularity irrespective of top-down processing.

Sustained effect of auditory entrainment on sequential tapping: The role of movement path complexity

The effects of auditory-motor entrainment have generally been investigated with periodic movements. Previous research has focused on how auditory-motor entrainment is influenced by the temporal structure of rhythms. The present study aimed to investigate whether auditory entrainment improved timing performance of sequential movements with varied path structures, and whether path complexity would affect any possible sustained effect of auditory entrainment. We also investigated whether the sustained effect was moderated by hearing single- vs. multiple-pitch audio prompts. Thirty participants were enrolled to perform a sequential finger-tapping task with discrete targets, in which the algebraic ratio relation of path lengths was manipulated as path complexity. Participants completed three stages per trial: initiation (to introduce the path sequence), entrainment (tapping along with the auditory and visual cues), and timekeeping (repeating the sequence without cues). We found timing improvement in terms of mean asynchronies and absolute interval error decrease after auditory entrainment. Only interval accuracy performance during timekeeping and entrainment was affected by path complexity. Moreover, no clear difference was observed between the rhythm sets in terms of single vs. multiple pitches. In conclusion, we found that phase and interval duration accuracy of predefined isochronous sequential movements with varied path complexity can be improved by auditory entrainment, and that auditory entrainment affects our performance beyond the actual presence of the auditory cue.

Sustained Effect of Auditory Entrainment With Coordinated Movement Varies With Temporal Complexity of Sequential Tapping

While the ability to coordinate movements temporally with rhythmic auditory stimuli is universal, previous investigators showed that accurate rhythm reproduction depends on temporal complexity. To date, the effect of multiple pitches on the timing of rhythmic movements has been assumed. Exploring a possible sustained entrainment effect of auditory stimuli on sequential movement might further elucidate the role of temporal complexity and its interaction with multiple pitch engagement. Thus, we investigated the sustained effect of auditory entrainment and the interaction between temporal complexity and pitch on predefined sequential tapping with tapping sequences predefined before a synchronization-timekeeping task. Temporal complexity was manipulated by increasing the number of non-integer ratios in temporal rhythm. The rhythm sequences were presented with either multiple pitches or a single pitch. We found a reduction in mean asynchronies and ratio error in three rhythms with non-integer ratios, while inter-response interval error was reduced in the integer rhythm and the rhythm with one repetitive integer ratio and one non-integer ratio. Ratio error remanence was less in rhythms with two non-integer ratios. We found no significant difference between the two pitch types. There was a sustained entrainment effect of sequential tapping that varied with differing temporal complexity, and pitch information was not essential for auditory entrainment. These findings provide support for possible interventions aimed at motor learning.

Sounds familiar(?): Expertise with specific musical genres modulates timing perception and micro-level synchronization to auditory stimuli

Musical expertise improves the precision of timing perception and performance - but is this expertise generic, or is it tied to the specific style(s) and genre(s) of one's musical training? We asked expert musicians from three musical genres (folk, jazz, and EDM/hip-hop) to align click tracks and tap in synchrony with genre-specific and genre-neutral sound stimuli to determine the perceptual center ("P-center") and variability ("beat bin") for each group of experts. We had three stimulus categories - Organic, Electronic, and Neutral sounds - each of which had a 2 × 2 design of the acoustic factors Attack (fast/slow) and Duration (short/long). We found significant effects of Genre expertise, and a significant interaction for both P-center and P-center variability: folk and jazz musicians synchronize to sounds typical of folk and jazz in a different manner than the EDM/hip-hop producers. The results show that expertise in a specific musical genre affects our low-level perceptions of sounds as well as their affordance(s) for joint action/synchronization. The study provides new insights into the effects of active long-term musical enculturation and skill acquisition on basic sensorimotor synchronization and timing perception, shedding light on the important question of how nature and nurture intersect in the development of our perceptual systems.

Intertap interval dependence of the subdivision effect in auditory-synchronised tapping

Precise temporal synchronisation between action and perception is crucial in daily life. Interestingly, synchronised tapping for every other tone or more (1:n tapping) is more precise than that for each tone (1:1 tapping), and this phenomenon is called 'subdivision benefit'. One hypothesis to explain this phenomenon is that there is a tendency to underestimate an empty interval, but the subdivision is used as an additional temporal reference and causes an illusionary longer intertap interval (ITI). The other hypothesis is based on strong/weak beats in a tone sequence made by subdivision. Because the strong beat improves the sensitivity of duration perception, synchronisation with strong beats should be better compared with other beats. Instead, the first hypothesis suggests that the subdivision benefit occurs irrespective of beat strength. The present study aimed to clarify this discrepancy using a 1:3 tapping task for a sequence of three-tone patterns and a 1:1 tapping task for a sequence of a single tone repetition. A further aim was to clarify the effect of musical experience. When the ITI was 900 ms or more, the variability of tapping showed the subdivision benefit, irrespective of beat strength. This result supports the first hypothesis, and musicians obtained more benefits than non-musicians. Instead, the timing of tap did not shorten by subdivision, except for the ITI of 900 ms. The findings implicate that the subdivision benefit is due to the additional temporal reference by the subdivided tones, and the benefit is dependent on the ITI length.

Accuracy of Tempo Judgments in Disk Jockeys Compared to Musicians and Untrained Individuals

Professional disk jockeys (DJs) are an under-studied population whose performance involves creating new musical experiences by combining existing musical materials with a high level of temporal precision. In contemporary electronic dance music, these materials have a stable tempo and are composed with the expectation for further transformation during performance by a DJ for the audience of dancers. Thus, a fundamental aspect of DJ performance is synchronizing the tempo and phase of multiple pieces of music, so that over seconds or even minutes, they may be layered and transitioned without disrupting the rhythmic pulse. This has been accomplished traditionally by manipulating the speed of individual music pieces “by ear,” without additional technological synchronization aids. However, the cumulative effect of this repeated practice on auditory tempo perception has not yet been evaluated. Well-known phenomena of experience-dependent plasticity in other populations, such as musicians, prompts the question of whether such effects exist in DJs in their domain of expertise. This pilot study examined auditory judgments of tempo in 10 professional DJs with experience mixing by ear, compared to 7 percussionists, 12 melodic instrumental musicians, and 11 untrained controls. Participants heard metronome sequences between 80 and 160 beats per minute (BPM) and estimated the tempo. In their most-trained tempo range, 120–139 BPM, DJs were more accurate (lower absolute percent error) than untrained participants. Within the DJ group, 120–139 BPM exhibited greater accuracy than slower tempos of 80–99 or 100–119 BPM. DJs did not differ in accuracy compared to percussionists or melodic musicians on any BPM range. Percussionists were more accurate than controls for 100–119 and 120–139 BPM. The results affirm the experience-dependent skill of professional DJs in temporal perception, with comparable performance to conventionally trained percussionists and instrumental musicians. Additionally, the pattern of results suggests a tempo-specific aspect to this training effect that may be more pronounced in DJs than percussionists and musicians. As one of the first demonstrations of enhanced auditory perception in this unorthodox music expert population, this work opens the way to testing whether DJs also have enhanced rhythmic production abilities, and investigating the neural substrates of this skill compared to conventional musicians.

An Initial Investigation of the Responsiveness of Temporal Gait Asymmetry to Rhythmic Auditory Stimulation and the Relationship to Rhythm Ability Following Stroke

Temporal gait asymmetry (TGA) is a persistent post-stroke gait deficit. Compared to conventional gait training techniques, rhythmic auditory stimulation (RAS; i.e., walking to a metronome) has demonstrated positive effects on post-stroke TGA. Responsiveness of TGA to RAS may be related to several factors including motor impairment, time post-stroke, and individual rhythm abilities. The purpose of this study was to investigate the relationship between rhythm abilities and responsiveness of TGA when walking to RAS. Assessed using behavioral tests of beat perception and production, participants with post-stroke TGA (measured as single limb support time ratio) were categorized according to rhythm ability (as strong or weak beat perceivers/producers). We assessed change in TGA between walking without cues (baseline) and walking while synchronizing footsteps with metronome cues. Most individuals with stroke were able to maintain or improve TGA with a single session of RAS. Within-group analyses revealed a difference between strong and weak rhythm ability groups. Strong beat perceivers and producers showed significant reduction (improvement) in TGA with the metronome. Those with weak ability did not and exhibited high variability in the TGA response to metronome. Moreover, individuals who worsened in TGA when walking to metronome had poorer beat production scores than those who did not change in TGA. However, no interaction between TGA improvement when walking to metronome and rhythm perception or production ability was found. While responsiveness of TGA to RAS did not significantly differ based on strength of rhythm abilities, these preliminary findings highlight rhythm ability as a potential consideration when treating post-stroke individuals with rhythm-based treatments.

Rhythmic Training Improves Temporal Anticipation and Adaptation Abilities in Children With Hearing Loss During Verbal Interaction

Purpose In this study, we investigate temporal adaptation capacities of children with normal hearing and children with cochlear implants and/or hearing aids during verbal exchange. We also address the question of the efficiency of a rhythmic training on temporal adaptation during speech interaction in children with hearing loss. Method We recorded electroencephalogram data in children while they named pictures delivered on a screen, in alternation with a virtual partner. We manipulated the virtual partner's speech rate (fast vs. slow) and the regularity of alternation (regular vs. irregular). The group of children with normal hearing was tested once, and the group of children with hearing loss was tested twice: once after 30 min of auditory training and once after 30 min of rhythmic training. Results Both groups of children adjusted their speech rate to that of the virtual partner and were sensitive to the regularity of alternation with a less accurate performance following irregular turns. Moreover, irregular turns elicited a negative event-related potential in both groups, showing a detection of temporal deviancy. Notably, the amplitude of this negative component positively correlated with accuracy in the alternation task. In children with hearing loss, the effect was more pronounced and long-lasting following rhythmic training compared with auditory training. Conclusion These results are discussed in terms of temporal adaptation abilities in speech interaction and suggest the use of rhythmic training to improve these skills of children with hearing loss.

A linear oscillator model predicts dynamic temporal attention and pupillary entrainment to rhythmic patterns

Rhythm is a ubiquitous feature of music that induces specific neural modes of processing. In this paper, we assess the potential of a stimulus-driven linear oscillator model (57) to predict dynamic attention to complex musical rhythms on an instant-by-instant basis. We use perceptual thresholds and pupillometry as attentional indices against which to test our model predictions. During a deviance detection task, participants listened to continuously looping, multiinstrument, rhythmic patterns, while being eye-tracked. Their task was to respond anytime they heard an increase in intensity (dB SPL). An adaptive thresholding algorithm adjusted deviant intensity at multiple probed temporal locations throughout each rhythmic stimulus. The oscillator model predicted participants’ perceptual thresholds for detecting deviants at probed locations, with a low temporal salience prediction corresponding to a high perceptual threshold and vice versa. A pupil dilation response was observed for all deviants. Notably, the pupil dilated even when participants did not report hearing a deviant. Maximum pupil size and resonator model output were significant predictors of whether a deviant was detected or missed on any given trial. Besides the evoked pupillary response to deviants, we also assessed the continuous pupillary signal to the rhythmic patterns. The pupil exhibited entrainment at prominent periodicities present in the stimuli and followed each of the different rhythmic patterns in a unique way. Overall, these results replicate previous studies using the linear oscillator model to predict dynamic attention to complex auditory scenes and extend the utility of the model to the prediction of neurophysiological signals, in this case the pupillary time course; however, we note that the amplitude envelope of the acoustic patterns may serve as a similarly useful predictor. To our knowledge, this is the first paper to show entrainment of pupil dynamics by demonstrating a phase relationship between musical stimuli and the pupillary signal.

Predictive cues for auditory stream formation in humans and monkeys

Auditory perception is improved when stimuli are predictable, and this effect is evident in a modulation of the activity of neurons in the auditory cortex as shown previously. Human listeners can better predict the presence of duration deviants embedded in stimulus streams with fixed interonset interval (isochrony) and repeated duration pattern (regularity), and neurons in the auditory cortex of macaque monkeys have stronger sustained responses in the 60-140 ms post-stimulus time window under these conditions. Subsequently, the question has arisen whether isochrony or regularity in the sensory input contributed to the enhancement of the neuronal and behavioural responses. Therefore, we varied the two factors isochrony and regularity independently and measured the ability of human subjects to detect deviants embedded in these sequences as well as measuring the responses of neurons the primary auditory cortex of macaque monkeys during presentations of the sequences. The performance of humans in detecting deviants was significantly increased by regularity. Isochrony enhanced detection only in the presence of the regularity cue. In monkeys, regularity increased the sustained component of neuronal tone responses in auditory cortex while isochrony had no consistent effect. Although both regularity and isochrony can be considered as parameters that would make a sequence of sounds more predictable, our results from the human and monkey experiments converge in that regularity has a greater influence on behavioural performance and neuronal responses.

Effects of tempo, swing density, and listener's drumming experience, on swing detection thresholds for drum rhythms

Swing, a popular technique in music performance, has been said to enhance the "groove" of the rhythm. Swing works by delaying the onsets of even-numbered subdivisions of each beat (e.g., 16th-note swing delays the onsets of the second and fourth 16th-note subdivisions of each quarter-note beat). The "swing magnitude" (loosely speaking, the amount of delay) is often quite small. And there has been little investigation, using musical stimuli, into what swing magnitudes listeners can detect. To that end, this study presented continually-looped electronic drum rhythms, with 16th-note swing in the hi-hat on every other bar, to drummers and non-drummers. Swing magnitude was adjusted using a staircase procedure, to determine the magnitude where the difference between swinging and not-swinging bars was just-noticeable. Different tempi (60 to 140 quarter-notes per minute) and swing densities (how often notes occurred at even-numbered subdivisions) were used. Results showed that all subjects could detect smaller swing magnitudes when swing density was higher, thus confirming a previous speculation that the perceptual salience of swing increases with swing density. The just-noticeable magnitudes of swing for drummers differed from those of non-drummers, in terms of both overall magnitude and sensitivity to tempo, thus prompting questions for further exploration.

Brain Bases of Working Memory for Time Intervals in Rhythmic Sequences

Perception of auditory time intervals is critical for accurate comprehension of natural sounds like speech and music. However, the neural substrates and mechanisms underlying the representation of time intervals in working memory are poorly understood. In this study, we investigate the brain bases of working memory for time intervals in rhythmic sequences using functional magnetic resonance imaging. We used a novel behavioral paradigm to investigate time-interval representation in working memory as a function of the temporal jitter and memory load of the sequences containing those time intervals. Human participants were presented with a sequence of intervals and required to reproduce the duration of a particular probed interval. We found that perceptual timing areas including the cerebellum and the striatum were more or less active as a function of increasing and decreasing jitter of the intervals held in working memory respectively whilst the activity of the inferior parietal cortex is modulated as a function of memory load. Additionally, we also analyzed structural correlations between gray and white matter density and behavior and found significant correlations in the cerebellum and the striatum, mirroring the functional results. Our data demonstrate neural substrates of working memory for time intervals and suggest that the cerebellum and the striatum represent core areas for representing temporal information in working memory.

Neural Networks for Beat Perception in Musical Rhythm

Entrainment of cortical rhythms to acoustic rhythms has been hypothesized to be the neural correlate of pulse and meter perception in music. Dynamic attending theory first proposed synchronization of endogenous perceptual rhythms nearly 40 years ago, but only recently has the pivotal role of neural synchrony been demonstrated. Significant progress has since been made in understanding the role of neural oscillations and the neural structures that support synchronized responses to musical rhythm. Synchronized neural activity has been observed in auditory and motor networks, and has been linked with attentional allocation and movement coordination. Here we describe a neurodynamic model that shows how self-organization of oscillations in interacting sensory and motor networks could be responsible for the formation of the pulse percept in complex rhythms. In a pulse synchronization study, we test the model's key prediction that pulse can be perceived at a frequency for which no spectral energy is present in the amplitude envelope of the acoustic rhythm. The result shows that participants perceive the pulse at the theoretically predicted frequency. This model is one of the few consistent with neurophysiological evidence on the role of neural oscillation, and it explains a phenomenon that other computational models fail to explain. Because it is based on a canonical model, the predictions hold for an entire family of dynamical systems, not only a specific one. Thus, this model provides a theoretical link between oscillatory neurodynamics and the induction of pulse and meter in musical rhythm.

Musical Meter Modulates the Allocation of Attention across Time

Dynamic attending theory predicts that attention is allocated hierarchically across time during processing of hierarchical rhythmic structures such as musical meter. ERP research demonstrates that attention to a moment in time modulates early auditory processing as evidenced by the amplitude of the first negative peak (N1) approximately 100 msec after sound onset. ERPs elicited by tones presented at times of high and low metric strength in short melodies were compared to test the hypothesis that hierarchically structured rhythms direct attention in a manner that modulates early perceptual processing. A more negative N1 was observed for metrically strong beats compared with metrically weak beats; this result provides electrophysiological evidence that hierarchical rhythms direct attention to metrically strong times during engaged listening. The N1 effect was observed only on fast tempo trials, suggesting that listeners more consistently invoke selective processing based on hierarchical rhythms when sounds are presented rapidly. The N1 effect was not modulated by musical expertise, indicating that the allocation of attention to metrically strong times is not dependent on extensive training. Additionally, changes in P2 amplitude and a late negativity were associated with metric strength under some conditions, indicating that multiple cognitive processes are associated with metric perception.

β oscillations are linked to the initiation of sensory-cued movement sequences and the internal guidance of regular tapping in the monkey

β oscillations in the basal ganglia have been associated with interval timing. We recorded the putaminal local field potentials (LFPs) from monkeys performing a synchronization-continuation task (SCT) and a serial reaction-time task (RTT), where the animals produced regularly and irregularly paced tapping sequences, respectively. We compared the activation profile of β oscillations between tasks and found transient bursts of β activity in both the RTT and SCT. During the RTT, β power was higher at the beginning of the task, especially when LFPs were aligned to the stimuli. During the SCT, β was higher during the internally driven continuation phase, especially for tap-aligned LFPs. Interestingly, a set of LFPs showed an initial burst of β at the beginning of the SCT, similar to the RTT, followed by a decrease in β oscillations during the synchronization phase, to finally rebound during the continuation phase. The rebound during the continuation phase of the SCT suggests that the corticostriatal circuit is involved in the control of internally driven motor sequences. In turn, the transient bursts of β activity at the beginning of both tasks suggest that the basal ganglia produce a general initiation signal that engages the motor system in different sequential behaviors.

Finding the beat: a neural perspective across humans and non-human primates

Humans possess an ability to perceive and synchronize movements to the beat in music ('beat perception and synchronization'), and recent neuroscientific data have offered new insights into this beat-finding capacity at multiple neural levels. Here, we review and compare behavioural and neural data on temporal and sequential processing during beat perception and entrainment tasks in macaques (including direct neural recording and local field potential (LFP)) and humans (including fMRI, EEG and MEG). These abilities rest upon a distributed set of circuits that include the motor cortico-basal-ganglia-thalamo-cortical (mCBGT) circuit, where the supplementary motor cortex (SMA) and the putamen are critical cortical and subcortical nodes, respectively. In addition, a cortical loop between motor and auditory areas, connected through delta and beta oscillatory activity, is deeply involved in these behaviours, with motor regions providing the predictive timing needed for the perception of, and entrainment to, musical rhythms. The neural discharge rate and the LFP oscillatory activity in the gamma- and beta-bands in the putamen and SMA of monkeys are tuned to the duration of intervals produced during a beat synchronization-continuation task (SCT). Hence, the tempo during beat synchronization is represented by different interval-tuned cells that are activated depending on the produced interval. In addition, cells in these areas are tuned to the serial-order elements of the SCT. Thus, the underpinnings of beat synchronization are intrinsically linked to the dynamics of cell populations tuned for duration and serial order throughout the mCBGT. We suggest that a cross-species comparison of behaviours and the neural circuits supporting them sets the stage for a new generation of neurally grounded computational models for beat perception and synchronization.

Improved beat asynchrony detection in early blind individuals

Although early blind (EB) individuals are thought to have a better musical sense than sighted subjects, no study has investigated the musical rhythm and beat processing abilities in EB individuals. Using an adaptive 'up and down' procedure, we measured the beat asynchrony detection threshold and the duration discrimination threshold, in the auditory and vibrotactile modalities in both EB and sighted control (SC) subjects matched for age, gender, and musical experience. We observed that EB subjects were better than SC in the beat asynchrony detection task; that is, they showed lower thresholds than SC, both in the auditory and in the vibrotactile modalities. In addition, EB subjects had a lower threshold than SC for duration discrimination in the vibrotactile modality only. These improved beat asynchrony detection abilities may contribute to the known excellent musical abilities often observed in many blind subjects.

Working memory for time intervals in auditory rhythmic sequences

The brain can hold information about multiple objects in working memory. It is not known, however, whether intervals of time can be stored in memory as distinct items. Here, we developed a novel paradigm to examine temporal memory where listeners were required to reproduce the duration of a single probed interval from a sequence of intervals. We demonstrate that memory performance significantly varies as a function of temporal structure (better memory in regular vs. irregular sequences), interval size (better memory for sub- vs. supra-second intervals), and memory load (poor memory for higher load). In contrast memory performance is invariant to attentional cueing. Our data represent the first systematic investigation of temporal memory in sequences that goes beyond previous work based on single intervals. The results support the emerging hypothesis that time intervals are allocated a working memory resource that varies with the amount of other temporal information in a sequence.

"Moving to the beat" improves timing perception

Here, we demonstrate that "moving to the beat" can improve the perception of timing, providing an intriguing explanation as to why we often move when listening to music. In the first experiment, participants heard a series of isochronous beats and identified whether the timing of a final tone after a short silence was consistent with the timing of the preceding sequence. On half of the trials, participants tapped along with the beat, and on half of the trials, they listened without moving. When the final tone occurred later than expected, performance in the movement condition was significantly better than performance in the no-movement condition. Two additional experiments illustrate that this improved performance is due to improved timekeeping, rather than to a shift in strategy. This work contributes to a growing literature on sensorimotor integration by demonstrating body movement's objective improvement in timekeeping, complementing previous explorations involving subjective tasks.

Thresholds of auditory-motor coupling measured with a simple task in musicians and non-musicians: was the sound simultaneous to the key press?

The human brain is able to predict the sensory effects of its actions. But how precise are these predictions? The present research proposes a tool to measure thresholds between a simple action (keystroke) and a resulting sound. On each trial, participants were required to press a key. Upon each keystroke, a woodblock sound was presented. In some trials, the sound came immediately with the downward keystroke; at other times, it was delayed by a varying amount of time. Participants were asked to verbally report whether the sound came immediately or was delayed. Participants' delay detection thresholds (in msec) were measured with a staircase-like procedure. We hypothesised that musicians would have a lower threshold than non-musicians. Comparing pianists and brass players, we furthermore hypothesised that, as a result of a sharper attack of the timbre of their instrument, pianists might have lower thresholds than brass players. Our results show that non-musicians exhibited higher thresholds for delay detection (180±104 ms) than the two groups of musicians (102±65 ms), but there were no differences between pianists and brass players. The variance in delay detection thresholds could be explained by variance in sensorimotor synchronisation capacities as well as variance in a purely auditory temporal irregularity detection measure. This suggests that the brain's capacity to generate temporal predictions of sensory consequences can be decomposed into general temporal prediction capacities together with auditory-motor coupling. These findings indicate that the brain has a relatively large window of integration within which an action and its resulting effect are judged as simultaneous. Furthermore, musical expertise may narrow this window down, potentially due to a more refined temporal prediction. This novel paradigm provides a simple test to estimate the temporal precision of auditory-motor action-effect coupling, and the paradigm can readily be incorporated in studies investigating both healthy and patient populations.

Musical experience influences statistical learning of a novel language

Musical experience may benefit learning of a new language by increasing the fidelity with which the auditory system encodes sound. In the current study, participants with varying degrees of musical experience were exposed to two statistically defined languages consisting of auditory Morse code sequences that varied in difficulty. We found an advantage for highly skilled musicians, relative to lower-skilled musicians, in learning novel Morse code-based words. Furthermore, in the more difficult learning condition, performance of lower-skilled musicians was mediated by their general cognitive abilities. We suggest that musical experience may improve processing of statistical information and that musicians' enhanced ability to learn statistical probabilities in a novel Morse code language may extend to natural language learning.

Musicians outperform nonmusicians in magnitude estimation: evidence of a common processing mechanism for time, space and numbers

It has been proposed that time, space, and numbers may be computed by a common magnitude system. Even though several behavioural and neuroanatomical studies have focused on this topic, the debate is still open. To date, nobody has used the individual differences for one of these domains to investigate the existence of a shared cognitive system. Musicians are known to outperform nonmusicians in temporal discrimination tasks. We therefore observed professional musicians and nonmusicians undertaking three different tasks: temporal (participants were required to estimate which of two tones lasted longer), spatial (which line was longer), and numerical discrimination (which group of dots was more numerous). If time, space, and numbers are processed by the same mechanism, it is expected that musicians will have a greater ability, even in nontemporal dimensions. As expected, musicians were more accurate with regard to temporal discrimination. They also gave better performances in both the spatial and the numerical tasks, but only outside the subitizing range. Our data are in accordance with the existence of a common magnitude system. We suggest, however, that this mechanism may not involve the whole numerical range.

Multiple-look effects on temporal discrimination within sound sequences

The multiple-look notion holds that the difference limen (DL) decreases with multiple observations. We investigated this notion for temporal discrimination in isochronous sound sequences. In Experiment 1, we established a multiple-look effect when sequences comprised nine standard time intervals (S) followed by an increasing number of comparison time intervals (C), but no multiple-look effect when one trailing C interval was preceded by an increasing number of S intervals. In Experiment 2, we extended the design. There were four sequential conditions: (a) 9 leading S intervals followed by 1, 2, …, or 9 C-intervals; (b) 9 leading C intervals followed by 1, 2, …, or 9 S intervals; (c) 9 trailing C-intervals preceded by 1, 2, …, or 9 S-intervals; and (d) 9 trailing S-intervals preceded by 1, 2, …, or 9 C-intervals. Both the interval accretions before and after the tempo change caused multiple-look effects, irrespective of the time order of S and C. Complete deconfounding of the number of intervals before and after the tempo change was accomplished in Experiment 3. The multiple-look effect of interval accretion before the tempo change was twice as big as that after the tempo change. The diminishing returns relation between the DL and interval accretion could be described well by a reciprocal function.

A unified model of time perception accounts for duration-based and beat-based timing mechanisms

Accurate timing is an integral aspect of sensory and motor processes such as the perception of speech and music and the execution of skilled movement. Neuropsychological studies of time perception in patient groups and functional neuroimaging studies of timing in normal participants suggest common neural substrates for perceptual and motor timing. A timing system is implicated in core regions of the motor network such as the cerebellum, inferior olive, basal ganglia, pre-supplementary, and supplementary motor area, pre-motor cortex as well as higher-level areas such as the prefrontal cortex. In this article, we assess how distinct parts of the timing system subserve different aspects of perceptual timing. We previously established brain bases for absolute, duration-based timing and relative, beat-based timing in the olivocerebellar and striato-thalamo-cortical circuits respectively (Teki et al., 2011). However, neurophysiological and neuroanatomical studies provide a basis to suggest that timing functions of these circuits may not be independent. Here, we propose a unified model of time perception based on coordinated activity in the core striatal and olivocerebellar networks that are interconnected with each other and the cerebral cortex through multiple synaptic pathways. Timing in this unified model is proposed to involve serial beat-based striatal activation followed by absolute olivocerebellar timing mechanisms.

Enhanced perception of various linguistic features by musicians: a cross-linguistic study

Two cross-linguistic experiments comparing musicians and non-musicians were performed in order to examine whether musicians have enhanced perception of specific acoustical features of speech in a second language (L2). These discrimination and identification experiments examined the perception of various speech features; namely, the timing and quality of Japanese consonants, and the quality of Dutch vowels. We found that musical experience was more strongly associated with discrimination performance rather than identification performance. The enhanced perception was observed not only with respect to L2, but also L1. It was most pronounced when tested with Japanese consonant timing. These findings suggest the following: 1) musicians exhibit enhanced early acoustical analysis of speech, 2) musical training does not equally enhance the perception of all acoustic features automatically, and 3) musicians may enjoy an advantage in the perception of acoustical features that are important in both language and music, such as pitch and timing.

Musical expertise and statistical learning of musical and linguistic structures

Adults and infants can use the statistical properties of syllable sequences to extract words from continuous speech. Here we present a review of a series of electrophysiological studies investigating (1) Speech segmentation resulting from exposure to spoken and sung sequences (2) The extraction of linguistic versus musical information from a sung sequence (3) Differences between musicians and non-musicians in both linguistic and musical dimensions. The results show that segmentation is better after exposure to sung compared to spoken material and moreover, that linguistic structure is better learned than the musical structure when using sung material. In addition, musical expertise facilitates the learning of both linguistic and musical structures. Finally, an electrophysiological approach, which directly measures brain activity, appears to be more sensitive than a behavioral one.

Distinct neural substrates of duration-based and beat-based auditory timing

Research on interval timing strongly implicates the cerebellum and the basal ganglia as part of the timing network of the brain. Here we tested the hypothesis that the brain uses differential timing mechanisms and networks--specifically, that the cerebellum subserves the perception of the absolute duration of time intervals, whereas the basal ganglia mediate perception of time intervals relative to a regular beat. In a functional magnetic resonance imaging experiment, we asked human subjects to judge the difference in duration of two successive time intervals as a function of the preceding context of an irregular sequence of clicks (where the task relies on encoding the absolute duration of time intervals) or a regular sequence of clicks (where the regular beat provides an extra cue for relative timing). We found significant activations in an olivocerebellar network comprising the inferior olive, vermis, and deep cerebellar nuclei including the dentate nucleus during absolute, duration-based timing and a striato-thalamo-cortical network comprising the putamen, caudate nucleus, thalamus, supplementary motor area, premotor cortex, and dorsolateral prefrontal cortex during relative, beat-based timing. Our results support two distinct timing mechanisms and underlying subsystems: first, a network comprising the inferior olive and the cerebellum that acts as a precision clock to mediate absolute, duration-based timing, and second, a distinct network for relative, beat-based timing incorporating a striato-thalamo-cortical network.

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.

Temporal evolution of the phase correction response in synchronization of taps with perturbed two-interval rhythms

Human sensorimotor synchronization is flexible but subject to temporal constraints. Previous research has shown that musicians tend to lose synchrony with target tones in an isochronous sequence when the sequence rate exceeds 8-10 Hz, presumably because phase correction ceases to function. The present study investigated directly the time required for an immediate phase correction response (PCR). Musicians tapped in synchrony with cyclic two-interval (short-long) rhythms, using the two hands in alternation. Perturbations were applied to the long interval, and the compensatory shift of the next tap (the PCR) was measured following the short interval, whose duration was varied from 100 to 300 ms. The PCR was found to increase gradually within this range, being nearly absent at 100 ms. Similar results were obtained when participants tapped only with the second tone in each rhythmic group, which confirms that the PCR is based on the preceding tone rather than on the preceding tap-tone asynchrony, and also when the second tone was omitted in the pacing sequence, which indicates that the PCR occurs automatically even when there is no synchronization target for the critical tap. These results extend earlier findings regarding rate limits of synchronization and also provide further support for an event-based phase resetting account of the PCR.

Perception-production relationships and phase correction in synchronization with two-interval rhythms

Two experiments investigated the effects of interval duration ratio on perception of local timing perturbations, accuracy of rhythm production, and phase correction in musicians listening to or tapping in synchrony with cyclically repeated auditory two-interval rhythms. Ratios ranged from simple (1:2) to complex (7:11, 5:13), and from small (5:13 = 0.38) to large (6:7 = 0.86). Rhythm production and perception exhibited similar ratio-dependent biases: rhythms with small ratios were produced with increased ratios, and timing perturbations in these rhythms tended to be harder to detect when they locally increased the ratio than when they reduced it. The opposite held for rhythms with large ratios. This demonstrates a close relation between rhythm perception and production. Unexpectedly, however, the neutral "attractor" was not the simplest ratio (1:2 = 0.50) but a complex ratio near 4:7 (= 0.57). Phase correction in response to perturbations was generally rapid and did not show the ratio-dependent biases observed in rhythm perception and production. Thus, phase correction operates efficiently and autonomously even in synchronization with rhythms exhibiting complex interval ratios.

Relative priming of temporal local--global levels in auditory hierarchical stimuli

Priming is a useful tool for ascertaining the circumstances under which previous experiences influence behavior. Previously, using hierarchical stimuli, we demonstrated (Justus & List, 2005) that selectively attending to one temporal scale of an auditory stimulus improved subsequent attention to a repeated (vs. changed) temporal scale; that is, we demonstrated intertrial auditory temporal level priming. Here, we have extended those results to address whether level priming relied on absolute or relative temporal information. Both relative and absolute temporal information are important in auditory perception: Speech and music can be recognized over various temporal scales but become uninterpretable to a listener when presented too quickly or slowly. We first confirmed that temporal level priming generalized over new temporal scales. Second, in the context of multiple temporal scales, we found that temporal level priming operates predominantly on the basis of relative, rather than absolute, temporal information. These findings are discussed in the context of expectancies and relational invariance in audition.

Pulse and meter as neural resonance

The experience of musical rhythm is a remarkable psychophysical phenomenon, in part because the perception of periodicities, namely pulse and meter, arise from stimuli that are not periodic. One possible function of such a transformation is to enable synchronization between individuals through perception of a common abstract temporal structure (e.g., during music performance). Thus, understanding the brain processes that underlie rhythm perception is fundamental to explaining musical behavior. Here, we propose that neural resonance provides an excellent account of many aspects of human rhythm perception. Our framework is consistent with recent brain-imaging studies showing neural correlates of rhythm perception in high-frequency oscillatory activity, and leads to the hypothesis that perception of pulse and meter result from rhythmic bursts of high-frequency neural activity in response to musical rhythms. High-frequency bursts of activity may enable communication between neural areas, such as auditory and motor cortices, during rhythm perception and production.

Feeling the beat: premotor and striatal interactions in musicians and nonmusicians during beat perception

Little is known about the underlying neurobiology of rhythm and beat perception, despite its universal cultural importance. Here we used functional magnetic resonance imaging to study rhythm perception in musicians and nonmusicians. Three conditions varied in the degree to which external reinforcement versus internal generation of the beat was required. The "volume" condition strongly externally marked the beat with volume changes, the "duration" condition marked the beat with weaker accents arising from duration changes, and the "unaccented" condition required the beat to be entirely internally generated. In all conditions, beat rhythms compared with nonbeat control rhythms revealed putamen activity. The presence of a beat was also associated with greater connectivity between the putamen and the supplementary motor area (SMA), the premotor cortex (PMC), and auditory cortex. In contrast, the type of accent within the beat conditions modulated the coupling between premotor and auditory cortex, with greater modulation for musicians than nonmusicians. Importantly, the response of the putamen to beat conditions was not attributable to differences in temporal complexity between the three rhythm conditions. We propose that a cortico-subcortical network including the putamen, SMA, and PMC is engaged for the analysis of temporal sequences and prediction or generation of putative beats, especially under conditions that may require internal generation of the beat. The importance of this system for auditory-motor interaction and development of precisely timed movement is suggested here by its facilitation in musicians.

The role of musical aptitude and language skills in preattentive duration processing in school-aged children

We examined 10-12-year old elementary school children's ability to preattentively process sound durations in music and speech stimuli. In total, 40 children had either advanced foreign language production skills and higher musical aptitude or less advanced results in both musicality and linguistic tests. Event-related potential (ERP) recordings of the mismatch negativity (MMN) show that the duration changes in musical sounds are more prominently and accurately processed than changes in speech sounds. Moreover, children with advanced pronunciation and musicality skills displayed enhanced MMNs to duration changes in both speech and musical sounds. Thus, our study provides further evidence for the claim that musical aptitude and linguistic skills are interconnected and the musical features of the stimuli could have a preponderant role in preattentive duration processing.

Early electrophysiological correlates of meter and rhythm processing in music perception

The two main characteristics of temporal structuring in music are meter and rhythm. The present experiment investigated the event-related potentials (ERP) of these two structural elements with a focus on differential effects of attended and unattended processing. The stimulus material consisted of an auditory rhythm presented repetitively to subjects in which metrical and rhythmical changes as well as pitch changes were inserted. Subjects were to detect and categorize either temporal changes (attended condition) or pitch changes (unattended condition). Furthermore, we compared a group of long-term trained subjects (musicians) to non-musicians. As expected, behavioural data revealed that trained subjects performed significantly better than untrained subjects. This effect was mainly due to the better detection of the meter deviants. Rhythm as well as meter changes elicited an early negative deflection compared to standard tones in the attended processing condition, while in the unattended processing condition only the rhythm change elicited this negative deflection. Both effects were found across all experimental subjects with no difference between the two groups. Thus, our data suggest that meter and rhythm perception could differ with respect to the time course of processing and lend credence to the notion of different neurophysiological processes underlying the auditory perception of rhythm and meter in music. Furthermore, the data indicate that non-musicians are as proficient as musicians when it comes to rhythm perception, suggesting that correct rhythm perception is crucial not only for musicians but for every individual.

Metricality-enhanced temporal encoding and the subjective perception of rhythmic sequences

Feeling the beat of a musical piece is easier for some pieces than others, depending on the underlying metrical structure. The present study sought to determine whether increasing metricality, meaning the amount of information supporting an intended meter, would elicit a corresponding increase in the precision of the temporal encoding of rhythmic sequences. Metricality was varied i) by using the Povel and Essens (1985) model of temporal accent induction to create a strong or weak sense of meter and ii) by including metrically plausible (compact) or implausible (open) endings. Precision of temporal encoding as a function of degree of metricality was assessed in an adaptively controlled change detection task. The change to be detected was a perturbation of relative interval timing that affected sequences as a whole rather than at specific points only. Change detection thresholds were significantly lower for sequences featuring a strong compared to a weak meter, and a compact compared to an open ending. Subjective ratings of rhythmicality of sequences also yielded main effects of strength of meter and ending. The data support an increase in the precision of temporal pattern encoding for sequences with a higher-order metrical time framework.

Influence of tonal and temporal expectations on chord processing and on completion judgments of chord sequences

Pitch and time are two principal form-bearing dimensions in Western tonal music. Research on melody perception has shown that listeners develop expectations about "What" note is coming next and "When" in time it will occur. Our study used sequences of chords (i.e., simultaneously sounding notes) to investigate the influence of these expectations on chord processing (Experiments 1 and 4) and subjective judgments of completion (Experiments 2 and 3). Both tasks showed an influence of tonal relations and temporal regularities: expected events occurring at the expected moment were processed faster and led to higher completion judgments. However, pitch and time dimensions interacted only for completion judgments. The present outcome suggests that for chord perception the influence of pitch and time might depend on the required processing: with a more global judgment favoring interactive influences in contrast to a task focusing on local chord processing.

Auditory discrimination of anisochrony: influence of the tempo and musical backgrounds of listeners

This study explored the influence of several factors, physical and human, on anisochrony's thresholds measured with an adaptive two alternative forced choice paradigm. The effect of the number and duration of sounds on anisochrony discrimination was tested in the first experiment as well as potential interactions between each of these factors and tempo. In the second experiment, the tempo or the inter onset interval (IOI) was varied systematically between 80 and 1000 ms. The results showed that just noticeable differences increase linearly and proportionally with IOI in accordance with Weber's law except for quickest tempo (IOI of 80 ms). The third experiment investigated the role of musical training on anisochrony thresholds obtained for different IOI. It focused on differential effects of musical experiences by comparing non-musicians, instrumentalists, and percussionists thresholds. The results of the present study replicated the findings of previous experiments regarding the adequacy of Weber's law for slow rhythm and provided evidence for its departure for fast tempos. Moreover, thresholds from percussionists seem distinguishable from the ones of other listeners by their highest sensitivity to temporal shifts suggesting therefore the necessity to control the nature of musical experiences. The results are discussed according to current models of time perception.

Swinging in the brain: shared neural substrates for behaviors related to sequencing and music

Music consists of precisely patterned sequences of both movement and sound that engage the mind in a multitude of experiences. We move in response to music and we move in order to make music. Because of the intimate coupling between perception and action, music provides a panoramic window through which we can examine the neural organization of complex behaviors that are at the core of human nature. Although the cognitive neuroscience of music is still in its infancy, a considerable behavioral and neuroimaging literature has amassed that pertains to neural mechanisms that underlie musical experience. Here we review neuroimaging studies of explicit sequence learning and temporal production--findings that ultimately lay the groundwork for understanding how more complex musical sequences are represented and produced by the brain. These studies are also brought into an existing framework concerning the interaction of attention and time-keeping mechanisms in perceiving complex patterns of information that are distributed in time, such as those that occur in music.