Rheumatoid arthritis epidemiology: a nationwide study in Poland.

To assess the incidence and prevalence of rheumatoid arthritis (RA) in Poland for the period 2013-2021, total and dependent on gender, age, region and serological status. Information on reported National Health Fund (NHF) health services and reimbursed prescriptions were used, defining an RA patient as a person who had at least two visits in different quarters with ICD-10 code M05 or M06 and at the same time filled at least one reimbursed prescription for a drug whose active substance is methotrexate, sulfasalazine, leflunomide or was treated with biologic disease-modifying anti-rheumatic drugs (bDMRDs) or targeted synthetic DMARDs (tsDMARDs) as part of a drug program financed by the National Health Fund. The nationwide standardised incidence rate of RA in 2021 was 29 persons per 100,000 population (18 per 100,000 population of seropositive vs. 11 per 100,000 population of seronegative RA). The prevalence of RA in Poland in 2021 was 689.0 people per 100,000 population, a total of 0.7% (1.1% in women and 0.3% in men). The incidence of seronegative RA was approximately 38%. The majority of new RA diagnoses were in the sixth and seventh decades of life, irrespective of patients' gender. The results allow RA to be classified as a disease with a significant social impact. A trend of later onset of RA has been observed, which requires special consideration of the needs of patients over 55 years of age.

Uncovering beat deafness: detecting rhythm disorders with synchronized finger tapping and perceptual timing tasks.

A set of behavioral tasks for assessing perceptual and sensorimotor timing abilities in the general population (i.e., non-musicians) is presented here with the goal of uncovering rhythm disorders, such as beat deafness. Beat deafness is characterized by poor performance in perceiving durations in auditory rhythmic patterns or poor synchronization of movement with auditory rhythms (e.g., with musical beats). These tasks include the synchronization of finger tapping to the beat of simple and complex auditory stimuli and the detection of rhythmic irregularities (anisochrony detection task) embedded in the same stimuli. These tests, which are easy to administer, include an assessment of both perceptual and sensorimotor timing abilities under different conditions (e.g., beat rates and types of auditory material) and are based on the same auditory stimuli, ranging from a simple metronome to a complex musical excerpt. The analysis of synchronized tapping data is performed with circular statistics, which provide reliable measures of synchronization accuracy (e.g., the difference between the timing of the taps and the timing of the pacing stimuli) and consistency. Circular statistics on tapping data are particularly well-suited for detecting individual differences in the general population. Synchronized tapping and anisochrony detection are sensitive measures for identifying profiles of rhythm disorders and have been used with success to uncover cases of poor synchronization with spared perceptual timing. This systematic assessment of perceptual and sensorimotor timing can be extended to populations of patients with brain damage, neurodegenerative diseases (e.g., Parkinson's disease), and developmental disorders (e.g., Attention Deficit Hyperactivity Disorder).

Moving to the Beat and Singing are Linked in Humans.

The abilities to sing and to move to the beat of a rhythmic auditory stimulus emerge early during development, and both engage perceptual, motor, and sensorimotor processes. These similarities between singing and synchronization to a beat may be rooted in biology. Patel (2008) has suggested that motor synchronization to auditory rhythms may have emerged during evolution as a byproduct of selection for vocal learning ("vocal learning and synchronization hypothesis"). This view predicts a strong link between vocal performance and synchronization skills in humans. Here, we tested this prediction by asking occasional singers to tap along with auditory pulse trains and to imitate familiar melodies. Both vocal imitation and synchronization skills were measured in terms of accuracy and precision or consistency. Accurate and precise singers tapped more in the vicinity of the pacing stimuli (i.e., they were more accurate) than less accurate and less precise singers. Moreover, accurate singers were more consistent when tapping to the beat. These differences cannot be ascribed to basic motor skills or to motivational factors. Individual differences in terms of singing proficiency and synchronization skills may reflect the variability of a shared sensorimotor translation mechanism.

Why movement is captured by music, but less by speech: role of temporal regularity.

Music has a pervasive tendency to rhythmically engage our body. In contrast, synchronization with speech is rare. Music's superiority over speech in driving movement probably results from isochrony of musical beats, as opposed to irregular speech stresses. Moreover, the presence of regular patterns of embedded periodicities (i.e., meter) may be critical in making music particularly conducive to movement. We investigated these possibilities by asking participants to synchronize with isochronous auditory stimuli (target), while music and speech distractors were presented at one of various phase relationships with respect to the target. In Exp. 1, familiar musical excerpts and fragments of children poetry were used as distractors. The stimuli were manipulated in terms of beat/stress isochrony and average pitch to achieve maximum comparability. In Exp. 2, the distractors were well-known songs performed with lyrics, on a reiterated syllable, and spoken lyrics, all having the same meter. Music perturbed synchronization with the target stimuli more than speech fragments. However, music superiority over speech disappeared when distractors shared isochrony and the same meter. Music's peculiar and regular temporal structure is likely to be the main factor fostering tight coupling between sound and movement.

Poor synchronization to the beat may result from deficient auditory-motor mapping.

Moving to the beat of music is natural and spontaneous for humans. Yet some individuals, so-called 'beat deaf', may differ from the majority by being unable to synchronize their movements to musical beat. This condition was recently described in Mathieu (Phillips-Silver et al. (2011). Neuropsychologia, 49, 961-969), a beat-deaf individual, showing inaccurate motor synchronization to the beat accompanied by poor beat perception, with spared pitch processing. It has been suggested that beat deafness is the outcome of impoverished beat perception. Deficient synchronization to the beat, however, may also result from inaccurate mapping of the perceived beat to movement. To test this possibility, we asked 99 non-musicians to synchronize with musical and non-musical stimuli via hand tapping. Ten among them who revealed particularly poor synchronization were submitted to a thorough assessment of motor synchronization to various pacing stimuli and of beat perception. Four participants showed poor synchronization in absence of poor pitch perception; moreover, among them, two individuals were unable to synchronize to music, in spite of unimpaired detection of small durational deviations in musical and non-musical sequences, and normal rhythm discrimination. This mismatch of perception and action points toward disrupted auditory-motor mapping as the key impairment accounting for poor synchronization to the beat.

Disorders of pitch production in tone deafness.

Singing is as natural as speaking for the majority of people. Yet some individuals (i.e., 10-15%) are poor singers, typically performing or imitating pitches and melodies inaccurately. This condition, commonly referred to as "tone deafness," has been observed both in the presence and absence of deficient pitch perception. In this article we review the existing literature concerning normal singing, poor-pitch singing, and, briefly, the sources of this condition. Considering that pitch plays a prominent role in the structure of both music and speech we also focus on the possibility that speech production (or imitation) is similarly impaired in poor-pitch singers. Preliminary evidence from our laboratory suggests that pitch imitation may be selectively inaccurate in the music domain without being affected in speech. This finding points to separability of mechanisms subserving pitch production in music and language.