We studied the role of sensorimotor and working memory systems in supporting development of perceptual rhythm processing with 119 participants aged 7–12 years. Children were assessed for their abilities in sensorimotor synchronization (SMS; beat tapping), auditory working memory (AWM; digit span), and rhythm discrimination (RD; same/different judgment on a pair of musical rhythm sequences). Multiple regression analysis revealed that children's RD performance was independently predicted by higher beat tapping consistency and greater digit span score, with all other demographic variables (age, sex, socioeconomic status, music training) controlled. The association between RD and SMS was more robust in the slower tempos (60 and 100 beats‐per‐minute (BPM)) than faster ones (120 and 180 BPM). Critically, the relation of SMS to RD was moderated by age in that RD performance was predicted by beat tapping consistency in younger children (age: 7–9 years), but not in older children (age: 10–12 years). AWM was the only predictor of RD in older children. Together, the current findings demonstrate that the sensorimotor and working memory systems jointly support RD processing during middle‐to‐late childhood and that the degree of association between the two systems and perceptual rhythm processing is shifted before entering into early adolescence.
A growing body of evidence has highlighted behavioral connections between musical rhythm and linguistic syntax, suggesting that these may be mediated by common neural resources. Here, we performed a quantitative meta-analysis of neuroimaging studies using activation likelihood estimate (ALE) to localize the shared neural structures engaged in a representative set of musical rhythm (rhythm, beat, and meter) and linguistic syntax (merge movement, and reanalysis). Rhythm engaged a bilateral sensorimotor network throughout the brain consisting of the inferior frontal gyri, supplementary motor area, superior temporal gyri/temporoparietal junction, insula, the intraparietal lobule, and putamen. By contrast, syntax mostly recruited the left sensorimotor network including the inferior frontal gyrus, posterior superior temporal gyrus, premotor cortex, and supplementary motor area. Intersections between rhythm and syntax maps yielded overlapping regions in the left inferior frontal gyrus, left supplementary motor area, and bilateral insula-neural substrates involved in temporal hierarchy processing and predictive coding. Together, this is the first neuroimaging meta-analysis providing detailed anatomical overlap of sensorimotor regions recruited for musical rhythm and linguistic syntax. Figure 1: Schematics of rhythm and syntax. (A) An example music sequence consisting of quarter and eighth notes. Rhythms (in red) are the pattern of onsets perceived by the listener. Beat and meter (in green and blue) are extracted from the rhythms by the listener. (B) Three representative examples of syntax explored in the present meta-analysis. Merge brings together words or smaller phrases into larger phrases. Movement processes dependent nodes that are often found in whquestions. Reanalysis occurs when extracting complicated grammatical roles resolving ambiguous word orders, such as in the garden path sentence exhibited here. NP: noun phrase; Sent: sentence; Det: determinant; N: noun; Adj: adjective; Wh: question word; VP: verb phrase; Pa: participle.
Despite the long history of music psychology, rhythm similarity perception remains largely unexplored. Several studies suggest that edit-distance—the minimum number of notational changes required to transform one rhythm into another—predicts similarity judgments. However, the ecological validity of edit-distance remains elusive. We investigated whether the edit-distance model can predict perceptual similarity between rhythms that also differed in a fundamental characteristic of music—tempo. Eighteen participants rated the similarity between a series of rhythms presented in a pairwise fashion. The edit-distance of these rhythms varied from 1 to 4, and tempo was set at either 90 or 150 beats per minute (BPM). A test of congruence among distance matrices (CADM) indicated significant inter-participant reliability of ratings, and non-metric multidimensional scaling (nMDS) visualized that the ratings were clustered based upon both tempo and whether rhythms shared an identical onset pattern, a novel effect we termed rhythm primacy. Finally, Mantel tests revealed significant correlations of edit-distance with similarity ratings on both within- and between-tempo rhythms. Our findings corroborated that the edit-distance predicts rhythm similarity and demonstrated that the edit-distance accounts for similarity of rhythms that are markedly different in tempo. This suggests that rhythmic gestalt is invariant to differences in tempo.
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