Motor simulation theories of musical beat perception

Ross, Jessica M.; Iversen, John R.; Balasubramaniam, Ramesh

doi:10.1080/13554794.2016.1242756

Cited by 49 publications

(41 citation statements)

References 84 publications

(106 reference statements)

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“…This motor network includes the supplemental motor area (SMA), primary motor cortex, lateral premotor cortex, anterior cingulate, basal ganglia, and cerebellum (Repp and Su, 2013 ). Auditory rhythm perception activates the motor system and is closely linked to movement (Janata et al, 2012 ; Iversen and Balasubramaniam, 2016 ; Ross et al, 2016a , b ). The SMA is also strongly implicated in motor timing (Coull et al, 2016 ; Merchant and Yarrow, 2016 ), and along with the pre-SMA could be a hub of motor timing (Schwartze et al, 2012 ).…”

Section: Underlying Physiology Of the Auditory And Visual Timing Systmentioning

confidence: 99%

Sensorimotor Synchronization With Auditory and Visual Modalities: Behavioral and Neural Differences

Comstock

Hove

Balasubramaniam

2018

Front. Comput. Neurosci.

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It has long been known that the auditory system is better suited to guide temporally precise behaviors like sensorimotor synchronization (SMS) than the visual system. Although this phenomenon has been studied for many years, the underlying neural and computational mechanisms remain unclear. Growing consensus suggests the existence of multiple, interacting, context-dependent systems, and that reduced precision in visuo-motor timing might be due to the way experimental tasks have been conceived. Indeed, the appropriateness of the stimulus for a given task greatly influences timing performance. In this review, we examine timing differences for sensorimotor synchronization and error correction with auditory and visual sequences, to inspect the underlying neural mechanisms that contribute to modality differences in timing. The disparity between auditory and visual timing likely relates to differences in the processing specialization between auditory and visual modalities (temporal vs. spatial). We propose this difference could offer potential explanation for the differing temporal abilities between modalities. We also offer suggestions as to how these sensory systems interface with motor and timing systems.

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Section: Underlying Physiology Of the Auditory And Visual Timing Systmentioning

confidence: 99%

Sensorimotor Synchronization With Auditory and Visual Modalities: Behavioral and Neural Differences

Comstock

Hove

Balasubramaniam

2018

Front. Comput. Neurosci.

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“…Recently, intracranial depth-electrode EEG recordings in humans revealed that processes from the earliest auditory cortical areas (Heschl's gyrus) shape the neural representation of rhythmic inputs in favour of increased relative amplitude of the activity corresponding to meter-related frequencies (Nozaradan et al, 2016c). This selective enhancement of meter-related frequencies may require connections between the auditory cortex and other brain structures such as the premotor cortex, the basal ganglia and the supplementary motor area, which are involved in beat-based timing (Grahn, 2012;Merchant & Honing, 2014;Patel & Iversen, 2014;Ross et al, 2016;Nozaradan et al, 2017b). However, this selective enhancement may also be the product of lower-level properties of auditory neurons that process sound input before the cortex.…”

Section: Introductionmentioning

confidence: 99%

Neural bases of rhythmic entrainment in humans: critical transformation between cortical and lower‐level representations of auditory rhythm

Nozaradan

Schönwiesner

Keller

et al. 2018

Eur J of Neuroscience

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The spontaneous ability to entrain to meter periodicities is central to music perception and production across cultures. There is increasing evidence that this ability involves selective neural responses to meter-related frequencies. This phenomenon has been observed in the human auditory cortex, yet it could be the product of evolutionarily older lower-level properties of brainstem auditory neurons, as suggested by recent recordings from rodent midbrain. We addressed this question by taking advantage of a new method to simultaneously record human EEG activity originating from cortical and lower-level sources, in the form of slow (< 20 Hz) and fast (> 150 Hz) responses to auditory rhythms. Cortical responses showed increased amplitudes at meter-related frequencies compared to meter-unrelated frequencies, regardless of the prominence of the meter-related frequencies in the modulation spectrum of the rhythmic inputs. In contrast, frequency-following responses showed increased amplitudes at meter-related frequencies only in rhythms with prominent meter-related frequencies in the input but not for a more complex rhythm requiring more endogenous generation of the meter. This interaction with rhythm complexity suggests that the selective enhancement of meter-related frequencies does not fully rely on subcortical auditory properties, but is critically shaped at the cortical level, possibly through functional connections between the auditory cortex and other, movement-related, brain structures. This process of temporal selection would thus enable endogenous and motor entrainment to emerge with substantial flexibility and invariance with respect to the rhythmic input in humans in contrast with non-human animals.

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“…Simulation, or more broadly described by action-perception coupling, has in recent years found increasing support in musical contexts (Maes et al 2014;. One aspect of music cognition, the processing of rhythm, seems to be suitably accommodated in the framework of motor simulation (Ross et al 2016). The Action Simulation for Auditory Prediction (ASAP) hypothesis (Patel and Iversen 2014) postulates that, upon hearing a musical rhythm and without explicit movement, the motor system internally simulates a periodic body motion that corresponds to the most salient periodicity of the rhythmits beat.…”

Section: Introductionmentioning

confidence: 99%

Your move or mine? Music training and kinematic compatibility modulate synchronization with self- versus other-generated dance movement

Keller

2018

Psychological Research

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Motor simulation has been implicated in how musicians anticipate the rhythm of another musician's action to achieve interpersonal synchronization. Here, we investigated whether similar mechanisms govern a related form of rhythmic action: dance. We examined (1) whether synchronization with visual dance stimuli was influenced by movement agency, (2) whether music training modulated simulation efficiency, and (3) what cues were relevant for simulating the dance rhythm. Participants were first recorded dancing the basic Charleston steps paced by a metronome, and later in a synchronization task they tapped to the rhythm of their own point-light dance stimuli, stimuli of another physically matched participant or one matched in movement kinematics, and a quantitative average across individuals. Results indicated that, while there was no overall "self advantage" and synchronization was generally most stable with the least variable (averaged) stimuli, motor simulation was driven-indicated by high tap-beat variability correlations-by familiar movement kinematics rather than morphological features. Furthermore, music training facilitated simulation, such that musicians outperformed non-musicians when synchronizing with others' movements but not with their own movements. These findings support action simulation as underlying synchronization in dance, linking action observation and rhythm processing in a common motor framework.

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Motor simulation theories of musical beat perception

Cited by 49 publications

References 84 publications

Sensorimotor Synchronization With Auditory and Visual Modalities: Behavioral and Neural Differences

Sensorimotor Synchronization With Auditory and Visual Modalities: Behavioral and Neural Differences

Neural bases of rhythmic entrainment in humans: critical transformation between cortical and lower‐level representations of auditory rhythm

Your move or mine? Music training and kinematic compatibility modulate synchronization with self- versus other-generated dance movement

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