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.     

Apparatus accurate delays for auditory feedback experiments

This note describes a way of modifying a tape recorder for producing accurately controllable delays for experiments with delayed auditory feedback. Any value of delay from 80 millisec. to 1.2 sec. can be obtained to the nearest millisec., and the range could be extended by some minor changes. The delay is continuously monitored on a digital electronic timer.     

Multiple temporal references in sensorimotor synchronization with metrical auditory sequences

A local phase perturbation in an auditory sequence during synchronized finger tapping elicits an automatic phase correction response (PCR). The stimulus for the PCR is usually considered to be the most recent tap-tone asynchrony. In this study, participants tapped on target tones ("beats") of isochronous tone sequences consisting of beats and subdivisions (1:n tapping). A phase perturbation was introduced either on a beat or on a subdivision. Both types of perturbation elicited a PCR, even though there was no asynchrony associated with a subdivision. Moreover, the PCR to a perturbed beat was smaller when an unperturbed subdivision followed than when there was no subdivision. The relative size of the PCRs to perturbed beats and subdivisions depended on tempo, on whether the subdivision was local or present throughout the sequence, and on whether or not participants engaged in mental subdivision, but not on whether or not taps were made on the subdivision level. The results show that phase correction in synchronization depends not merely on asynchronies but on perceptual monitoring of multiple temporal references within a metrical hierarchy.     

Sensorimotor synchronization: the impact of temporally displaced auditory feedback

When subjects are asked to tap in synchrony to a regular sequence of stimulus events (e.g., clicks), performance is not perfect in that, usually, an anticipation of the tap is observed. The present study examines the influence of temporally displaced auditory feedback on the size of this anticipatory error. Whereas earlier studies have shown that this asynchrony exhibits a linear increase in size as a function of an increasing delay in such additional auditory feedback, this study compared the impact of shifting feedback forward in time (i.e., feedback presented before the tap) with that of delayed auditory feedback. Results showed that the impact of feedback displacement on the amount of asynchrony differed for positive and negative displacements. Delayed feedback led to an increase in asynchrony, whereas negative displacements had (almost) no effect. This finding is related to a model assuming that the various feedback components arising from the tap (tactile, kinesthetic, auditory) are integrated to form one central representation, and that the timing of this central representation arises from a linear combination of the components involved.     

Phase attraction in sensorimotor synchronization with auditory sequences: effects of single and periodic distractors on synchronization accuracy

Four experiments showed that both single and periodic distractor tones affected the timing of finger taps produced in synchrony with an isochronous auditory target sequence. Single distractors had only small effects, but periodic distractors occurring at various fixed or changing phase relationships exerted strong phase attraction. The attraction was asymmetric, being stronger when distractors preceded target tones than when they lagged behind. A large pitch difference between target and distractor tones (20 vs. 3 semitones) did not reduce phase attraction substantially, although in the case of continuously changing phase relationships it did prevent complete capture of the taps by the distractors. The results support the hypothesis that phase attraction is an automatic process that is sensitive primarily to event onsets.     

On the nature of phase attraction in sensorimotor synchronization with interleaved auditory sequences

In a task that requires in-phase synchronization of finger taps with an isochronous sequence of target tones that is interleaved with a sequence of distractor tones at various fixed phase relationships, the taps tend to be attracted to the distractor tones, especially when the distractor tones closely precede the target tones [Repp, B. H. (2003a). Phase attraction in sensorimotor synchronization with auditory sequences: Effects of single and periodic distractors on synchronization accuracy. Journal of Experimental Psychology: Human Perception and Performance, 29, 290-309]. The present research addressed two related questions about this distractor effect: (1) Is it a function of the absolute temporal separation or of the relative phase of the two stimulus sequences? (2) Is it the result of perceptual grouping (integration) of target and distractor tones or of simultaneous attraction to two independent sequences? In three experiments, distractor effects were compared across two different sequence rates. The results suggest that absolute temporal separation, not relative phase, is the critical variable. Experiment 3 also included an anti-phase tapping task that addressed the second question directly. The results suggest that the attraction of taps to distractor tones is caused mainly by temporal integration of target and distractor tones within a fixed window of 100-150 ms duration, with the earlier-occurring tone being weighted more strongly than the later-occurring one.     

Rate limits in sensorimotor synchronization with auditory and visual sequences: the synchronization threshold and the benefits and costs of interval subdivision

Synchronization of finger taps with an isochronous event sequence becomes difficult when the event rate exceeds a certain limit. In Experiment 1, the synchronization threshold was reached at interonset intervals (IOIs) above 100 ms with auditory tone sequences (in a 1:4 tapping task) but at IOIs above 400 ms with visual flash sequences (1:1 tapping). Using IOIs above those limits, the author investigated in Experiment 2 the reduction in the variability of asynchronies that tends to occur when the intervals between target events are subdivided by additional identical events (1:1 vs. 1:n tapping). The subdivision benefit was found to decrease with IOI duration and to turn into a cost at IOIs of 200-250 ms in auditory sequences and at IOIs of 450-500 ms in visual sequences. The auditory results are relevant to the limits of metrical subdivision and beat rate in music. The visual results demonstrate the remarkably weak rhythmicity of (nonmoving) visual stimuli.     

An embodied model for sensorimotor grounding and grounding transfer: experiments with epigenetic robots

The grounding of symbols in computational models of linguistic abilities is one of the fundamental properties of psychologically plausible cognitive models. In this article, we present an embodied model for the grounding of language in action based on epigenetic robots. Epigenetic robotics is one of the new cognitive modeling approaches to modeling autonomous mental development. The robot model is based on an integrative vision of language in which linguistic abilities are strictly dependent on and grounded in other behaviors and skills. It uses simulated robots that learn through imitation the names of basic actions. Robots also learn higher order action concepts through the process of grounding transfer. The simulation demonstrates how new, higher order behavioral abilities can be autonomously built on previously grounded basic action categories following linguistic interaction with human users.     

An evaluation of auditory feedback for students of dance: Effects of giving and receiving feedback

The purpose of this study was to evaluate auditory feedback for dance students on a competition team in which one peer provided auditory feedback to another peer for a selected dance movement. Some peers switched roles during the study, and increases in their performances were evaluated both as the receiver and deliverer of auditory feedback. All participants demonstrated increases in their respective target behaviors when they received auditory feedback. Several participants also displayed increases in their movements when they provided auditory feedback to their peer partner, although these increases were not as substantial as those who received feedback.     

Effects of feedback from active and passive body parts on spatial and temporal parameters in sensorimotor synchronization

Previous research on sensorimotor synchronization has manipulated the somatosensory information received from the tapping finger to investigate how feedback from an active effector affects temporal coordination. The current study explored the role of feedback from passive body parts in the regulation of spatiotemporal motor control parameters by employing a task that required finger tapping on one’s own skin at anatomical locations of varying tactile sensitivity. A motion capture system recorded participants’ movements as they synchronized with an auditory pacing signal by tapping with the right index finger on either their left index fingertip (Finger/Finger) or forearm (Finger/Forearm). Results indicated that tap timing was more variable, and movement amplitude was larger and more variable, when tapping on the finger than when tapping on the less sensitive forearm. Finger/Finger tapping may be impaired relative to Finger/Forearm tapping due to ambiguity arising through overlap in neural activity associated with tactile feedback from the active and the passive limb in the former. To compensate, the control system may strengthen the assignment of tap-related feedback to the active finger by generating correlated noise in movement kinematics and tap dynamics.     

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.     

Development of sensorimotor synchronization abilities: Motor and cognitive components

The aim of the present study was to examine both the development of sensorimotor synchronization in children in the age range from 5 to 8 years and the involvement of motor and cognitive capacities. Children performed a spontaneous motor tempo task and a synchronization–continuation task using an external auditory stimulus presented at three different inter-stimulus intervals: 500, 700, and 900 ms. Their motor and cognitive abilities (short-term memory, working memory, and attention) were also assessed with various neuropsychological tests. The results showed some developmental changes in synchronization capacities, with the regularity of tapping and the ability to slow down the tapping rate improving with age. The age-related differences in tapping were nevertheless greater in the continuation phase than in the synchronization phase. In addition, the development of motor capacities explained the age-related changes in performance for the synchronization phase and the continuation phase, although working memory capacities were also involved in the interindividual differences in performance in the continuation phase. The continuation phase is thus more cognitively demanding than the synchronization phase. Consequently, the improvement in sensorimotor synchronization during childhood is related to motor development in the case of synchronization but also to cognitive development with regard to the reproduction and maintenance of the rhythm in memory.     

Spectral decomposition of variability in synchronization and continuation tapping: comparisons between auditory and visual pacing and feedback conditions

Spectral analysis was applied to study the variability in human rhythmic synchronization to a visual, auditory or combined auditory-visual metronome of about 2 Hz, as well as the variability in continuation tapping at the same rate with or without visual or auditory feedback. In synchronization, variability was larger in the visual condition than in the auditory and combined conditions, but only below frequencies of about 0.3 Hz. Thus, there seem to be at least two sources of variability in synchronization, one being modality-independent and limited to intervals shorter than 3 s, and the other being modality-dependent and evident as slow "drift", especially in the visual task. In continuation tapping, variability did not depend reliably on the presence or modality of feedback. However, spectral analysis revealed a change in the temporal structure of variability around 0.08 Hz (a period of about 12 s or 24 taps), which roughly agrees with earlier findings reported in the literature.     

ArduiPod Box: A low-cost and open-source Skinner box using an iPod Touch and an Arduino microcontroller

This article introduces the ArduiPod Box, an open-source device built using two main components (i.e., an iPod Touch and an Arduino microcontroller), developed as a low-cost alternative to the standard operant conditioning chamber, or “Skinner box.” Because of its affordability, the ArduiPod Box provides an opportunity for educational institutions with small budgets seeking to set up animal laboratories for research and instructional purposes. A pilot experiment is also presented, which shows that the ArduiPod Box, in spite of its extraordinary simplicity, can be effectively used to study animal learning and behavior.     

Quantifying phase correction in sensorimotor synchronization: empirical comparison of three paradigms

Tapping in synchrony with a metronome requires phase error correction, a process often described by a single-parameter autoregressive model. The parameter (α) is a measure of sensorimotor coupling strength. This study compares α estimates obtained from three experimental paradigms: synchronization with (1) a perfectly regular metronome (RM), (2) a perturbed metronome containing phase shifts (PS), and (3) an "adaptively timed" metronome (AT). Musically trained participants performed in each paradigm at four tempi, with baseline interval durations ranging from 400 to 1300 ms. Two estimation methods were applied to each data set. Results showed that all α estimates increased with interval duration. However, the PS paradigm yielded much larger α values than did the AT paradigm, with those from the RM paradigm falling in between. Positional analysis of the PS data revealed that α increased immediately following a phase shift and then decreased sharply. Unexpectedly, all PS α estimates were uncorrelated with the RM and AT estimates, which were strongly correlated. These results suggest that abruptly perturbed sequences engage a different mechanism of phase correction than do regular or continuously modulated sequences.     

Processes underlying adaptation to tempo changes in sensorimotor synchronization

In synchronizing finger taps with an auditory sequence, a small sudden tempo ("step") change in the sequence tends to be followed by rapid adaptation of the tapping period but slow adaptation of the relative phase of the taps, whereas a larger step change leads to initial period overshoot followed by rapid adaptation of both period and phase [M.H. Thaut, R.A. Miller, L.M. Schauer, Biological Cybernetics 79 (1998a) 241-250]. Experiment 1 replicated these findings and showed that the transition between the two patterns of adaptation occurs near the perceptual detection threshold for a tempo change. A reasonable explanation of these data was provided by a dual-process model of internal error correction [J. Mates, Biological Cybernetics 70 (1994a) 463-473, 70 (1994b) 475-484], with the added assumption that one process (period correction) depends on conscious awareness of a tempo change whereas the other (phase correction) does not. This assumption received support in Experiment 2, where a synchronization-continuation tapping task was used in combination with perceptual judgments to probe into the process of period correction following step changes. The results led to the conclusion that rapid adaptation of the tapping period to a small, undetected tempo change is in fact due to rapid internal phase correction, whereas slow adaptation of the relative phase of the taps is due to slow internal period correction.     

Phase correction in sensorimotor synchronization: nonlinearities in voluntary and involuntary responses to perturbations

When finger taps are synchronized with an auditory sequence, both a global phase shift (PS) and a local event onset shift (EOS) in the sequence elicit a phase correction response (PCR) on the next tap. The PCR to an expected PS is intended and large, whereas that to an expected EOS is unintended and smaller. PCR magnitude increases linearly with perturbation magnitude up to about +/-15% of the sequence period (500 milliseconds). With larger perturbations, voluntary PCRs increase more slowly whereas involuntary PCRs reach an asymptote. These results, obtained previously in a blocked design [J. Exp. Psychol. Human Percept. Perform. (in press)], were replicated in a randomized design and in two additional task contexts that varied participants' intentions while neutralizing their expectations. Neither design nor expectations seemed to play a role. However, considerable individual differences were noted. The results confirm that phase correction is partially automatic and partially subject to voluntary control, and they provide empirical estimates of error correction functions that may be useful in formal modeling of sensorimotor synchronization behavior.     

Sensorimotor synchronization: Motor responses to pseudoregular auditory patterns

Musically trained and untrained subjects (N=30) were asked to synchronize their finger tapping with stimuli in auditory patterns. Each pattern comprised six successive tonal stimuli of the same duration, the first of which was accented by a different frequency. The duration of interstimulus onset intervals (ISIs) gradually increased or decreased in constant steps toward the end of the patterns. Four values of such steps were used in different trials: 20, 30, 45, and 60 msec. Various time-control mechanisms are hypothesized as being simultaneously responsible for subjects’ incorrect reproduction of the internal temporal ratios of the stimulus patterns. The mechanism of assimilation (of a central tendency) led subjects to enforce a regular (isochronous) structure on the patterns. The influence of other time-control mechanisms (distinction, subjective expression of an accent, sequential transfer) was expressed mainly in differences between intertap onset intervals (ITIs) and the corresponding ISIs at the beginning of the patterns. The duration of the first two ITIs was in the majority of the trials in an inverse ratio to the ratio of the respective ISIs. The distortions resulting from the timing mechanisms concerned were more pronounced in the performance of nonmusicians than in that of musicians.