Does dance training influence beat sensorimotor synchronization? Differences in finger-tapping sensorimotor synchronization between competitive ballroom dancers and nondancers

Jin, Xinhong; Wang, Biye; Lv, Yuanxin; Lu, Yingzhi; Chen, Jiacheng; Zhou, Changle

doi:10.1007/s00221-018-5410-4

Cited by 21 publications

(22 citation statements)

References 41 publications

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“…In order to perform this, dancers must have a developed sensorimotor synchronization (SMS) which represents the coordination of rhythmic movements with an external rhythm or beat (Repp, 2005). Dance training facilitates SMS (Karpati, Giacosa, Foster, Penhune, & Hyde, 2016) and allows dancers to have more accurate and stable SMS than non-dancers (Jin et al, 2019), which is particularly expressed in Street Dancing (Miura, Fujii, Okano, Kudo, & Nakazawa, 2016). The specific technique and movement structures of modern dances imply a large number of rapid changes of direction and weight transfer, harmonization of movements to the rhythm of music, and coordination of movements with other dancers on the dance floor.…”

Section: Discussionmentioning

confidence: 99%

“…Each dance style engages a dancer's muscles differently, thus the development of appropriate motor skills and improvement of certain fitness components will depend on the type of dance (Pepper, 1984;Kirkendal & Calabrese, 1983). A great deal of research has examined the motor skills of dancers and physiological demands of different dance styles (Jin et al, 2019;Rodrigues-Krause et al, 2014;Liiv et al, 2012;Macura, Pešić, ĐorĊević-Nikić, Stojiljković, & Dabović, 2007;Wyon & Redding, 2005). Most of this research was conducted on a sample of ballet dancers, contemporary dancers and sports dancers who had a longer dance experience, while a small number of studies covered modern dances that have become popular in recent decades, such as Hip Hop, Dancehall, etc., as well as the effects of those dances on those who engaged in these dances recreationally, rather than competitively.…”

Section: Introductionmentioning

confidence: 99%

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Effects of Exercise Program on Coordination and Explosive Power in University Dance Students

et al. 2020

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The aim of this research is to determine the effects of a ten-week modern and recreational dance exercise program and trunk and leg muscle strengthening exercises on the coordination and explosive power of student-age female dancers. The total number of participants was 54, of which 27 made up the experimental group who participated in an experimental exercise program and 27 the control group. The experimental group performed Hip Hop and Dancehall dances and trunk and leg muscle strengthening exercises 3 times a week for 90 min each. The control group had no additional forms of exercise other than regular daily activities. The coordination of the participants was evaluated on the basis of six tests (Side Steps, 20 Steps forward Twirling a Baton, Skipping the Horizontal Jump Rope, Turning in 6 squares, Hand-Foot Drumming and Agility test with a Baton) and two tests for determining explosive power parameters (the squat jump and countermovement jump). Results showed statistical significance between the groups in 5 variables of coordination at the multivariate and univariate level (p<.05, p<.01), and in both variables of explosive power at the univariate level (p<.05). A large and intermediate effect size of the experimental program was determined for 5 variables of coordination, and intermediate effect size for both variables of explosive power. The results of this study showed that a ten-week exercise program for recreational and modern dance and exercises for strengthening the muscles of the torso and legs have a positive effect on the changes in the parameters of coordination and explosive power in student-age female dancers.

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Section: Discussionmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

Effects of Exercise Program on Coordination and Explosive Power in University Dance Students

et al. 2020

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“…In Experiment 2, homogeneity among the players was manipulated at a different scale, by comparing groups of novices with groups of certified dancers. Ballet and ballroom dancers encounter various neural 41 , cognitive 42 and motor 43 changes during their years of practice, and can be considered as experts in sensorimotor synchronization compared to non-dancers [44][45][46] .…”

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confidence: 99%

Moving in unison after perceptual interruption

Bardy¹,

Calabrese

DeLellis

et al. 2020

Sci Rep

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Humans interact in groups through various perception and action channels. The continuity of interaction despite a transient loss of perceptual contact often exists and contributes to goal achievement. Here, we study the dynamics of this continuity, in two experiments involving groups of participants ($$N=7$$ N = 7 ) synchronizing their movements in space and in time. We show that behavioural unison can be maintained after perceptual contact has been lost, for about 7s. Agent similarity and spatial configuration in the group modulated synchronization performance, differently so when perceptual interaction was present or when it was memorized. Modelling these data through a network of oscillators enabled us to clarify the double origin of this memory effect, of individual and social nature. These results shed new light into why humans continue to move in unison after perceptual interruption, and are consequential for a wide variety of applications at work, in art and in sport.

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“…The authors observed that in general, musical expertise affected synchronization variability, such that the more experienced musician exhibited less variance in synchronization, indicative of improved timekeeping mechanisms. Similarly, dancers are more accurate at sensorimotor synchronization tasks than non-dancers (including tapping to audio, visual, and audio-visual stimuli; Jin et al, 2019). In an EEG study by Fujioka et al (2015), distinguishable beta-band oscillations in bilateral auditory and sensorimotor cortices were found to be representing an isochronous auditory beat (either binary, march-like beat, or ternary waltz-beat).…”

Section: Inter-and Intra-individual Synchronizationmentioning

confidence: 99%

Multimodal Sensory-Spatial Integration and Retrieval of Trained Motor Patterns for Body Coordination in Musicians and Dancers

2020

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Dancers and musicians are experts in spatial and temporal processing, which allows them to coordinate movement with music. This high-level processing has been associated with structural and functional adaptation of the brain for high performance sensorimotor integration. For these integration processes, adaptation does not only take place in primary and secondary sensory and motor areas but also in tertiary brain areas, such as the lateral prefrontal cortex (lPFC) and the intraparietal sulcus (IPS), providing vital resources for highly specialized performance. Here, we review evidence for the role of these brain areas in multimodal training protocols and integrate these findings into a new model of sensorimotor processing in complex motor learning.

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Does dance training influence beat sensorimotor synchronization? Differences in finger-tapping sensorimotor synchronization between competitive ballroom dancers and nondancers

Cited by 21 publications

References 41 publications

Effects of Exercise Program on Coordination and Explosive Power in University Dance Students

Effects of Exercise Program on Coordination and Explosive Power in University Dance Students

Moving in unison after perceptual interruption

Multimodal Sensory-Spatial Integration and Retrieval of Trained Motor Patterns for Body Coordination in Musicians and Dancers

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