Audiovisual integration of rhythm in musicians and dancers.

Music training is associated with better beat processing in the auditory modality. However, it is unknown how rhythmic training that emphasizes visual rhythms, such as dance training, might affect beat processing, nor whether training effects in general are modality specific. Here we examined how music and dance training interacted with modality during audiovisual integration and synchronization to auditory and visual isochronous sequences. In two experiments, musicians, dancers, and controls completed an audiovisual integration task and an audiovisual target-distractor synchronization task using dynamic visual stimuli (a bouncing figure). The groups performed similarly on the audiovisual integration tasks (Experiments 1 and 2). However, in the finger-tapping synchronization task (Experiment 1), musicians were more influenced by auditory distractors when synchronizing to visual sequences, while dancers were more influenced by visual distractors when synchronizing to auditory sequences. When participants synchronized with whole-body movements instead of finger-tapping (Experiment 2), all groups were more influenced by the visual distractor than the auditory distractor. Taken together, this study highlights how training is associated with audiovisual processing, and how different types of visual rhythmic stimuli and different movements alter beat perception and production outcome measures. Implications for the modality appropriateness hypothesis are discussed.

Commonality and variation in mental representations of music revealed by a cross-cultural comparison of rhythm priors in 15 countries.

Music is present in every known society but varies from place to place. What, if anything, is universal to music cognition? We measured a signature of mental representations of rhythm in 39 participant groups in 15 countries, spanning urban societies and Indigenous populations. Listeners reproduced random 'seed' rhythms; their reproductions were fed back as the stimulus (as in the game of 'telephone'), such that their biases (the prior) could be estimated from the distribution of reproductions. Every tested group showed a sparse prior with peaks at integer-ratio rhythms. However, the importance of different integer ratios varied across groups, often reflecting local musical practices. Our results suggest a common feature of music cognition: discrete rhythm 'categories' at small-integer ratios. These discrete representations plausibly stabilize musical systems in the face of cultural transmission but interact with culture-specific traditions to yield the diversity that is evident when mental representations are probed across many cultures.

Alprazolam Reduces Freezing of Gait (FOG) and Improves FOG-Related Gait Deficiencies.

Background: Freezing of gait (FOG) is an intractable motor symptom in Parkinson's disease (PD) that increases fall risk and impairs the quality of life. FOG has been associated with anxiety, with experimental support for the notion that anxiety itself provokes FOG. We investigated the effect of acute anxiety reduction via alprazolam on FOG in PD. Methods: In ten patients with PD, FOG, and normal cognition, we administered 0.25 mg alprazolam in one session and placebo in another, in counterbalanced order. At each session, on separate days, patients walked on a pressure-sensitive walkway. Using Oculus Rift virtual-reality goggles, patients walked along a plank that appeared to be (a) level with the floor, in the low-anxiety condition or (b) raised high above the ground, in the high-anxiety conditions. In this way, we assessed the impacts of anxiety and alprazolam (i.e., anxiety reduction) on FOG frequency and other gait parameters. Results: FOG events appeared only in the high-anxiety conditions. Alprazolam significantly reduced subjective and objective measures of anxiety, as well as the prevalence of FOG (p = 0.05). Furthermore, alprazolam improved swing time (p < 0.05) and gait variability in all conditions, particularly during the elevated plank trials. Interpretation. Our results suggest that (1) anxiety induces FOG, and (2) alprazolam concomitantly reduces anxiety and FOG. Alprazolam further improved gait stability (i.e., swing time and gait variability). These findings reveal that anxiety triggers FOG in PD. Treating anxiety can reduce FOG and improve gait stability, potentially offering new therapeutic avenues for this intractable and disabling symptom in PD.

The effect of repetition on intersubject synchrony assessed with fMRI.

We investigated how repeated exposure to a stimulus affects intersubject synchrony in the brains of young and older adults. We used functional magnetic resonance imaging (fMRI) to measure brain responses to familiar and novel stimuli. Young adults participated in a familiarization paradigm designed to mimic 'natural' exposure while older adults were presented with stimuli they had known for more than 50 years. Intersubject synchrony was calculated to detect common stimulus-driven brain activity across young and older adults as they listened to the novel and familiar stimuli. Contrary to our hypotheses, synchrony was not related to the amount of stimulus exposure; both young and older adults showed more synchrony to novel than to familiar stimuli regardless of whether the stimuli had been heard once, known for a few weeks, or known for more than 50 years. In young adults these synchrony differences were found across the brain in the bilateral temporal lobes, and in the frontal orbital cortex. In older adults the synchrony differences were found only in the bilateral temporal lobes. This reduction may be related to an increase in idiosyncratic responses after exposure to a stimulus but does not seem to be related to how well the stimuli are learned or to differences in attention. Until the effects of repeated exposure on synchrony are fully understood, future studies using intersubject synchrony, where the novelty of the stimuli cannot be guaranteed, may consider exposing all of their participants to the stimuli once before data are collected to mitigate the effects of any systematic differences in stimulus exposure.

Perceived rhythmic regularity is greater for song than speech: examining acoustic correlates of rhythmic regularity in speech and song.

Rhythm is a key feature of music and language, but the way rhythm unfolds within each domain differs. Music induces perception of a beat, a regular repeating pulse spaced by roughly equal durations, whereas speech does not have the same isochronous framework. Although rhythmic regularity is a defining feature of music and language, it is difficult to derive acoustic indices of the differences in rhythmic regularity between domains. The current study examined whether participants could provide subjective ratings of rhythmic regularity for acoustically matched (syllable-, tempo-, and contour-matched) and acoustically unmatched (varying in tempo, syllable number, semantics, and contour) exemplars of speech and song. We used subjective ratings to index the presence or absence of an underlying beat and correlated ratings with stimulus features to identify acoustic metrics of regularity. Experiment 1 highlighted that ratings based on the term "rhythmic regularity" did not result in consistent definitions of regularity across participants, with opposite ratings for participants who adopted a beat-based definition (song greater than speech), a normal-prosody definition (speech greater than song), or an unclear definition (no difference). Experiment 2 defined rhythmic regularity as how easy it would be to tap or clap to the utterances. Participants rated song as easier to clap or tap to than speech for both acoustically matched and unmatched datasets. Subjective regularity ratings from Experiment 2 illustrated that stimuli with longer syllable durations and with less spectral flux were rated as more rhythmically regular across domains. Our findings demonstrate that rhythmic regularity distinguishes speech from song and several key acoustic features can be used to predict listeners' perception of rhythmic regularity within and across domains as well.

Attention modulates neural measures associated with beat perception.

A growing body of evidence suggests that steady-state evoked potentials may be a useful measure of beat perception, particularly when obtaining traditional, explicit measures of beat perception is difficult, such as with infants or non-human animals. Although attending to a stimulus is not necessary for most traditional applications of steady-state evoked potentials, it is unknown how attention affects steady-state evoked potentials that arise in response to beat perception. Additionally, most applications of steady-state evoked potentials to measure beat perception have used repeating rhythms or real music. Therefore, it is unclear how the steady-state response relates to the robust beat perception that occurs with non-repeating rhythms. Here, we used electroencephalography to record participants' brain activity as they listened to non-repeating musical rhythms while either attending to the rhythms or while distracted by a concurrent visual task. Non-repeating auditory rhythms elicited steady-state evoked potentials at perceived beat frequencies (perception was validated in a separate sensorimotor synchronization task) that were larger when participants attended to the rhythms compared with when they were distracted by the visual task. Therefore, although steady-state evoked potentials appear to index beat perception to non-repeating musical rhythms, this technique may be limited to when participants are known to be attending to the stimulus.

Evaluating Note Frequency and Velocity During Improvised Active Music Therapy in Clients With Parkinson's Disease.

The purpose of this article was to report on the findings of the note frequency and velocity measures during Improvised Active Music Therapy (IAMT) sessions with individuals with Parkinson's disease (PD). In this single-subject multiple baseline design across subjects, the article reports the note frequency (note count) and velocity of movement (mean note velocity) played by three right-handed participants while playing uninterrupted improvised music on a simplified electronic drum-set. During baseline, the music therapist played rhythmic accompaniment on guitar using a low-moderate density of syncopation. During treatment, the Music Therapist introduced rhythms with a moderate-high density of syncopation. The music content of the sessions was transformed into digital music using a musical instrument digital interface. Results of this study indicated that all participants exhibited an increase in note count during baseline until reaching a plateau at treatment condition and were found to be significantly positively correlated with the Music Therapist's note count. All participants played more notes with upper extremity (UE) across conditions than with lower extremity. All participants also scored similar total mean velocity across conditions. Two participants demonstrated higher mean note velocity with UE than right foot, whereas the other participant did not demonstrate this difference. Two participants also exhibited greater mean note velocity variability with left foot within and across conditions. More research is required to identify commonalities in note count and mean note velocity measures in individuals with PD during IAMT sessions.

Developmental changes in the categorization of speech and song.

Music and language are two fundamental forms of human communication. Many studies examine the development of music- and language-specific knowledge, but few studies compare how listeners know they are listening to music or language. Although we readily differentiate these domains, how we distinguish music and language-and especially speech and song- is not obvious. In two studies, we asked how listeners categorize speech and song. Study 1 used online survey data to illustrate that 4- to 17-year-olds and adults have verbalizable distinctions for speech and song. At all ages, listeners described speech and song differences based on acoustic features, but compared with older children, 4- to 7-year-olds more often used volume to describe differences, suggesting that they are still learning to identify the features most useful for differentiating speech from song. Study 2 used a perceptual categorization task to demonstrate that 4-8-year-olds and adults readily categorize speech and song, but this ability improves with age especially for identifying song. Despite generally rating song as more speech-like, 4- and 6-year-olds rated ambiguous speech-song stimuli as more song-like than 8-year-olds and adults. Four acoustic features predicted song ratings: F0 instability, utterance duration, harmonicity, and spectral flux. However, 4- and 6-year-olds' song ratings were better predicted by F0 instability than by harmonicity and utterance duration. These studies characterize how children develop conceptual and perceptual understandings of speech and song and suggest that children under age 8 are still learning what features are important for categorizing utterances as speech or song. RESEARCH HIGHLIGHTS: Children and adults conceptually and perceptually categorize speech and song from age 4. Listeners use F0 instability, harmonicity, spectral flux, and utterance duration to determine whether vocal stimuli sound like song. Acoustic cue weighting changes with age, becoming adult-like at age 8 for perceptual categorization and at age 12 for conceptual differentiation. Young children are still learning to categorize speech and song, which leaves open the possibility that music- and language-specific skills are not so domain-specific.

Investigating the relationships between temporal and spatial ratio estimation and magnitude discrimination using structural equation modeling: Evidence for a common ratio processing system.

Humans perceive ratios of spatial and temporal magnitudes, such as length and duration. Previous studies have shown that spatial ratios may be processed by a common ratio processing system. The aim of the current study was to determine whether ratio processing is a domain-general ability and consequently involves common processing of temporal and spatial magnitudes. Two hundred seventy-five participants completed a battery of spatial and temporal ratio estimation and magnitude discrimination tasks online. Structural equation modeling was used to analyze the relationship between ratio processing across domains while controlling for absolute magnitude discrimination ability. The four-factor higher order model, consisting of spatial and temporal magnitude and ratio processing latent variables, showed adequate local and global fit, χ²(44) = 41.41, p = .626, root mean square error of approximation = .000. We found a significant relationship (r = .63) between spatial and temporal ratio processing, suggesting that ratio processing may be a domain-general ability. Additionally, absolute magnitude processing explained a large part (60-66%) of the variance in both spatial and temporal ratio processing factors. Overall, findings suggest that representation of spatial and temporal ratios is highly related and points toward a common ratio processing mechanism across different types of magnitudes. (PsycInfo Database Record (c) 2023 APA, all rights reserved).

Gait in younger and older adults during rhythmic auditory stimulation is influenced by groove, familiarity, beat perception, and synchronization demands.

Music-based Rhythmic auditory stimulation (RAS) is a cueing intervention used to regulate gait impairments in conditions such as Parkinson's disease or stroke. Desire to move with music ('groove') and familiarity have been shown to impact younger adult gait while walking with music, and these effects appear to be influenced by individual rhythmic ability. Importantly, these factors have not been examined in older adults. The aim of this study was to determine how gait outcomes during RAS are influenced by musical properties (familiarity, 'groove') in both free and synchronized walking for younger and older adults with good and poor beat perception ability. To do this, participants were randomized to either free or synchronized walking groups. Each participant's gait was assessed on a pressure sensitive walkway during high versus low groove and high versus low familiarity music, as well as metronome, cueing trials. Individual beat perception ability was evaluated using the Beat Alignment Test. Results showed that the effects of synchronization and groove were mostly consistent across age groups. High groove music elicited faster gait in both age groups, with longer strides only among young adults, than low groove music; synchronizing maximized these effects. Older adults with poor beat perception were more negatively affected by unfamiliar stimuli while walking than younger adults. This suggests that older adults, like younger adults, may benefit from synchronized RAS to high groove cues but may be more vulnerable to cognitive demands associated with walking to unfamiliar stimuli. This should be accounted for in clinical implementations of RAS.

Familiarity modulates neural tracking of sung and spoken utterances.

Music is often described in the laboratory and in the classroom as a beneficial tool for memory encoding and retention, with a particularly strong effect when words are sung to familiar compared to unfamiliar melodies. However, the neural mechanisms underlying this memory benefit, especially for benefits related to familiar music are not well understood. The current study examined whether neural tracking of the slow syllable rhythms of speech and song is modulated by melody familiarity. Participants became familiar with twelve novel melodies over four days prior to MEG testing. Neural tracking of the same utterances spoken and sung revealed greater cerebro-acoustic phase coherence for sung compared to spoken utterances, but did not show an effect of familiar melody when stimuli were grouped by their assigned (trained) familiarity. However, when participant's subjective ratings of perceived familiarity were used to group stimuli, a large effect of familiarity was observed. This effect was not specific to song, as it was observed in both sung and spoken utterances. Exploratory analyses revealed some in-session learning of unfamiliar and spoken utterances, with increased neural tracking for untrained stimuli by the end of the MEG testing session. Our results indicate that top-down factors like familiarity are strong modulators of neural tracking for music and language. Participants' neural tracking was related to their perception of familiarity, which was likely driven by a combination of effects from repeated listening, stimulus-specific melodic simplicity, and individual differences. Beyond simply the acoustic features of music, top-down factors built into the music listening experience, like repetition and familiarity, play a large role in the way we attend to and encode information presented in a musical context.

The effects of Parkinson's disease, music training, and dance training on beat perception and production abilities.

Humans naturally perceive and move to a musical beat, entraining body movements to auditory rhythms through clapping, tapping, and dancing. Yet the accuracy of this seemingly effortless behavior varies widely across individuals. Beat perception and production abilities can be improved by experience, such as music and dance training, and impaired by progressive neurological changes, such as in Parkinson's disease. In this study, we assessed the effects of music and dance experience on beat processing in young and older adults, as well as individuals with early-stage Parkinson's disease. We used the Beat Alignment Test (BAT) to assess beat perception and production in a convenience sample of 458 participants (278 healthy young adults, 139 healthy older adults, and 41 people with early-stage Parkinson's disease), with varying levels of music and dance training. In general, we found that participants with over three years of music training had more accurate beat perception than those with less training (p < .001). Interestingly, Parkinson's disease patients with music training had beat production abilities comparable to healthy adults while Parkinson's disease patients with minimal to no music training performed significantly worse. No effects were found in healthy adults for dance training, and too few Parkinson's disease patients had dance training to reliably assess its effects. The finding that musically trained Parkinson's disease patients performed similarly to healthy adults during a beat production task, while untrained patients did not, suggests music training may preserve certain rhythmic motor timing abilities in early-stage Parkinson's disease.

The Effect of Rhythm Abilities on Metronome-Cued Walking with an Induced Temporal Gait Asymmetry in Neurotypical Adults.

ABSRACT. Human gait is inherently rhythmical, thus walking to rhythmic auditory stimulation is a promising intervention to improve temporal gait asymmetry (TGA) following neurologic injury such as stroke. However, the degree of benefit may relate to an individual's underlying rhythmic ability. We conducted an initial investigation into the relationship between rhythm abilities and responsiveness of TGA when walking to a metronome. TGA was induced in neurotypical young adults with ankle and thigh cuff weights. Participants were grouped by strong or weak rhythm ability based on beat perception and production tests. TGA was induced using a unilateral load affixed to the non-dominant leg. Participants walked under three conditions: uncued baseline, metronome set to 100% of baseline cadence, and metronome set to 90% of baseline cadence. Repeated measures analysis using generalized estimating equations was conducted to determine how rhythm ability affected TGA response in each walking condition. Most participants improved TGA when walking to a metronome at either tempo compared to baseline; however, this improvement did not differ between strong and weak rhythm ability groups. Those who scored worse on the rhythm perception test also were poorer at synchronizing their steps to the beat. The induced TGA is smaller than what is commonly experienced after stroke. A larger induced TGA may be necessary to reveal subtle differences in responsiveness to rhythmical auditory stimulation between those with strong and weak rhythm abilities.

Comparisons between short-term memory systems for verbal and rhythmic stimuli.

Auditory short-term memory is often conceived of as a unitary capacity, with memory for different auditory materials (such as syllables, pitches, rhythms) posited to rely on similar neural mechanisms. One spontaneous behavior observed in short-term memory studies is 'chunking'. For example, individuals often recount digit sequences in groups, or chunks, of 3-4 digits, and chunking is associated with better performance. Chunking may also operate in musical rhythm, with beats acting as potential chunk boundaries for tones in rhythmic sequences. Similar to chunking, beat-based structure in rhythms also improves performance. Thus, it is possible that beat processing relies on the same mechanisms that underlie chunking of verbal material. The current fMRI study examined whether beat perception is indeed a type of chunking, measuring brain responses to chunked and 'unchunked' letter sequences relative to beat-based and non-beat-based rhythmic sequences. Participants completed a sequence discrimination task, and comparisons between stimulus encoding, maintenance, and discrimination were made for both rhythmic and verbal sequences. Overall, rhythm and verbal short-term memory networks overlapped substantially. When contrasting rhythmic and verbal conditions, rhythms activated basal ganglia, supplementary motor area, and anterior insula more than letter strings did, during both encoding and discrimination. Verbal letter strings activated bilateral auditory cortex more than rhythms did during encoding, and parietal cortex, precuneus, and middle frontal gyri more than rhythms did during discrimination. Importantly, there was a significant interaction in the basal ganglia during encoding: activation for beat-based rhythms was greater than for non-beat-based rhythms, but verbal chunked and unchunked conditions did not differ. The interaction indicates that beat perception is not simply a case of chunking, suggesting a dissociation between beat processing and chunking-based grouping mechanisms.

Is neural entrainment to rhythms the basis of social bonding through music?

Music uses the evolutionarily unique temporal sensitivity of the auditory system and its tight coupling to the motor system to create a common neurophysiological clock between individuals that facilitates action coordination. We propose that this shared common clock arises from entrainment to musical rhythms, the process by which partners' brains and bodies become temporally aligned to the same rhythmic pulse.

The Effect of Familiarity on Neural Representations of Music and Language.

We investigated how familiarity alters music and language processing in the brain. We used fMRI to measure brain responses before and after participants were familiarized with novel music and language stimuli. To manipulate the presence of language and music in the stimuli, there were four conditions: (1) whole music (music and words together), (2) instrumental music (no words), (3) a capella music (sung words, no instruments), and (4) spoken words. To manipulate participants' familiarity with the stimuli, we used novel stimuli and a familiarization paradigm designed to mimic "natural" exposure, while controlling for autobiographical memory confounds. Participants completed two fMRI scans that were separated by a stimulus training period. Behaviorally, participants learned the stimuli over the training period. However, there were no significant neural differences between the familiar and unfamiliar stimuli in either univariate or multivariate analyses. There were differences in neural activity in frontal and temporal regions based on the presence of language in the stimuli, and these differences replicated across the two scanning sessions. These results indicate that the way we engage with music is important for creating a memory of that music, and these aspects, over and above familiarity on its own, may be responsible for the robust nature of musical memory in the presence of neurodegenerative disorders such as Alzheimer disease.

Musical enjoyment does not enhance walking speed in healthy adults during music-based auditory cueing.

BACKGROUND: Rhythmic Auditory Stimulation (RAS) involves synchronizing footsteps to music or a metronome to improve gait speed and stability in patients with neurological disorders, such as Parkinson's disease. However, responses to RAS vary across individuals, perhaps because of differences in enjoyment of the music or in musical abilities. RESEARCH QUESTION: Intuitively, musical enjoyment may influence gait responses to RAS, but enjoyment has not been systematically manipulated nor the effects empirically assessed. In addition, differences in beat perception ability are likely to influence gait responses to music, particularly when synchronizing to the beat. Therefore, we asked: how does music enjoyment alter gait, and do gait parameters differ between individuals with good versus poor beat perception ability, specifically when instructed to 'walk freely' versus 'synchronize to the beat'? METHOD: Young adults and older adults walked on a pressure sensor walkway in silence and to music that they had rated as either high or low in enjoyment, as well as a metronome. All stimuli were presented at 15 % faster than baseline cadence. Participants either walked freely to the music or synchronized to the beat. RESULTS: Music enjoyment had no significant effects on gait in either younger or older adults. Compared to baseline, younger adults walked faster (by taking longer strides) to music than the metronome, whereas older adults walked faster (by taking more steps per minute) to the metronome than music. When instructed to synchronize vs. walk freely, young adults walked faster, but older adults walked slower. Finally, regardless of instruction type, young adults with poor beat perception took shorter and slower strides to the music, whereas older adults with poor beat perception took slower strides to the music. SIGNIFICANCE: Beat perception ability, instruction type, and age affect gait more than music enjoyment does, and thus should be considered when optimizing RAS outcomes.

How groove in music affects gait.

Rhythmic auditory stimulation (RAS) is a gait intervention in which gait-disordered patients synchronise footsteps to music or metronome cues. Musical 'groove', the tendency of music to induce movement, has previously been shown to be associated with faster gait, however, why groove affects gait remains unclear. One mechanism by which groove may affect gait is that of beat salience: music that is higher in groove has more salient musical beats, and higher beat salience might reduce the cognitive demands of perceiving the beat and synchronizing footsteps to it. If groove's effects on gait are driven primarily by the impact of beat salience on cognitive demands, then groove's effects might only be present in contexts in which it is relevant to reduce cognitive demands. Such contexts could include task parameters that increase cognitive demands (such as the requirement to synchronise to the beat), or individual differences that may make synchronisation more cognitively demanding. Here, we examined whether high beat salience can account for the effects of high-groove music on gait. First, we increased the beat salience of low-groove music to be similar to that of high-groove music by embedding metronome beats in low and high-groove music. We examined whether low-groove music with high beat salience elicited similar effects on gait as high-groove music. Second, we examined the effect of removing the requirement to synchronise footsteps to the beat (i.e., allowing participants to walk freely with the music), which is thought to remove the cognitive demand of synchronizing movements to the beat. We tested two populations thought to be sensitive to the cognitive demands of synchronisation, weak beat-perceivers and older adults. We found that increasing the beat salience of low-groove music increased stride velocity, but strides were still slower than with high-groove music. Similarly, removing the requirement to synchronise elicited faster, less variable gait, and reduced bias for stability, but high-groove music still elicited faster strides than low-groove music. These findings suggest that beat salience contributes to groove's effect on gait, but it does not fully account for it. Despite reducing task difficulty by equalizing beat salience and removing the requirement to synchronise, high-groove music still elicited faster, less variable gait. Therefore, other properties of groove also appear to play a role in groove's effect on gait.

Perceptions of an over-ground induced temporal gait asymmetry by healthy young adults.

Nearly 60% of individuals with stroke walk with temporal gait asymmetry (TGA; a phase inequality between the legs during gait). About half of individuals with TGA are unable to correctly identify the presence or direction of their asymmetry. If patients are unable to perceive their gait errors, it will be harder to correct them to improve their gait pattern. Perception of gait pattern error may be affected by the stroke itself; therefore, the objectives of this study were to determine how the gait of neurotypical individuals changes with an induced temporal asymmetry, and how perception of that TGA compares to actual asymmetry both before and after 15-min of exposure to the induced asymmetry. After baseline symmetry (measured as symmetry index (SI)) was assessed with a pressure sensitive mat, participants (n = 29) walked for 15 min over-ground with cuff weights (7.5% of body weight) on their non-dominant leg to induce TGA. Presence, direction, and magnitude of TGA was measured at five time points: 1) baseline, 2) immediately after unilateral loading (early adaptation (EA)), 3) at the end of 15 min of walking (late adaptation (LA)), 4) immediately after load removal (early deadaptation (EDA)), and 5) after the participant indicated that their gait had returned to baseline symmetry (late deadaptation (LDA). Presence, direction, and magnitude of perceived TGA was measured by self-report. Measured and perceived TGA changes over time were assessed with separate one-way repeated measures analyses of variance. Agreement between measured and perceived TGA was assessed. During EA, all participants walked asymmetrically, spending more time on the non-loaded limb compared to baseline (-12.67 [95%CI -14.56, -10.78], p < 0.0001). All but one participant perceived this TGA, however only fifteen (52%) correctly perceived both TGA presence and direction. At LA, the group remained asymmetric (-9.22 [95%CI -11.32, -7.12], p < 0.0001), but only 9 participants (31%) correctly perceived both the presence and direction of their TGA. Visual inspection of the data at each time point revealed most participants perceived TGA magnitude as greater than actual TGA. Overall, we find that TGA can be induced and maintained in neurotypical young adults. Perception of TGA direction is inaccurate and perception of TGA magnitude is grossly overestimated. Perceptions of TGA do not improve after a period of exposure to the new walking pattern. These preliminary findings indicate that accurately perceiving an altered gait pattern is a difficult task even for healthy young adults.

Music as a scaffold for listening to speech: Better neural phase-locking to song than speech.

Neural activity synchronizes with the rhythmic input of many environmental signals, but the capacity of neural activity to entrain to the slow rhythms of speech is particularly important for successful communication. Compared to speech, song has greater rhythmic regularity, a more stable fundamental frequency, discrete pitch movements, and a metrical structure, this may provide a temporal framework that helps listeners neurally track information better than the rhythmically irregular rhythms of speech. The current study used EEG to examine whether entrainment to the syllable rate of linguistic utterances, as indexed by cerebro-acoustic phase coherence, was greater when listeners heard sung than spoken sentences. We assessed listeners phase-locking in both easy (no time compression) and hard (50% time-compression) utterance conditions. Adults phase-locked equally well to speech and song in the easy listening condition. However, in the time-compressed condition, phase-locking was greater for sung than spoken utterances in the theta band (3.67-5 â€‹Hz). Thus, the musical temporal and spectral characteristics of song related to better phase-locking to the slow phrasal and syllable information (4-7 â€‹Hz) in the speech stream. These results highlight the possibility of using song as a tool for improving speech processing in individuals with language processing deficits, such as dyslexia.