Principles of parsimony: fMRI correlates of beat-based versus duration-based sensorimotor synchronization.

Abstract

This study investigated functional MRI (fMRI) cerebral correlates of beat- and duration-based sensorimotor synchronization (SMS). We developed an original paradigm to compare SMS in beat-based versus duration-based contexts. In the beat-based conditions, participants synchronized finger taps with a regular beat. The condition had either metrical or nonmetrical subdivisions (2:1 vs. 2.4:1 ratio). In the duration-based conditions, participants synchronized by referring to a cue tone appearing 300 ms ahead of an irregularly occurring target tone. The behavioral results suggest the use of different strategies for beat-based and duration-based conditions. Synchronization accuracy was similar in both types of tasks. However, participants reported higher attentional demands in duration-based conditions. ICA analysis of the fMRI data isolated 2 underlying cerebral networks for all tasks, both more strongly involved in duration-based conditions. The first brain network involved the bilateral superior temporal gyrus, supplementary motor area, and inferior frontal gyrus; the left dorsal premotor cortex and primary motor cortex; and the right posterior cerebellum. The second brain network involved the bilateral basal ganglia, thalamus, inferior parietal lobules, and cerebellum. We suggest that the first network managed temporal information processing and execution of motor commands, and that the second controlled error correction processing. The involvement of the same pool of cerebral resources with different strengths according to the level of regularity of the input may represent a principle of parsimony: as beat-based SMS allows better anticipation, it requires less cerebral resources than duration-based SMS.

Musical sophistication explains a good deal of cognitive performance. A cross-sectional study of musicians and non-musicians

“…Few studies have analyzed the relation between divided attention and musical training. However, the areas of the nervous system associated with this ability are similar to those stimulated when hearing or interpreting music (e.g., Besson & Faïta 1995;Levitin 2006;Petsche, Lindner & Rappelsberger 1988;Pretto & James 2015;Riva, Cazzniga, Esposito & Bulgheroni 2013). As previously mentioned, all the cognitive aspects described here have been related to an improvement in performance in a population with musical training (musicians), compared to people who have not received this type of training (non-musicians).…”

Is a Preference for Realism Really Naive After All? A Cognitive Model of Learning with Realistic Visualizations

“…As Smallman and St. John (2005) summarize, people do not form exact mental representations of every minute detail that a realistic visualization may contain. Various areas of psychology have shown that the brain operates using a parsimonious approach that is aimed at only storing just enough information to solve a given task (e.g., De Pretto & James, 2015;Glassman, 1985). This aspect is critical for the understanding of how and when realistic visualizations can help learners.…”

Steady-state evoked potentials distinguish brain mechanisms of self-paced versus synchronization finger tapping

“…These brain areas have recurrently been associated to beat processing and sensorimotor synchronization tasks (e.g. Chen et al, 2008;De Pretto & James, 2015;Grahn & McAuley, 2009;James et al, 2012;Konoike et al, 2012;Kung et al, 2013).…”

“…Several studies of functional and anatomical connectivity pointed out a potential coordinated implication of SMA, IFG, and STG in SMS. We previously proposed that the network including the bilateral SMA, IFG and STG, along with cerebellar areas and the left premotor cortex may play a role in interfacing auditory and motor processing (De Pretto & James, 2015). Similarly, Kung et al (2013) suggested that the right posterior STG and bilateral IFG were part of a network involved in finding and maintaining the beat.…”

“…Neuroimaging studies of beat processing reported combined cortical activation of the pre-supplementary and supplementary motor areas (pre-SMA/SMA), premotor cortex (PMC), inferior frontal gyrus (IFG), and superior temporal gyrus (STG) in detecting and synchronizing with the beat (e.g. Chen, Penhune, & Zatorre, 2008;De Pretto & James, 2015;Grahn & McAuley, 2009;Kung, Chen, Zatorre, & Penhune, 2013). Motor areas also responded during pure perceptual tasks in both musicians and non-musicians (e.g.…”