Synchrony and emotion in children and adults

This study examined both the development of synchronisation activities and the way emotion affects these activities in children and adults. Children aged from 3 to 8 years, as well as adults, performed a spontaneous motor tempo (SMT) task and a synchronisation task with a 500‐millisecond and 700‐millisecond inter‐stimulus interval (ISI), followed by a continuation task, in both an emotion‐free and an emotional context (High‐Arousal, Low‐Arousal, and Neutral). The results showed that the SMT was faster and more variable in the younger children. In addition, the younger children found it more difficult to slow down their tapping rate in synchrony with the 700‐millisecond ISI, with the result that they quickly returned to their internal tempo in the continuation phase. In contrast, the 8‐year‐olds' synchronisation performance was close to that of the adults. However, despite developmental changes in synchronisation skills, all the participants produced faster tempi in both the SMT and the synchronisation task for the High‐Arousal emotion than for the other emotions. This suggests that emotions induce an automatic distortion of motor timing as has also been observed for the perception of time.     

Infants show enhanced neural responses to musical meter frequencies beyond low-level features

Music listening often entails spontaneous perception and body movement to a periodic pulse-like meter. There is increasing evidence that this cross-cultural ability relates to neural processes that selectively enhance metric periodicities, even when these periodicities are not prominent in the acoustic stimulus. However, whether these neural processes emerge early in development remains largely unknown. Here, we recorded the electroencephalogram (EEG) of 20 healthy 5- to 6-month-old infants, while they were exposed to two rhythms known to induce the perception of meter consistently across Western adults. One rhythm contained prominent acoustic periodicities corresponding to the meter, whereas the other rhythm did not. Infants showed significantly enhanced representations of meter periodicities in their EEG responses to both rhythms. This effect is unlikely to reflect the tracking of salient acoustic features in the stimulus, as it was observed irrespective of the prominence of meter periodicities in the audio signals. Moreover, as previously observed in adults, the neural enhancement of meter was greater when the rhythm was delivered by low-pitched sounds. Together, these findings indicate that the endogenous enhancement of metric periodicities beyond low-level acoustic features is a neural property that is already present soon after birth. These high-level neural processes could set the stage for internal representations of musical meter that are critical for human movement coordination during rhythmic musical behavior.

Research Highlights

• 5- to 6-month-old infants were presented with auditory rhythms that induce the perception of a periodic pulse-like meter in adults.
• Infants showed selective enhancement of EEG activity at meter-related frequencies irrespective of the prominence of these frequencies in the stimulus.
• Responses at meter-related frequencies were boosted when the rhythm was conveyed by bass sounds.
• High-level neural processes that transform rhythmic auditory stimuli into internal meter templates emerge early after birth.

     

The effect of tempo and tone duration on rhythm discrimination

Rhythm constancy was investigated in two experiments. In Experiment 1, the first rhythm was presented at one tempo, the second rhythm was presented at a different tempo, and subjects judged whether the relative timing structures were identical (i.e., was the first rhythm merely sped up or slowed down to generate the second rhythm?). For the nonmetric rhythms used here, subjects perceived the rhythm in terms of the figural grouping of the tones, and rhythm constancy broke down between slower and faster tempos. In Experiment 2, the first rhythm was presented in tones of one duration; the second rhythm was presented in tones of a different duration; and subjects judged whether the timing structures of the tone onsets were identical (the two rhythms were presented at the same tempo). These results indicated a high degree of constancy; subjects found it easy to discriminate the timing structures. These results confirm that the onset timing is critical to rhythm perception and suggest that rhythm perception at slower rates (2 elements/sec) differs from rhythm perception at faster rates (3–4 elements/sec).     

The rhythm aftereffect: support for time sensitive neurons with broad overlapping tuning curves

Ivry [Ivry, R. B. (1996). The representation of temporal information in perception and motor control. Current Opinion in Neurobiology, 6, 851-857.] proposed that explicit coding of brief time intervals is accomplished by neurons that are tuned to a preferred temporal interval and have broad overlapping tuning curves. This proposal is analogous to the orientation selective cells in visual area V1. To test this proposal, we used a temporal analog to the visual tilt aftereffect. After adapting to a fast auditory rhythm, a moderately fast test rhythm (400 ms between beats) seemed slow and vice versa. If the speed of the adapting rhythm was made too disparate from speed of the test rhythm the effect was diminished. The effect occurred whether the adapting and test stimuli were presented to the same or different ears, but did not occur when an auditory adapting rhythm was followed by a visual test rhythm. Results support the proposition that explicit time information is coded by neural units tuned to specific temporal intervals with broad overlapping tuning curves. In addition, it appears that there is a single timing mechanism for each incoming sensory mode, but distinct timers for different modes.     

Infants’ perception of musical patterns

This paper examines infants’ ability to perceive various aspects of musical material that are significant in music in general and in Western European music in particular: contour, intervals, exact pitches, diatonic structure, and rhythm. For the most part, infants focus on relational aspects of melodies, synthesizing global representations from local details. They encode the contour of a melody across variations in exact pitches and intervals. They extract information about pitch direction from the smallest musically relevant pitch change in Western music, the semitone. Under certain conditions, infants detect interval changes in the context of transposed sequences, their performance showing enhancement for sequences that conform to Western musical structure. Infants have difficulty retaining exact pitches except for sets of pitches that embody important musical relations. In the temporal domain, they group the elements of auditory sequences on the basis of similarity and they extract the temporal structure of a melody across variations in tempo.     

Differential involvement of internal clock and working memory in the production and reproduction of duration: a study on older adults

The present study uses the inter-individual variability in time perception of a group of elderly participants to differentiate the processes underlying time production and time reproduction. Participants performed duration production and reproduction tasks. They were also administered working memory tests and a spontaneous motor tempo task. The findings suggest that duration production and duration reproduction involve different mechanisms. Correlational analyses revealed a double dissociation: production was only correlated with spontaneous motor tempo and reproduction only with working memory measures. These findings suggest that the internal clock rate modulates the production of duration and that reproduced duration varies according to working memory capacities.     

On the Relation Between Time Perception and the Timing of Motor Action: Evidence for a Temporal Oscillator Controlling the Timing of Movement

Studies of time estimation have provided evidence that human time perception is determined by an internal clock containing a temporal oscillator and have also provided estimates of the frequency of this oscillator (Treisman, Faulkner, Naish, & Brogan, 1992; Treisman & Brogan, 1992). These estimates were based on the observation that when the intervals to be estimated are accompanied by auditory clicks that recur at certain critical rates, perturbations in time estimation occur. To test the hypothesis that the mechanisms that underlie the perception of time and those that control the timing of motor performance are similar, analogous experiments were performed on motor timing, with the object of seeing whether evidence for a clock would be obtained and if so whether its properties resemble those of the time perception clock. The prediction was made that perturbations in motor timing would be seen at the same or similar critical auditory click rates. The experiments examined choice reaction time and typing. The results support the hypothesis that a temporal oscillator paces motor performance and that this oscillator is similar to the oscillator underlying time perception. They also provide an estimate of the characteristic frequency of the oscillator.     

Modality effects in rhythm processing: Auditory encoding of visual rhythms is neither obligatory nor automatic

Modality effects in rhythm processing were examined using a tempo judgment paradigm, in which participants made speeding-up or slowing-down judgments for auditory and visual sequences. A key element of stimulus construction was that the expected pattern of tempo judgments for critical test stimuli depended on a beat-based encoding of the sequence. A model-based measure of degree of beat-based encoding computed from the pattern of tempo judgments revealed greater beat sensitivity for auditory rhythms than for visual rhythms. Visual rhythms with prior auditory exposure were more likely to show a pattern of tempo judgments similar to that for auditory rhythms than were visual rhythms without prior auditory exposure, but only for a beat period of 600 msec. Slowing down the rhythms eliminated the effect of prior auditory exposure on visual rhythm processing. Taken together, the findings in this study support the view that auditory rhythms demonstrate an advantage over visual rhythms in beat-based encoding and that the auditory encoding of visual rhythms can be facilitated with prior auditory exposure, but only within a limited temporal range. The broad conclusion from this research is that “hearing visual rhythms” is neither obligatory nor automatic, as was previously claimed by Guttman, Gilroy, and Blake (2005).     

Ideomotor effects of pitch on continuation tapping

The ideomotor principle predicts that perception will modulate action where overlap exists between perceptual and motor representations of action. This effect is demonstrated with auditory stimuli. Previous perceptual evidence suggests that pitch contour and pitch distance in tone sequences may elicit tonal motion effects consistent with listeners' implicit awareness of the lawful dynamics of locomotive bodies. To examine modulating effects of perception on action, participants in a continuation tapping task produced a steady tempo. Auditory tones were triggered by each tap. Pitch contour randomly and persistently varied within trials. Pitch distance between successive tones varied between trials. Although participants were instructed to ignore them, tones systematically affected finger dynamics and timing. Where pitch contour implied positive acceleration, the following tap and the intertap interval (ITI) that it completed were faster. Where pitch contour implied negative acceleration, the following tap and the ITI that it completed were slower. Tempo was faster with greater pitch distance. Musical training did not predict the magnitude of these effects. There were no generalized effects on timing variability. Pitch contour findings demonstrate how tonal motion may elicit the spontaneous production of accents found in expressive music performance.     

Temporal accuracy of gait after metronome practice

Humans readily entrain their movements to a beat, including matching their gait to a prescribed tempo. Rhythmic auditory cueing tasks have been used to enhance stepping behavior in a variety of clinical populations. However, there is limited understanding of how temporal accuracy of gait changes over practice in healthy young adults. In this study, we examined how inter-step interval and cadence deviated from slow, medium, and fast tempos across steps within trials, across trials within blocks, and across two blocks that bookended a period of practice of walking to each tempo. Participants were accurate in matching the tempo at the slow and medium tempos, while they tended to lag behind the beat at the fast tempo. We also found that participants showed no substantial improvement across steps and trials, nor across blocks, suggesting that participants had a robust ability to entrain their gait to the specified metronome tempo. However, we did find that participants habituated to the prescribed tempo, showing self-paced gait that was faster than self-paced baseline gait after the fast tempo, and slower than self-paced baseline gait after the slow tempo. These findings might represent an “after-effect” in the temporal domain, akin to after-effects consistently shown in other sensorimotor tasks. This knowledge of how healthy participants entrain their gait to temporal cues may have important implications in understanding how clinical populations acquire and modify their gait in rhythmic auditory cueing tasks.     

不同感觉通道的节奏感知及其交互作用

节奏感知是人类独有的认知现象, 听觉在节奏加工中具有优势, 声音节奏可以更好地与肢体运动同步, 但视觉和触觉通道在节奏感知上也有着各自特点并存在广泛的交互作用。视觉通道的节奏感知较弱, 与听觉节奏同时呈现时会受到时间定位上的拉扯, 但通过加入运动信息和增强后天经验可以得到强化; 节奏刺激可以调节注意在时间上的分配使其同步化, 这种调节作用可以单通道或者跨通道地出现; 触动觉与听觉联系紧密, 人们可以通过听触通道的整合对节奏进行高级加工。     

Apparent motion enhances visual rhythm discrimination in infancy

Many studies have demonstrated that infants exhibit robust auditory rhythm discrimination, but research on infants' perception of visual rhythm is limited. In particular, the role of motion in infants' perception of visual rhythm remains unknown, despite the prevalence of motion cues in naturally occurring visual rhythms. In the present study, we examined the role of motion in 7-month-old infants' discrimination of visual rhythms by comparing experimental conditions with apparent motion in the stimuli versus stationary rhythmic stimuli. Infants succeeded at discriminating visual rhythms only when the visual rhythm occurred with an apparent motion component. These results support the view that motion plays a role in infants' perception of visual temporal information, consistent with the manner in which natural rhythms appear in the visual world.     

Vestibular influence on auditory metrical interpretation

When we move to music we feel the beat, and this feeling can shape the sound we hear. Previous studies have shown that when people listen to a metrically ambiguous rhythm pattern, moving the body on a certain beat--adults, by actively bouncing themselves in synchrony with the experimenter, and babies, by being bounced passively in the experimenter's arms--can bias their auditory metrical representation so that they interpret the pattern in a corresponding metrical form [Phillips-Silver, J., & Trainor, L. J. (2005). Feeling the beat: Movement influences infant rhythm perception. Science, 308, 1430; Phillips-Silver, J., & Trainor, L. J. (2007). Hearing what the body feels: Auditory encoding of rhythmic movement. Cognition, 105, 533-546]. The present studies show that in adults, as well as in infants, metrical encoding of rhythm can be biased by passive motion. Furthermore, because movement of the head alone affected auditory encoding whereas movement of the legs alone did not, we propose that vestibular input may play a key role in the effect of movement on auditory rhythm processing. We discuss possible cortical and subcortical sites for the integration of auditory and vestibular inputs that may underlie the interaction between movement and auditory metrical rhythm perception.     

Action enhances auditory but not visual temporal sensitivity

People naturally dance to music, and research has shown that rhythmic auditory stimuli facilitate production of precisely timed body movements. If motor mechanisms are closely linked to auditory temporal processing, just as auditory temporal processing facilitates movement production, producing action might reciprocally enhance auditory temporal sensitivity. We tested this novel hypothesis with a standard temporal-bisection paradigm, in which the slope of the temporal-bisection function provides a measure of temporal sensitivity. The bisection slope for auditory time perception was steeper when participants initiated each auditory stimulus sequence via a keypress than when they passively heard each sequence, demonstrating that initiating action enhances auditory temporal sensitivity. This enhancement is specific to the auditory modality, because voluntarily initiating each sequence did not enhance visual temporal sensitivity. A control experiment ruled out the possibility that tactile sensation associated with a keypress increased auditory temporal sensitivity. Taken together, these results demonstrate a unique reciprocal relationship between auditory time perception and motor mechanisms. As auditory perception facilitates precisely timed movements, generating action enhances auditory temporal sensitivity.     

Audiovisual beat induction in complex auditory rhythms: Point-light figure movement as an effective visual beat

This study investigated whether explicit beat induction in the auditory, visual, and audiovisual (bimodal) modalities aided the perception of weakly metrical auditory rhythms, and whether it reinforced attentional entrainment to the beat of these rhythms. The visual beat-inducer was a periodically bouncing point-light figure, which aimed to examine whether an observed rhythmic human movement could induce a beat that would influence auditory rhythm perception. In two tasks, participants listened to three repetitions of an auditory rhythm that were preceded and accompanied by (1) an auditory beat, (2) a bouncing point-light figure, (3) a combination of (1) and (2) synchronously, or (4) a combination of (1) and (2), with the figure moving in anti-phase to the auditory beat. Participants reproduced the auditory rhythm subsequently (Experiment 1), or detected a possible temporal change in the third repetition (Experiment 2). While an explicit beat did not improve rhythm reproduction, possibly due to the syncopated rhythms when a beat was imposed, bimodal beat induction yielded greater sensitivity to a temporal deviant in on-beat than in off-beat positions. Moreover, the beat phase of the figure movement determined where on-beat accents were perceived during bimodal induction. Results are discussed with regard to constrained beat induction in complex auditory rhythms, visual modulation of auditory beat perception, and possible mechanisms underlying the preferred visual beat consisting of rhythmic human motions.     

Hearing what the body feels: auditory encoding of rhythmic movement

Phillips-Silver and Trainor (Phillips-Silver, J., Trainor, L.J., (2005). Feeling the beat: movement influences infants' rhythm perception. Science, 308, 1430) demonstrated an early cross-modal interaction between body movement and auditory encoding of musical rhythm in infants. Here we show that the way adults move their bodies to music influences their auditory perception of the rhythm structure. We trained adults, while listening to an ambiguous rhythm with no accented beats, to bounce by bending their knees to interpret the rhythm either as a march or as a waltz. At test, adults identified as similar an auditory version of the rhythm pattern with accented strong beats that matched their previous bouncing experience in comparison with a version whose accents did not match. In subsequent experiments we showed that this effect does not depend on visual information, but that movement of the body is critical. Parallel results from adults and infants suggest that the movement-sound interaction develops early and is fundamental to music processing throughout life.     

Development of multisensory spatial integration and perception in humans

Previous studies have shown that adults respond faster and more reliably to bimodal compared to unimodal localization cues. The current study investigated for the first time the development of audiovisual (A-V) integration in spatial localization behavior in infants between 1 and 10 months of age. We observed infants' head and eye movements in response to auditory, visual, or both kinds of stimuli presented either 25 degrees or 45 degrees to the right or left of midline. Infants under 8 months of age intermittently showed response latencies significantly faster toward audiovisual targets than toward either auditory or visual targets alone They did so, however, without exhibiting a reliable violation of the Race Model, suggesting that probability summation alone could explain the faster bimodal response. In contrast, infants between 8 and 10 months of age exhibited bimodal response latencies significantly faster than unimodal latencies for both eccentricity conditions and their latencies violated the Race Model at 25 degrees eccentricity. In addition to this main finding, we found age-dependent eccentricity and modality effects on response latencies. Together, these findings suggest that audiovisual integration emerges late in the first year of life and are consistent with neurophysiological findings from multisensory sites in the superior colliculus of infant monkeys showing that multisensory enhancement of responsiveness is not present at birth but emerges later in life.     

Effects of auditory stimulation upon non-nutritive sucking by premature infants.

Changes in non-nutritive sucking contingent upon presentation of an auditory stimulus previously found capable of eliciting heart-rate acceleration was investigated in a sample of 24 premature infants. Across 30 10-sec. presentations of the stimulus, only transient changes in sucking rate during the first 6 trials were observed, and these effects obtained primarily for those infants showing few abnormalities in their non-nutritive sucking behavior. These results were discussed as reflecting possible differences in infants' attention associated with sucking pathology and the dependence of psychological assessment upon the specific response index used.     

A second-generation motor rhythm analysis system

This report describes the design and operation of a second-generation motor rhythm analysis system (MRAS). The system enables quantification of spatial and temporal characteristics of movements performed in synchronization with audio-visual rhythmic stimuli. The MRAS also provides for assessment of preferred tempo in performance of repetitive movements. In addition to discussing the rationale for developing the system, consideration is given to procedures for its utilization in research regarding motor rhythm and preferred tempo.     

Constraints on infants' musical rhythm perception: effects of interval ratio complexity and enculturation

Effects of culture-specific experience on musical rhythm perception are evident by 12 months of age, but the role of culture-general rhythm processing constraints during early infancy has not been explored. Using a habituation procedure with 5- and 7-month-old infants, we investigated effects of temporal interval ratio complexity on discrimination of standard from novel musical patterns containing 200-ms disruptions. Infants were tested in three ratio conditions: simple (2:1), which is typical in Western music, complex (3:2), which is typical in other musical cultures, and highly complex (7:4), which is relatively rare in music throughout the world. Unlike adults and older infants, whose accuracy was predicted by familiarity, younger infants were influenced by ratio complexity, as shown by their successful discrimination in the simple and complex conditions but not in the highly complex condition. The findings suggest that ratio complexity constrains rhythm perception even prior to the acquisition of culture-specific biases.