A theory of attentional dynamics is proposed and aimed at explaining how listeners respond to systematic change in everyday events while retaining a general sense of their rhythmic structure. The approach describes attending as the behavior of internal oscillations, called attending rhythms, that are capable of entraining to external events and targeting attentional energy to expected points in time. A mathematical formulation of the theory describes internal oscillations that focus pulses of attending energy and interact in various ways to enable attentional tracking of events with complex rhythms. This approach provides reliable predictions about the role of attending to event time structure in rhythmical events that modulate in rate, as demonstrated in 3 listening experiments.Virtually all things in one's environment have extension in time, some too brief to be perceptible and others too long to be imagined. Everyday events, however, occur at time scales over which one can attend. When people hear friends engage in a conversation or listen to a familiar tune, when they watch a basketball game, or when they observe a mother-infant exchange, they are engaged by temporally patterned changes occasioned by natural forces. Such events comprise actions and movements that display distinct beginnings, recognizable rhythms, characteristic tempos, and lawful endings (e.g.

Moving in synchrony with an auditory rhythm requires predictive action based on neurodynamic representation of temporal information. Although it is known that a regular auditory rhythm can facilitate rhythmic movement, the neural mechanisms underlying this phenomenon remain poorly understood. In this experiment using human magnetoencephalography, 12 young healthy adults listened passively to an isochronous auditory rhythm without producing rhythmic movement. We hypothesized that the dynamics of neuromagnetic beta-band oscillations (ϳ20 Hz)-which are known to reflect changes in an active status of sensorimotor functions-would show modulations in both power and phase-coherence related to the rate of the auditory rhythm across both auditory and motor systems. Despite the absence of an intention to move, modulation of beta amplitude as well as changes in cortico-cortical coherence followed the tempo of sound stimulation in auditory cortices and motor-related areas including the sensorimotor cortex, inferior-frontal gyrus, supplementary motor area, and the cerebellum. The time course of beta decrease after stimulus onset was consistent regardless of the rate or regularity of the stimulus, but the time course of the following beta rebound depended on the stimulus rate only in the regular stimulus conditions such that the beta amplitude reached its maximum just before the occurrence of the next sound. Our results suggest that the time course of beta modulation provides a mechanism for maintaining predictive timing, that beta oscillations reflect functional coordination between auditory and motor systems, and that coherence in beta oscillations dynamically configure the sensorimotor networks for auditory-motor coupling.

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

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We examined beta- (approximately 20 Hz) and gamma- (approximately 40 Hz) band activity in auditory cortices by means of magnetoencephalography (MEG) during passive listening to a regular musical beat with occasional omission of single tones. The beta activity decreased after each tone, followed by an increase, thus forming a periodic modulation synchronized with the stimulus. The beta decrease was absent after omissions. In contrast, gamma-band activity showed a peak after tone and omission, suggesting underlying endogenous anticipatory processes. We propose that auditory beta and gamma oscillations have different roles in musical beat encoding and auditory-motor interaction.

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