Synchronizing actions with events: The role of sensory information

Tasks requiring the subject to tap in synchrony to a regular sequence of stimulus events (e.g., clicks) usually elicit a response pattern in which the tap precedes the click by about 30-50 msec. This “negative asynchrony” was examined, first, by instructing subjects to use different effectors for tapping (hand vs. foot; Experiments 1 and 2), and second, by administering extrinsic auditory feedback in addition to the intrinsic tactile/kinesthetic feedback (Experiment 2). Experiment 3 controlled whether the results observed in Experiment 2 were due to purely sensory factors within the auditory modality. Results suggest that taps are synchronized with clicks at the central level by superimposing two sensory codes in time: the tactile/kinesthetic code that represents the tap (the afferent movement code) and the auditory code that represents the click (the afferent code that results from the guiding signal). Because the processing times involved in code generation are different for these two central codes, the tap has to lead over the click.     

Temporal control of movements in sensorimotor synchronization.

Under conditions in which the temporal structure of events (e.g., a sequence of tones) is predictable, performing movements in synchrony with this sequence of events (e.g., dancing) is an easy task. A rather simplified version of this task is studied in the sensorimotor synchronization paradigm. Participants are instructed to synchronize their finger taps with an isochronous sequence of signals (e.g., clicks). Although this is an easy task, a systematic error is observed: Taps usually precede clicks by several tens of milliseconds. Different models have been proposed to account for this effect ("negative asynchrony" or "synchronization error"). One group of explanations is based on the idea that synchrony is established at the level of central representations (and not at the level of external events), and that the timing of an action is determined by the (anticipated) action effect. These assumptions are tested by manipulating the amount of sensory feedback available from the tap as well as its temporal characteristics. This article presents an overview of these representational models and the empirical evidence supporting them. It also discusses other accounts briefly in the light of further evidence.     

The Perceptual Centre of a Stimulus as the Cue for Synchronization to a Metronome: Evidence from Asynchronies

In tasks where subjects are required to tap in synchrony to a sequence of evenly spaced uniform auditory stimuli (a metronome), tap onsets typically tend to anticipate the metronome's stimulus onsets. We investigated this phenomenon, called “negative asynchrony”, as a function of (1) the duration of the stimuli (1 or 2, 50, 100, and 300 msec), (2) the rise time of the stimuli (0%, 40%, and 80% of stimulus duration), and (3) the interstimulus onset interval duration (500, 700, and 900 msec). The results from three experiments with 28 different subjects showed a significant reduction of the negative asynchrony with longer stimulus durations, and the reduction was not significantly affected by the tempo of the stimulus sequence. Also, a prolongation of the rise time of the stimuli caused an analogous reduction of the negative asynchrony. Findings were taken to suggest that subjects use the perceptual centre rather than physical onset of stimulus as the cue with which to synchronize     

Input to verbal working memory: Preattentive construction of the central speech representation

Working memory uses central sound representations as an informational basis. The central sound representation is the temporally and feature-integrated mental representation that corresponds to phenomenal perception. It is used in (higher-order) mental operations and stored in long-term memory. In the bottom-up processing path, the central sound representation can be probed at the level of auditory sensory memory with the mismatch negativity (MMN) of the event-related potential. The present paper reviews a newly developed MMN paradigm to tap into the processing of speech sound representations. Preattentive vowel categorization based on F1-F2 formant information occurs in speech sounds and complex tones even under conditions of high variability of the auditory input. However, an additional experiment demonstrated the limits of the preattentive categorization of language-relevant information. It tested whether the system categorizes complex tones containing the F1 and F2 formant components of the vowel /a/ differently than six sounds with nonlanguage-like F1-F2 combinations. From the absence of an MMN in this experiment, it is concluded that no adequate vowel representation was constructed. This shows limitations of the capability of preattentive vowel categorization.     

Effects of auditory feedback on gait behavior,gaze patterns and outcome performance in long jumping

In the current study, we conducted two experiments to investigate the impact of concurrent, action-induced auditory feedback on gait patterns, gaze behavior and outcome performance in long jumping. In Experiment 1, we examined the effects of present vs. absent auditory feedback on gait, gaze and performance outcome measures. Results revealed a significant interaction effect between condition (present vs. absent auditory feedback) and phase (acceleration vs. zeroing-in phase) on participants' step lengths indicating that the absence (rather than the presence) of auditory feedback led to facilitatory effects in terms of a more prototypical gait pattern (i.e., shorter steps in the acceleration phase and longer steps in the zeroing-in phase). Similarly, the absent auditory feedback led to a higher gaze stability in terms of less switches between areas of interest (AOIs). However, there was no effect on jumped distance. In Experiment 2, we scrutinized the influence of concurrent vs. delayed auditory feedback on all three performance parameters. In contrast to concurrent feedback, delayed auditory feedback negatively affected all three measures: participants showed (i) dysfunctional deviations from their prototypical gait pattern (i.e., shorter steps across both phases of the run-up), (ii) less stable, maladaptive gaze patterns (i.e., more switches between AOIs) and (iii) poorer jumping performance (i.e., shorter jumped distances). Together, the two experiments provide clear evidence for the impact of concurrent, action-induced auditory feedback on the coordination of complex, rhythmical motor tasks such as the long jump.     

On the experience of self-relevant feedback: How self-concept organization influences affective responses and self-evaluations

We evaluated how self-concepts are represented in memory, testing predictions about how self-relevant feedback influences mood and self-evaluation. Specifically, we view the self as comprised of multiple self-aspects (e.g., daughter, sorority sister), each associated with specific attributes (e.g., shy, philanthropy). Study 1 showed that priming a self-aspect increased the accessibility of attributes idiosyncratically associated with the activated self-aspect. In Studies 2 and 3, positive or negative self-relevant feedback was provided to observe how affect and self-evaluations are mediated by self-concept representation. Study 2 demonstrated that changes in mood were accounted for by how feedback impacted evaluations of the currently activated self-aspect. Moreover, evaluations of other self-aspects shifted as they shared more attributes with the self-aspect implicated by feedback. In Study 3, feedback about an attribute also influenced affect, with stronger mood change revealed for attributes associated with a greater proportion of self-aspects. This work demonstrates that affective experiences resulting from self-relevant feedback are not determined by one’s self-concept representation in its entirety, but rather, by the impact of that feedback on activated self-aspects.     

Using auditory feedback in body weight training

Auditory feedback has been successfully used to enhance performance in several sports such as golf and dance. The current study used auditory feedback procedures (i.e., a clicker) to improve the performance of 3 students performing a handstand. Handstands are part of a discipline called body weight training, that uses only the weight of an individual's own body to gain strength and body control. A multiple baseline design across four components was used to evaluate the effectiveness of auditory feedback. The results showed that auditory feedback was effective. The students and the trainer were highly satisfied with the auditory feedback procedure. Implications for future research are discussed.     

Atypical non-verbal sensorimotor synchronization in adults who stutter may be modulated by auditory feedback

PurposeTo investigate if non-verbal sensorimotor synchronization abilities in adult individuals who stutter (IWS) differ from non-stuttering controls (NS) under various performance conditions (tempo, auditory feedback, use of hands [single/both] and rhythm).MethodsParticipants were 11 IWS (5 males, 6 females, Mean age = 25.8, SD = 8.7) and 11 age- and gender-matched controls (Mean age = 24.4, SD = 8.4). During the experiment, participants were asked to prepare three melodies and subsequently perform them with a metronome at different rates and auditory feedback modalities (non-altered and suppressed). For each task/condition we tracked timing asynchrony related to the steady metronome beat.Results and conclusionsOverall, IWS displayed significantly higher timing asynchrony. Of all conditions, auditory-feedback distinguished IWS from NS most strongly, a subgroup of IWS significantly benefitting from the absence of auditory feedback. In addition, IWS showed a non-significant trend of higher negative mean asynchrony (NMA) and were more affected by the slower rate and increased rhythmic complexity and occasionally suggested poorer beat perception. These results suggest aberrant timing of sensorimotor network interaction associated with the origin of developmental stuttering.     

Phase Correction Following a Perturbation in Sensorimotor Synchronization Depends on Sensory Information

In models of sensorimotor synchronization, it is generally assumed that phase correction occurs in response to information about sensorimotor asynchrony or relative phase. Without such feedback, a phase perturbation in the motor activity should not be followed by phase correction. Alternatively, internally generated temporal expectations could provide a basis for phase correction in the absence of feedback. To test those hypotheses, the author conducted an experiment in which participants (N = 8) tapped their finger in synchrony with isochronous auditory sequences containing a single shifted event onset, after which there could be a gap of up to 3 missing events. Participants were instructed to not react to the shifted event and to continue tapping regularly during any gap. The shifted event caused an involuntary phase shift of the following tap. The shift was corrected if the sequence continued, but during a gap, the shift persisted without correction. Those results confirm that sensory feedback is necessary for phase correction to occur.     

What do graded effects of semantic transparency reveal about morphological processing?

We examined the influence of semantic transparency on morphological facilitation in English in three lexical decision experiments. Decision latencies to visual targets (e.g., CASUALNESS) were faster after semantically transparent (e.g., CASUALLY) than semantically opaque (e.g., CASUALTY) primes whether primes were auditory and presented immediately before onset of the target (Experiment 1a) or visual with an stimulus onset asynchrony (SOA) of 250 ms (Experiment 1b). Latencies did not differ at an SOA of 48 ms (Experiment 2) or with a forward mask at an SOA of 83 ms (Experiment 3). Generally, effects of semantic transparency among morphological relatives were evident at long but not at short SOAs with visual targets, regardless of prime modality. Moreover, the difference in facilitation after opaque and transparent primes was graded and increased with family size of the base morpheme.     

Staying Together: A Bidirectional Delay–Coupled Approach to Joint Action

To understand how individuals adapt to and anticipate each other in joint tasks, we employ a bidirectional delay–coupled dynamical system that allows for mutual adaptation and anticipation. In delay–coupled systems, anticipation is achieved when one system compares its own time‐delayed behavior, which implicitly includes past information about the other system’s behavior, with the other system’s instantaneous behavior. Applied to joint music performance, the model allows each system to adapt its behavior to the dynamics of the other. Model predictions of asynchrony between two simultaneously produced musical voices were compared with duet pianists’ behavior; each partner performed one voice while auditory feedback perturbations occurred at unpredictable times during live performance. As the model predicted, when auditory feedback from one musical voice was removed, the asynchrony changed: The pianist’s voice that was removed anticipated (preceded) the actions of their partner. When the auditory feedback returned and both musicians could hear each other, they rapidly returned to baseline levels of asynchrony. To understand how the pianists anticipated each other, their performances were fitted by the model to examine change in model parameters (coupling strength, time‐delay). When auditory feedback for one or both voices was removed, the fits showed the expected decrease in coupling strength and time‐delay between the systems. When feedback about the voice(s) returned, the coupling strength and time‐delay returned to baseline. These findings support the idea that when people perform actions together, they do so as a coupled bidirectional anticipatory system.     

Does feedback matter for job search self-regulation? It depends on feedback quality

Job search represents a dynamic process through which job seekers must consistently engage in effective self-regulation. Although scholars have increasingly begun to theorize and conceptualize the job search in this manner, little is known about what fosters effective self-regulation week-to-week. In light of this theoretical gap, we integrate self-regulation theory with the feedback literature to examine how feedback quality influences affective, cognitive, and behavioral regulatory processes in job search. Furthermore, we examine feedback self-efficacy (i.e., how efficacious a job seeker feels with respect to processing and implementing feedback received during the job search) as a stable, person-level moderator of these within-person relationships. In a sample of job seekers surveyed once a week for seven weeks, results indicate that receiving high-quality feedback has a direct influence on positive and negative affective reactions tied to the job search, influencing subsequent positive (i.e., metacognitive strategies) and negative (i.e., affective rumination) cognitive processes. Metacognitive strategies, in turn, impact both the number of résumés sent and hours spent job seeking each week. Moreover, lower feedback self-efficacy amplifies the relationship between feedback quality and negative affective reactions. Our results highlight the importance of high-quality feedback in helping job seekers effectively regulate week-to-week.     

A mechanism of timing variability underlying the association between the mean and SD of asynchrony

Sensorimotor timing behaviors typically exhibit an elusive phenomenon known as the negative asynchrony. When synchronizing movements (e.g. finger taps) with an external sequence (e.g. a metronome), people’s taps precede event onsets by a few tens of milliseconds. We recently reported that asynchrony is less negative in participants with lower asynchrony variability. This indicates an association between negative asynchrony and variability of timing. Here, in 24 metronome-synchronization data sets, we modeled asynchrony series using a sensorimotor synchronization model that accounts for serial dependence of asynchronies. The results showed that the modeling well captured the negative correlation between the mean and SD of asynchrony. The finding suggests that serial dependence in asynchronies is an essential mechanism of timing variability underlying the association between the mean and SD of asynchrony.     

Musicians experience less age-related decline in central auditory processing

Age-related decline in auditory perception reflects changes in the peripheral and central auditory systems. These age-related changes include a reduced ability to detect minute spectral and temporal details in an auditory signal, which contributes to a decreased ability to understand speech in noisy environments. Given that musical training in young adults has been shown to improve these auditory abilities, we investigated the possibility that musicians experience less age-related decline in auditory perception. To test this hypothesis we measured auditory processing abilities in lifelong musicians (N = 74) and nonmusicians (N = 89), aged between 18 and 91. Musicians demonstrated less age-related decline in some auditory tasks (i.e., gap detection and speech in noise), and had a lifelong advantage in others (i.e., mistuned harmonic detection). Importantly, the rate of age-related decline in hearing sensitivity, as measured by pure-tone thresholds, was similar between both groups, demonstrating that musicians experience less age-related decline in central auditory processing.     

Control of Expressive and Metronomic Timing in Pianists

In 12 tasks, each including 10 repetitions, 6 skilled pianists performed or responded to a musical excerpt. In the first 6 tasks, expressive timing was required; in the last 6 tasks, metronomic timing. The pianists first played the music on a digital piano (Tasks 1 and 7), then played it without auditory feedback (Tasks 2 and 8), then tapped on a response key in synchrony with one of their own performances (Tasks 3 and 9), with an imagined performance (Tasks 4 and 10), with a computer-generated performance (Tasks 5 and 11), and with a computer-generated sequence of clicks (Tasks 6 and 12). The results demonstrated that pianists are capable of generating the expressive timing pattern of their performance in the absence of auditory and kinaesthetic (piano keyboard) feedback. They can also synchronize their finger taps quite well with expressively timed music or clicks (while imagining the music), although they tend to underestimate long interonset intervals and to compensate on the following tap. Expressive timing is thus shown to be generated from an internal representation of the music. In metronomic performance, residual expressive timing effects were evident. Those did not depend on auditory feedback, but they were much reduced or absent when kinaesthetic feedback from the piano keyboard was eliminated. Thus, they seemed to arise from the pianist's physical interaction with the instrument. Systematic timing patterns related to expressive timing were also observed in synchronization with a metronomic computer performance and even in synchronization with metronomic clicks. These results shed light on intentional and unintentional, structurally governed processes of timing control in music performance.     

The representation of negative numbers: Exploring the effects of mode of processing and notation

The representation of negative numbers was explored during intentional processing (i.e., when participants performed a numerical comparison task) and during automatic processing (i.e., when participants performed a physical comparison task). Performance in both cases suggested that negative numbers were not represented as a whole but rather their polarity and numerical magnitudes were represented separately. To explore whether this was due to the fact that polarity and magnitude are marked by two spatially separated symbols, participants were trained to mark polarity by colour. In this case there was still evidence for a separate representation of polarity and magnitude. However, when a different set of stimuli was used to refer to positive and negative numbers, and polarity was not marked separately, participants were able to represent polarity and magnitude together when numerical processing was performed intentionally but not when it was conducted automatically. These results suggest that notation is only partly responsible for the components representation of negative numbers and that the concept of negative numbers can be grasped only through that of positive numbers.     

The representation of negative numbers: exploring the effects of mode of processing and notation

The representation of negative numbers was explored during intentional processing (i.e., when participants performed a numerical comparison task) and during automatic processing (i.e., when participants performed a physical comparison task). Performance in both cases suggested that negative numbers were not represented as a whole but rather their polarity and numerical magnitudes were represented separately. To explore whether this was due to the fact that polarity and magnitude are marked by two spatially separated symbols, participants were trained to mark polarity by colour. In this case there was still evidence for a separate representation of polarity and magnitude. However, when a different set of stimuli was used to refer to positive and negative numbers, and polarity was not marked separately, participants were able to represent polarity and magnitude together when numerical processing was performed intentionally but not when it was conducted automatically. These results suggest that notation is only partly responsible for the components representation of negative numbers and that the concept of negative numbers can be grasped only through that of positive numbers.     

The memory of noise

The memory of auditory random waveforms (i.e., noise) is a special case of auditory memory for sensory information. Five experiments are reported that evaluate the dynamics of this storage system as well as interactions with new input. Periodic waveforms can be discriminated from uncorrelated noise by naive listeners up to a cycle length of 20 s, with the major decline in performance between 5 and 10 s. Even single repetitions of a piece of the waveform can be detected up to a stimulus onset asynchrony (SOA) of 6 s. The capacity of this storage system is limited to a few items of, in total, a few hundred milliseconds length. Within this capacity, however, items do not interfere strongly. These results are compatible with the view that auditory sensory memory is a modality-specific module of short-term memory.     

Cortical Networks for Correcting Errors in Sensorimotor Synchronization Depend on the Direction of Asynchrony

Recent work provides clues that different cortical mechanisms may be employed when correcting for errors in sensorimotor synchronization that increase tap-tone asynchrony compared with those that decrease it. The authors tested this hypothesis by recording 64-channel electroencephalography while participants synchronized with an auditory metronome. We systematically introduced positive and negative phase-shift perturbations that were either liminal (10%) and subliminal (3%). We used a distributed source modeling approach to evaluate oscillatory activity and connectivity of discrete cortical sources. Three key findings support our hypothesis. First was a theta band response indicative of error detection and top-down control observed in frontomedial presupplementary motor area (pre-SMA) and anterior cingulate for liminal positive perturbations. Second was an increase in theta band coupling between the SMA and contralateral motor cortex exclusively for positive perturbations suggesting a top-down modulation of motor parameters. Third, when compared with other conditions, liminal positive perturbations result in an increase in postmovement beta rebound within contralateral primary motor cortex. The authors propose that frontomedial motor areas exert a top-down inhibitory influence over the primary motor cortex to effectively lengthen tap intervals in response to lengthening tap-tone asynchronies.     

Visuomotor and audiomotor processing in continuous force production of oral and manual effectors

The authors examined force control in oral and manual effectors as a function of sensory feedback (i.e., visual and auditory). Participants produced constant isometric force via index finger flexion and lower lip elevation to 2 force levels (10% and 20% maximal voluntary contraction) and received either online visual or online auditory feedback. Mean, standard deviation, and coefficient of variation of force output were used to quantify the magnitude of force variability. Power spectral measures and approximate entropy of force output were calculated to quantify the structure of force variability. Overall, it was found that the oral effector conditions were more variable (e.g., coefficient of variation) than the manual effector conditions regardless of sensory feedback. No effector differences were found for the structure of force variability with visual or auditory feedback. Oral and manual force control appears to involve different control mechanisms regulating continuous force production in the presence of visual or auditory feedback.