Does an auditory distractor sequence affect self-paced tapping?

This study investigated whether an auditory distractor (D) sequence affects the timing of self-paced finger tapping. To begin with, Experiment 1 replicated earlier findings by showing that, when taps are synchronized with an isochronous auditory target (T) sequence, an isochronous D sequence of different tempo and pitch systematically modulates the tap timing. The extent of the modulation depended on the relative intensity of the T and D tones, but not on their pitch distance. Experiment 2 then used a synchronization-continuation paradigm in which D sequences of different tempi were introduced only during continuation tapping. Although the D sequences rarely captured the taps completely, they did increase the tapping variability and deviations from the correct tempo. Furthermore, they eliminated the negative correlation between successive inter-tap intervals and led to intermittent phase locking when the tapping period was close to the period of the D sequence. These distractor effects occurred regardless of whether or not the taps generated auditory feedback tones. The distractor effects thus depend neither on the intention to synchronize with a T sequence nor on the simultaneous perception of two auditory sequences. Rather, they seem to reflect a basic attraction of rhythmic movement to auditory rhythms.     

Non-musicians also have a piano in the head: evidence for spatial–musical associations from line bisection tracking

The spatial representation of ordinal sequences (numbers, time, tones) seems to be a fundamental cognitive property. While an automatic association between horizontal space and pitch height (left-low pitch, right-high pitch) is constantly reported in musicians, the evidence for such an association in non-musicians is mixed. In this study, 20 non-musicians performed a line bisection task while listening to irrelevant high- and low-pitched tones and white noise (control condition). While pitch height had no influence on the final bisection point, participants’ movement trajectories showed systematic biases: When approaching the line and touching the line for the first time (initial bisection point), the mouse cursor was directed more rightward for high-pitched tones compared to low-pitched tones and noise. These results show that non-musicians also have a subtle but nevertheless automatic association between pitch height and the horizontal space. This suggests that spatial–musical associations do not necessarily depend on constant sensorimotor experiences (as it is the case for musicians) but rather reflect the seemingly inescapable tendency to represent ordinal information on a horizontal line.     

Action planning in sequential skills: relations to music performance

The hypothesis that planning music-like sequential actions involves anticipating their auditory effects was investigated in a series of experiments. Participants with varying levels of musical experience responded to each of four colour-patch stimuli by producing a unique sequence of three taps on three vertically aligned keys. Each tap triggered a tone in most experimental conditions. Response-effect (key-to-tone) mapping was either compatible—taps on the top, middle, and bottom keys triggered high, medium, and low pitched tones, respectively—or incompatible—key-to-tone mapping was scrambled, reversed, or neutral (taps on different keys triggered the same tone). The results suggest that action planning was faster with compatible than with incompatible mappings (and faster than with no tones). Furthermore, the size of this compatibility effect grew with increasing musical experience, which suggests that improvements in auditory imagery ability that typically accompany musical training may augment the role of anticipatory auditory-effect representations during planning.     

Action planning in sequential skills: Relations to music performance

The hypothesis that planning music-like sequential actions involves anticipating their auditory effects was investigated in a series of experiments. Participants with varying levels of musical experience responded to each of four colour-patch stimuli by producing a unique sequence of three taps on three vertically aligned keys. Each tap triggered a tone in most experimental conditions. Response–effect (key-to-tone) mapping was either compatible—taps on the top, middle, and bottom keys triggered high, medium, and low pitched tones, respectively—or incompatible—key-to-tone mapping was scrambled, reversed, or neutral (taps on different keys triggered the same tone). The results suggest that action planning was faster with compatible than with incompatible mappings (and faster than with no tones). Furthermore, the size of this compatibility effect grew with increasing musical experience, which suggests that improvements in auditory imagery ability that typically accompany musical training may augment the role of anticipatory auditory-effect representations during planning.     

音乐训练对大学生执行功能的影响

近年来大量研究发现音乐训练对认知能力的具有积极影响,一些理论认为音乐训练的广泛迁移效应是通过执行功能起中介作用,但音乐训练与执行功能的关系至今仍存争议。研究将执行功能分为抑制控制、工作记忆和认知灵活性三个子成分,并将抑制控制进一步细分为注意抑制和反应抑制,同时区分工作记忆中主动性控制和反应性控制两种认知过程。通过对比音乐组和控制组在执行功能各任务（Go/No-go, Stroop, AX-CPT, Task-switching）上的行为表现来系统考察音乐训练与执行功能的关系。结果表明音乐训练对执行功能不同子成分的影响具有差异性,其促进效应主要体现在抑制控制中的注意抑制和工作记忆中的主动性控制,对抑制控制中的反应抑制、工作记忆中的反应性控制和认知灵活性影响较小。     

Perception in action: The impact of sensory information on sensorimotor synchronization in musicians and non-musicians

The present study aimed at investigating to what extent sensorimotor synchronization is related to (i) musical specialization, (ii) perceptual discrimination, and (iii) the movement’s trajectory. To this end, musicians with different musical expertise (drummers, professional pianists, amateur pianists, singers, and non-musicians) performed an auditory and visual synchronization and a cross-modal temporal discrimination task. During auditory synchronization drummers performed less variably than amateur pianists, singers and non-musicians. In the cross-modal discrimination task drummers showed superior discrimination abilities which were correlated with synchronization variability as well as with the trajectory. These data suggest that (i) the type of specialized musical instrument affects synchronization abilities and (ii) synchronization accuracy is related to perceptual discrimination abilities as well as to (iii) the movement’s trajectory. Since particularly synchronization variability was affected by musical expertise, the present data imply that the type of instrument improves accuracy of timekeeping mechanisms.     

The role of rhythm in perceiving speech in noise: a comparison of percussionists,vocalists and non-musicians

The natural rhythms of speech help a listener follow what is being said, especially in noisy conditions. There is increasing evidence for links between rhythm abilities and language skills; however, the role of rhythm-related expertise in perceiving speech in noise is unknown. The present study assesses musical competence (rhythmic and melodic discrimination), speech-in-noise perception and auditory working memory in young adult percussionists, vocalists and non-musicians. Outcomes reveal that better ability to discriminate rhythms is associated with better sentence-in-noise (but not words-in-noise) perception across all participants. These outcomes suggest that sensitivity to rhythm helps a listener understand unfolding speech patterns in degraded listening conditions, and that observations of a “musician advantage” for speech-in-noise perception may be mediated in part by superior rhythm skills.     

Rhythmic movement is attracted more strongly to auditory than to visual rhythms

People often move in synchrony with auditory rhythms (e.g., music), whereas synchronization of movement with purely visual rhythms is rare. In two experiments, this apparent attraction of movement to auditory rhythms was investigated by requiring participants to tap their index finger in synchrony with an isochronous auditory (tone) or visual (flashing light) target sequence while a distractor sequence was presented in the other modality at one of various phase relationships. The obtained asynchronies and their variability showed that auditory distractors strongly attracted participants' taps, whereas visual distractors had much weaker effects, if any. This asymmetry held regardless of the spatial congruence or relative salience of the stimuli in the two modalities. When different irregular timing patterns were imposed on target and distractor sequences, participants' taps tended to track the timing pattern of auditory distractor sequences when they were approximately in phase with visual target sequences, but not the reverse. These results confirm that rhythmic movement is more strongly attracted to auditory than to visual rhythms. To the extent that this is an innate proclivity, it may have been an important factor in the evolution of music.     

Recognition of transposed melodic sequences

Accuracy of recognition for short (three-note) transposed melodic sequences was measured and compared with accuracy predicted by three models of recognition each of which described a different degree of abstraction and synthesis of the musical intervals contained in the sequence. For subjects with musical training, recognition was best described by a model that assumed abstraction and synthesis of the musical intervals between both adjacent and non-adjacent tones of the sequence. For subjects without musical training, recognition was much less accurate but there was some evidence that intervals between adjacent tones were abstracted. Of major theoretical interest, however, was the finding that none of the models provided a comprehensive account of the data. Not merely the size of the intervals contained in a sequence determines accuracy of recognition of the sequence, but also the order or configuration of the intervals. It is suggested that particular interval configurations facilitate the abstraction of tonal structure.     

Action–effect congruence during observational learning leads to faster action sequence learning

Common coding theory suggests that any action (pressing a piano key) is intimately linked with its resultant sensory effect (an auditory musical tone). We conducted two experiments to explore the effect of varying auditory action–effect patterns during complex action learning. In Experiment 1, participants were assigned to 1 of 4 groups, watched a silent video of a hand playing a sequence on a piano keyboard with no auditory action effect (observation) and were asked to practise and perform the sequence on an identical keyboard with varying action effects (reproduction). During reproduction, Group 1 heard no auditory tones (identical to observed video), Group 2 heard typical scale-ascending piano tones with each key press, Group 3 heard fixed but out-of-sequence piano tones with each key press, and Group 4 heard random piano tones with each key press. In Experiment two, new participants were assigned to 1 of 2 groups and watched an identical video; however, the video in this experiment contained typical, scale-ascending piano sounds. During reproduction, Group 1 heard no auditory tones while Group 2 heard typical, scale-ascending piano tones with each key press (identical to observed video). Our results showed that participants whose action–effect patterns during reproduction matched those in the observed video learned the action sequence faster than participants whose action–effect patterns during reproduction differed from those in the observed video. Additionally, our results suggest that adding an effect during reproduction (when one is absent during observation) is somewhat more detrimental to action sequence learning than removing an effect during reproduction (when one is present during observation).     

Long-term musical training may improve different forms of visual attention ability

Many studies have suggested that structural and functional cerebral neuroplastic processes result from long-term musical training, which in turn may produce cognitive differences between musicians and non-musicians. We aimed to investigate whether intensive, long-term musical practice is associated with improvements in three different forms of visual attention ability: selective, divided and sustained attention. Musicians from symphony orchestras (n = 38) and non-musicians (n = 38), who were comparable in age, gender and education, were submitted to three neuropsychological tests, measuring reaction time and accuracy. Musicians showed better performance relative to non-musicians on four variables of the three visual attention tests, and such an advantage could not solely be explained by better sensorimotor integration. Moreover, in the group of musicians, significant correlations were observed between the age at the commencement of musical studies and reaction time in all visual attention tests. The results suggest that musicians present augmented ability in different forms of visual attention, thus illustrating the possible cognitive benefits of long-term musical training.     

Musical expertise affects the sense of agency: Intentional binding in expert pianists

Intentional Binding (IB), a subjective compression of the time interval between a voluntary action and its consequence, is an implicit measure of the sense of agency (the feeling of controlling one's own actions and their outcomes). The sense of agency is influenced by experience, e.g. learning, development, or learned contingency. The present study aimed at analyzing expertise – an expert competence acquired through experience alone – as a possible means to affect the sense of agency. We compared performance of expert pianists and non-musicians within the IB paradigm with two types of sensory outcome – a piano note and an electronic sound. Pianists showed significantly greater outcome binding and composite binding for both types of stimuli. Therefore, musical expertise might influence the sense of agency, possibly due to continuous exposure to action-outcome associations during the musical training. Additionally, such effect might extend beyond the specific expertise to the other types of auditory outcomes.     

Circle drawing does not exhibit auditory-motor synchronization

Differences in timing control processes between tapping and circle drawing have been extensively documented during continuation timing. Differences between event and emergent control processes have also been documented for synchronization timing using emergent tasks that have minimal event-related information. However, it is not known whether the original circle-drawing task also behaves differently than tapping during synchronization. In this experiment, 10 participants performed a table-tapping and a continuous circle-drawing task to an auditory metronome. Synchronization performance was assessed via the value and variability of asynchronies. Synchronization was substantially more difficult in circle drawing than in tapping. Participants drawing timed circles exhibited drift in synchronization error and did not maintain a consistent phase relationship with the metronome. An analysis of temporal anchoring revealed that timing to the timing target was not more accurate than timing to other locations on the circle trajectory. The authors conclude that participants were not able to synchronize movement with metronome tones in the circle-drawing task despite other findings that cyclical tasks do exhibit auditory motor synchronization, because the circle-drawing task is unique and absent of event and cycle position information.     

Evidence for multiple strategies in off-beat tapping with anisochronous stimuli

There is a large body of evidence relating to the ways that people tap in time with sounds, and perform error correction in order to do this. However, off-beat tapping is less well investigated than on-beat tapping. The current study involves coordinating with a stimulus sequence with underlying isochrony and systematic deviations from this isochrony that increase or decrease in magnitude to look at people’s capacity to error-correct when performing off-beat synchronisation with a set of sounds. Participants were instructed to ‘tap between the tones’ but ‘try to maintain regularity’. While analysis using typical methods suggested a form of error correction was occurring, a series of more complex analyses demonstrated that participants’ performance during each trial can be classified according to one of four different strategies: maintaining a regular pulse, error correction, phase resetting, and negative error correction. While maintaining a regular pulse was the preferred strategy in conditions with increasingly isochronous stimuli, the majority of trials are best explained by other strategies, suggesting that participants were generally influenced by variability in the stimuli.     

On marching to two different drummers: perceptual aspects of the difficulties

People have remarkable difficulty generating two responses that must follow different temporal sequences, unless the temporal patterns are simply related (e.g., periods in 2:1, 3:1 relation). For example, it is hard to tap to two conflicting rhythms presented concurrently (i.e., a polyrhythm) using the right and left hands (Klapp, 1979), or to tap while articulating a conflicting speech utterance (Klapp, 1981). The present experiments indicate that difficulties in processing conflicting rhythms occur even when people must (a) merely monitor the stimuli and indicate the termination of one rhythmic sequence or (b) tap with a single hand. Responding to polyrhythms is thus difficult even without multiple limb coordination. Furthermore, the difficulty of two-handed tapping to polyrhythms that involve two different tones was found to decrease as the pitch difference between the tones was decreased. This result indicates that the difficulty of rhythmic coordination can be perceptually manipulated in a striking fashion. Polyrhythmic performance thus provides an excellent opportunity for examining possible interactions of perceptual and motor organizations.     

Silent music reading: Auditory imagery and visuotonal modality transfer in singers and non-singers

In daily life, responses are often facilitated by anticipatory imagery of expected targets which are announced by associated stimuli from different sensory modalities. Silent music reading represents an intriguing case of visuotonal modality transfer in working memory as it induces highly defined auditory imagery on the basis of presented visuospatial information (i.e. musical notes). Using functional MRI and a delayed sequence matching-to-sample paradigm, we compared brain activations during retention intervals (10 s) of visual (VV) or tonal (TT) unimodal maintenance versus visuospatial-to-tonal modality transfer (VT) tasks. Visual or tonal sequences were comprised of six elements, white squares or tones, which were low, middle, or high regarding vertical screen position or pitch, respectively (presentation duration: 1.5 s). For the cross-modal condition (VT, session 3), the visuospatial elements from condition VV (session 1) were re-defined as low, middle or high “notes” indicating low, middle or high tones from condition TT (session 2), respectively, and subjects had to match tonal sequences (probe) to previously presented note sequences. Tasks alternately had low or high cognitive load. To evaluate possible effects of music reading expertise, 15 singers and 15 non-musicians were included. Scanner task performance was excellent in both groups. Despite identity of applied visuospatial stimuli, visuotonal modality transfer versus visual maintenance (VT > VV) induced “inhibition” of visual brain areas and activation of primary and higher auditory brain areas which exceeded auditory activation elicited by tonal stimulation (VT > TT). This transfer-related visual-to-auditory activation shift occurred in both groups but was more pronounced in experts. Frontoparietal areas were activated by higher cognitive load but not by modality transfer. The auditory brain showed a potential to anticipate expected auditory target stimuli on the basis of non-auditory information and sensory brain activation rather mirrored expectation than stimulation. Silent music reading probably relies on these basic neurocognitive mechanisms.     

Sensorimotor synchronization: A review of recent research (2006–2012)

Sensorimotor synchronization (SMS) is the coordination of rhythmic movement with an external rhythm, ranging from finger tapping in time with a metronome to musical ensemble performance. An earlier review (Repp, 2005) covered tapping studies; two additional reviews (Repp, 2006a, b) focused on music performance and on rate limits of SMS, respectively. The present article supplements and extends these earlier reviews by surveying more recent research in what appears to be a burgeoning field. The article comprises four parts, dealing with (1) conventional tapping studies, (2) other forms of moving in synchrony with external rhythms (including dance and nonhuman animals’ synchronization abilities), (3) interpersonal synchronization (including musical ensemble performance), and (4) the neuroscience of SMS. It is evident that much new knowledge about SMS has been acquired in the last 7 years.     

Segregated in perception,integrated for action: Immunity of rhythmic sensorimotor coordination to auditory stream segregation

Auditory stream segregation can occur when tones of different pitch (A, B) are repeated cyclically: The larger the pitch separation and the faster the tempo, the more likely perception of two separate streams is to occur. The present study assessed stream segregation in perceptual and sensorimotor tasks, using identical ABBABB … sequences. The perceptual task required detection of single phase-shifted A tones; this was expected to be facilitated by the presence of B tones unless segregation occurred. The sensorimotor task required tapping in synchrony with the A tones; here the phase correction response (PCR) to shifted A tones was expected to be inhibited by B tones unless segregation occurred. Two sequence tempi and three pitch separations (2, 10, and 48 semitones) were used with musically trained participants. Facilitation of perception occurred only at the smallest pitch separation, whereas the PCR was reduced equally at all separations. These results indicate that auditory action control is immune to perceptual stream segregation, at least in musicians. This may help musicians coordinate with diverse instruments in ensemble playing.     

Contingent auditory feedback of arm movement facilitates reaching behavior in infancy

The purpose of this study was to investigate the influence of contingent auditory feedback on the development of infant reaching. Eleven full-term infants were observed biweekly from the age of 10 weeks to 16 weeks, and their arm kinematics were recorded. Auditory feedback that was contingent on arm kinematics was provided in the form of: (a) the mother's voice; and (b) musical tones. Results showed that providing auditory feedback (mother's voice or musical tones): (i) increased the amplitude of exploratory arm movements before the onset of reaching; and (ii) increased the number of reaches at the onset of reaching. These results show that infants are able to use contingent auditory feedback to explore the relevant possibilities for action that are subsequently shaped into goal-directed movements.     

Melody and pitch processing in five musical savants with congenital blindness

We examined absolute-pitch (AP) and short-term musical memory abilities of five musical savants with congenital blindness, seven musicians, and seven non-musicians with good vision and normal intelligence in two experiments. In the first, short-term memory for musical phrases was tested and the savants and musicians performed statistically indistinguishably, both significantly outperforming the non-musicians and remembering more material from the C major scale sequences than random trials. In the second experiment, participants learnt associations between four pitches and four objects using a non-verbal paradigm. This experiment approximates to testing AP ability. Low statistical power meant the savants were not statistically better than the musicians, although only the savants scored statistically higher than the non-musicians. The results are evidence for a musical module, separate from general intelligence; they also support the anecdotal reporting of AP in musical savants, which is thought to be necessary for the development of musical-savant skill.